#i like both songs they make me very Energetic. the entire album does but specially those two

[th3e-m4ng0]

hey have you listened to girl hell 1999 by femtanyl . i think it's megatron coded. it does have lyrics believe it or not

yes !!!! i agree, though i didn't know about the lyrics LOL, the Vibes already reminded me of megatron, just like MURDER EVERY 1 U KNOW!

[rebellionbeach]

HELLO apparently July 28th is the release date for Down to Earth therefore in honor of its 42nd birthday I wanna do a ranking of all the songs based on my personal preference of course. 

(I’m only doing songs from the original studio release sorry no Bad Girl or Weiss Heim but they’re both sexy ;))

https://www.youtube.com/watch?v=lwCsMQWkN3g

https://www.youtube.com/watch?v=o7YOM4gx3RE (spark don’t mean a fire aka the alternate version don’t worry it’s beautiful)

8. No Time To Lose:  Starting off this list we’ve got the second song off this record and it isn’t bad in anyway.  In fact, it’s very upbeat and energetic, especially with Graham’s absolutely stunning vocals.  However, compared to the rest of the list I feel it falls just a bit short.  The lyrics themselves are actually pretty dark looking at them with examples such as, “It ain’t no lie, you’re hurting and you don’t know why.”  Don’t know what Roger or Ritchie were going through but damn, anyway, musically the song is also very strong.  The guitar riff is addicting but I feel it’s the combination of, again, Graham’s vocals and Cozy’s monstrous drumming that gives this song so much energy.  Not bad at all from a song that’s at the bottom of a list.

https://www.youtube.com/watch?v=1P17ct4e5OE

https://www.youtube.com/watch?v=_v0bDfZytwk (Russ Ballard version, it’s really good)

7. Since You’ve Been Gone: Listen, I know many may judge this choice but I didn’t put this song at the bottom because of one, the sentimental value it has, and two, it’s not a bad song at all.  Okay, it’s not the best as well but Russ Ballard made a beautiful song about heartbreak that is only made greater by this glorious lineup.  I’ve actually listened to Ballard’s originally version and while it isn’t bad, I feel that Graham really helped cement this song and really put Rainbow on the charts.  I especially enjoy the interlude section that drops into a sweet ballad type tone before dropping back into the chorus.  Graham’s versatile vocals are well-equipped to amplify this song to a new level and not only that but without this song I probably would have never started listening to Rainbow.  Although very commercialized and maybe too light to many, this song holds a special place in my heart and I do love it dearly.

https://www.youtube.com/watch?v=g2XDORONuuY

https://www.youtube.com/watch?v=WmQBKq0d_-I (Cozy Powell mix, yes it’s exactly what you’d think it would sound like if the drummer was the producer)

6. All Night Long: The second real commercialized song on this album and honestly the last.  However, where it differs from the other is that this song still has big traces of that hard rock attitude that Rainbow had emerged into.  That simple yet beautiful riff that gets stuck in your head, Cozy’s powerful drumming, Graham’s powerhouse vocals, I mean what else do you really want from a song.  Just from that opening riff you feel that rush of just pure hard rock energy shiver through your body.  It really is just a fun hard rock song that, although may not be anything too complex, isn’t bad at all.

https://www.youtube.com/watch?v=EeVFTeXs1o8

5. Danger Zone: Danger Zone always stood out to me as a very interesting and different song.  Don is absolutely phenomenal in this song, especially his keyboard solo which Ritchie follows up upon to make a beautiful instrumental section.  I’d be remiss to not mention Graham who hits at some of his highest parts here.  This song really showed off the prowess of his full vocal abilities, hitting high notes with all the strength you’d expect from a hard rock singer.  The actual lyrics of the song are quite beautiful as well I believe.  Parts such as, “Don’t understand when you’re looking for a dame but it’s only a heartbreak away.  And you’ll learn, faking has no return.”  Really suspecting some mental instability from either Roger or Ritchie at this point...

https://www.youtube.com/watch?v=O8FcrH1lDeY

4. Eyes of the World:  Many may be surprised why this song isn’t higher up the list but trust me, I have good reasons.  Eyes of the World is definitely a highlight piece in this album and really is a final goodbye to the Dio era of Rainbow.  The subject manner is very of that era and really feels like it could have been sung by Ronnie.  I think to many this song helped alleviate the fears that Rainbow had gone fully vapid with it’s material (though we’ll see how that sentiment drags on throughout the next few years)  Don Airey truly deserves the limelight here for that incredible keyboard intro that just sucks you into that dark world of evil.  He really makes this song something truly special.  Cozy Powell is phenomenal throughout all these tracks but especially in this track where he’s at his home environment and just listen to the interludes between the chorus and verse, just incredible.  Then to our man of the hour, Graham Bonnet, he just absolutely kills it here.  He puts so much passion and emotion into the vocals that I find it strange how anyone could possibly still doubt him as a suitable vocalist for the band.  Ritchie’s solo here as well is probably one of my favorites off of this album just really makes this song something truly special.  I often like to compare this piece to the Gates of Babylon or Tarot Woman to Down to Earth with an incredible keyboard intro and other-wordly themes of evil and darkness that make it a classic Rainbow tune.

https://www.youtube.com/watch?v=iU__fm6QFvk

https://www.youtube.com/watch?v=lzQZoOvzzNo (Ain’t A Lot of Love In the Heart of Me, it’s brilliant and honestly parts are somewhat better than the final version lol)

3. Love’s No Friend:  I remember reading an article that talked about this song being Rainbow’s Mistreated.  That description always had stayed with me and while I partially agree with the statement, I also think this song is very different from the former.  Yes, both deal with heartbreak and emanates a grandiose sense of grievance from that sentiment however it differs in how that sentiment is delivered.  Mistreated, as stated by Blackmore, is really just a guitar song.  The relies both on David’s great bluesy voice that can conceive that anguish in his voice like no other vocalist can (love ya Dave) and Blackmore’s just heart-wrenching solo at the end which is probably one of the most emotional guitar solos I’ve ever heard.  With Love’s No Friend I find that it’s more of a complete package having all elements of the band contribute to the piece.  Not that but the lyrics are much more refined in this song.  I often find Mistreated’s lyrics very stale and boring since they’re basically just “I’ve been mistreated, I’ve been abused,” and the only reason they get away with that is because of David’s incredible vocal performances.  Trust me, Graham’s an incredible performer as well but these lyrics have much more substance to them and I feel just stands taller as a complete song.  Speaking of Graham, this is probably his strongest performance in the album.  You know what part I’m talking about if you’ve listened to this song but THAT part is just wow, that solidified him as one of my favorite vocalists of all time.  The entire song is really just a masterpiece and really just stands as one of the best Rainbow tunes in my opinion.

https://www.youtube.com/watch?v=F1LvViMLKNo

2. Makin’ Love - Oh this song, how can I express my love for this song in ways that I haven’t already before.  Well if you didn’t know before, I put this as #5 on my top 5 Rainbow tunes and I still stick to it.  Let me just say, this is one of my favorite intros to any songs ever.  Don Airey is just magical in this entire album (and his entire career) but he especially shines here.  The simple yet beautiful little touches he adds throughout this song really makes it so much more profound.  That, once again, addicting Blackmore riff that just goes on throughout the song making the listener feel as if they’re going through a lonely yet sentimental walk down memory lane.  It kind of almost reminds me of one of my favorite Rick Springfield songs, Written In Rock, in that manner.  I guess I’m just a sucker for a pretty love ballad but man does Graham make it even better.  The man just had the perfect voice for these types of songs (please listen to Will You Be Home Tonight as an example) and he’s able to convey those vulnerable tones in his voice while maintaining that strong hard rock attitude like I’ve seen no other singer be able to.  I didn’t even mention the sudden shift during the pre-chorus that’s complimented with Cozy’s ferocious cymbal playing.  Overall, I’m just a sucker for a nice love song.

https://www.youtube.com/watch?v=mRLHHftZEJA

https://www.youtube.com/watch?v=7eRLQyXzZ1Y (the live Alcatrazz version because Yngwie is a cocky little piece of work and gets his guitar unplugged for 1 minute of the song, Graham is a beast here)

1. Lost In Hollywood - The magnum opus, probably not only the greatest Rainbow song but one of the greatest songs ever written and produced.  I’ve already gone into detail about this song in my overall album review but just on first listening you can definitely tell that this song is something else.  The energy, the tempo, is almost seems rushing like they’re running out of time on the record to give everything they wanted to show to the listener.  The lyrics sort of remind me of Super Trouper (the Deep Purple one okay) if Super Trouper was an overdramatic and grandiose love ballad.  It’s obvious that the song is talking about the overbearing nature of becoming famous and the sacrifices one has to make to get to the mantle.  One of my favorite song lyrics of all time perfectly exemplify this through, “I’m gonna lose control, if I’ve been losing you to pay for rock and roll.”  They’re lost in Hollywood, not just the actual place but the lifestyle that befits every star.  I still think that Super Trouper as a song is a more profound piece on the effects of stardom as a whole but this song as well is beautifully written to talk about those themes in maybe not so personal manners.  The song really is just a beautiful showcase of the talents that were the Mark 4 lineup of Rainbow and stands in my eyes as one of the finest pieces of music ever created.

Yeah, I’ve probably over exaggerated enough.  Once again, I’m very biased here but I’m also speaking with my own tastes and experiences in mind.  Despite the constant lineup changes, Blackmore always seems to find the most top-notch musicians and I believe this lineup truly exemplified that.  It’s a shame that they couldn’t continue on but at least we got this album as a glorious reminder of what 5 musicians can do with enough talent and probably alcohol.

Also, the hallmark of all live performances: https://www.youtube.com/watch?v=I5VPzJlUKVc

[juliaisabellphoto]

My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist. 

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did. 

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her. 

Chris Stapleton, Starting Over 

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love. 

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece. 

Mac Miller, Circles 

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever. 

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out. 

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best:  “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do. 

Halsey, Manic   

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off. 

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent. 

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING 

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020. 

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them. 

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers. 

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.” 

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions. 

Miley Cyrus, Plastic Hearts 

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan. 

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals. 

Empress Of, I’m Your Empress Of 

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship. 

Tame Impala, The Slow Rush 

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion. 

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance. 

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album. 

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more. 

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo. 

Also worth mentioning: 

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather 

J Balvin, Colores 

Kelsea Ballerini, kelsea 

Dominic Fike, What Could Possibly Go Wrong

[happymetalgirl]

The 15 Worst Metal Albums of 2020

This list might have been shorter if not for my running into a few awful albums at the end of the year that I had been avoiding wisely up until that point. My morbid curiosity got the best of me, and what’s done is done. I’m paying the price for it by going back over the worst albums I heard all year. Let’s get this over with.

15. Ghøstkid - Ghøstkid

This was the debut solo album from the former singer of Eskimo Callboy, who had a pretty decent backing of hype heading into this release under the Ghøstkid moniker, but with the namesake frontman putting in no more than the standard performance on a bunch of poorly assembled tracks in an unappealing and dated poppy metalcore style, ultimately the eponymous album wound up disappointing me pretty substantially.

14. Powerman 5000 - The Noble Rot

Powerman 5000 are just such a low-rate band that even one of their more okay albums makes it here. While not as astoundingly, mind-numbingly basic as their worst material, The Noble Rot is still some of the most unevolved, underwritten, and forgettable electro rock and industrial metal I’ve heard from a big name artist. This is some eighth grade level songwriting here, and that’s a fuckin’ feat for a band that’s been around longer than any eighth grader has.

13. Corey Taylor - CMFT

There was a lot of hype around Corey Taylor finally coming out with a solo project, and it was pretty damn disappointing to hear a bunch of uninteresting classic rock too tacky for Stone Sour. CMFT focuses on the fun side that has made its creator such an enigmatic figurehead in the metal press, but its one-note approach does little more than highlight Corey Taylor’s songwriting deficiencies. I really could have seen this album turning out better too, with just some more time and care put into it, if a fun time of an album is what Taylor was going for. Unfortunately Taylor tried to make a party album and a grand ceremonial tribute to his greatness at the same time, and ego-petting and partying don’t really go hand in hand.

12. Evildead - United States of Anarchy

It has some good bones underneath it, but Evildead’s long overdue (if anyone was asking for it) third album wears out its welcome so quickly with some of the most adolescent thrash I’ve heard in a while. The band gets some good rhythms going and the vocals aren’t terrible either, fitting the older thrash style pretty well. But the band’s predictable formula tires out very quickly, and the political commentary of the lyrics is too cheesy and cringeworthy to ignore. It seems every year we get a handful of these kinds of albums that try to get into the simmering thrash revival with some ultra retro approach, and a good portion of those albums are from long-defunct bands who figure their primitive old-school approach might be a selling point despite their sounds often being even more juvenile against the backdrop of today’s metal landscape. So it’s not a huge surprise or anything to hear an album as ham-fisted and corny as United States of Anarchy; this year it just happened to be Evildead.

11. Five Finger Death Punch - F8

They may not always place highest in this list, but they always manage to make it here, and this was actually an improvement on the last album, not that that’s saying all that much. In fact, I’d say this is the only time in the band’s history that they actually shifted their trajectory upwards. But while the band’s ugly continual creative decay has been a hard thing to watch and made them the five finger punching bag of the metal world, there seems to be a large enough swath of mouthbreathing chuds who love their incoherent derivative shit and flock to their shows enough to put them in lucrative headlining slots and on top of the metal world. Goddamn that sure sounds a lot like someone else we all know doesn’t it. I’ve criticized them plenty in the past, and while indeed an improvement, F8 only mildly remedies the numerous problems with Five Finger Death Punch. Still septic to the system are the predictably formulaic and tiresome songwriting, the stale production, the corny butt rock choruses, the shitty bootlicking worldview that bleeds into Ivan Moody’s douchey and faux-deep lyrics, the contrived ballads and country-dabbling. Even with an improvement in the flow of the track listing and a few more bangers that somewhat hearken back to their first album, F8 is still an over-thought and overly calculated batch of Sirius XM fodder that’s trying to please everyone in some superficial way. I’ll grant that it seems as though the band realized they had been giving the more metal-immersed side of their fanbase that has been with them the longest smaller and smaller crumbs with each new album. I’m not gonna hold my breath for this being anything more than placating for the time being; I’m sure the next album will find the band back on whatever bullshit they feel (or their execs feel) they need to be on to pull enough streams from inattentive radio metal bros. I always end with the disclaimer that I still steadfastly stand by the band’s first two albums, and even American Capitalist to a degree, and that I totally acknowledge the immense potential for greatness this band could seemingly at any time decide to fulfill. Ivan Moody is a talented vocalist with a lot of star power and they really could have been the second coming of Pantera or singlehandedly ignited a new wave of American groove metal and metalcore or carried it on their own. But instead the band have followed the money on the path of least resistance to fast-track their way to the top of festival tickets, which I’m sure affords them quite enough luxury and comfort in life, more than most bands these days get, but it doesn’t exempt them from criticism, and unfortunately I think their legacy will show that they were a lowest common denominator kind of band at the end of the day when they could have been, again, like a second Pantera or something.

10. Anvil - Legal at Last

Another year, another album of Anvil unable to evolve past their prototypic thrash of their forty-year-old origins. Though as tacky as ever, Anvil actually also managed to make a mild improvement on their last album on the musical front at least. The songs are a little more energetic and easier to get through, if not for the lyricism though. Anvil lyrics are never anything beyond a fourth-grader’s poetry assignment for their English class, but some of the Facebook boomer lyrics here are fucking cringy dude. A quick look at the track listing will let you know exactly where you’re gonna find the juiciest cringe, but honestly, even as far as cringe goes it’s nothing comedically special and cringe culture in general is played out anyway. So do yourself a favor and just ignore Anvil the way they deserve to be ignored.

9. Halestorm - Reimagined

It feels a little harsh to place an EP here, especially for a band whose album back in 2018 was one of the best things I have heard to come out of hard rock in a long time. But these stripped back covers and revisions of songs from the band’s catalog just suck all the oomph out of them, perhaps making the case by contrast for the importance of the role the rest of the band behind the indeed charismatic powerhouse frontwoman Lzzy Hale play in making their sound what it is. It’s unlikely this points to any kind of new direction for them, so I’m not particularly worried about them running into this problem again. Plus, I don’t think Halestorm and Lzzy Hale are like fundamentally incompatible with more ballad-y rock music, this forced balladization of older songs just did not work, and it makes perfect sense as to why.

8. Gama Bomb - Sea Savage

The fact that this album is only number 8 on this list is just depressing for its reminder of just how much shittier it got this year. The fact that there are seven albums from this yet worse than Sea Savage, goddamn. With one exception, this was maybe the stupidest album I heard all year, at least in the thrash department it was. God this thing is a sugar high mess. I feel like a toddler on an entire bag of Halloween candy or an elementary schooler on a 2-liter of Mountain Dew sat at a computer to program a thrash album would’ve probably come up with something like this. The erratic operatic highs and dumbass lyrics, it all just embodies everything that ever made thrash look bad. It’s like that drunk guy at a party who’s hyper as shit and doing a bunch of crazy stunts for attention because he thinks it’ll make the people there like him more, but really he’s just embarrassing himself. Yeah, definitely the worst thrash metal album I heard all year, and one I wish I could unhear.

7. Amaranthe - Manifest

One of the albums I was avoiding but reviewed late out of my own weird sense of obligation that I wasn’t surprised to find only validated my reasons for avoiding it in the first place. The weird combo of dancy pop music and power metal isn’t as crazy of an idea as it might seem at first thought. In fact, that’s basically in part what Babymetal are doing, and actually getting better and better at. But Amaranthe get the worst of both worlds with Manifest, unsavory pop melodies and utterly generic symphonic metal to make for something I’m not at all surprised I was so repulsed by.

6. Trapt - Shadow Work

Yep, I listened to it. God, no wonder this band is flailing in irrelevance with aggressive MAGA nonsense being their only audible desperate plea for attention. The album, thank fuck, isn’t steeped in the same bitch boy tantrum that the band’s singer has engaged in all year to the point of getting his band’s Facebook page banned for hate speech, and the music isn’t like offensively poorly made or anything like that either. There’s clearly a conscious meeting of the baseline requirements for the type of music they make, but holy fuck it’s so damn flavorless and predictable. It’d be one thing if this was the trendy thing to be doing, but this diet hard rock for people who think Three Days Grace is too wild has been out of fashion for over a decade. And Trapt are just recycling the same dumb formula that overstayed it’s welcome in the early 2000’s. Yeah, I’m not surprised at all, but god, it’s the kind of thing that has to be apparent to the band themselves too unless they’re lacking of any and all self-awareness. Trapt have thrown themselves to the forefront of the online metal world’s discourse by being an annoying, toxic, and childish presence all year; the silver lining being the unity among metalheads in roasting their laughable posturing about their Pandora numbers and the juicy memes about their one hit “Headstrong” that rile the snowflake singer up without fail. And this shit album is just another reason to laugh at them and more fuel to roast their crybaby Trumper frontman with. Go back into your hole, Trapt. 3/10

5. Unleash the Archers - Abyss

I talked about it in my review, but there really is only one simple thing that sinks this album so low. And that is just how incredibly low-effort and lifeless it is with a genre that’s supposed to be so life-affirming. Power metal isn’t the most highly revered genre in metal, but that’s just for its cheesiness. I love it; when it’s at its best, it’s some of the most inspiring metal music out there and I genuinely wish there was a bigger demand across the board for it. But Unleash the Archers just sound so flat and unenthusiastic in this album, and, sorry, in power metal, unabashed enthusiasm is just nonnegotiable. The guitar parts are phoned in and lacking in imagination, and the vocals especially are so narrow-range, it’s all so antithetical to the ethos of power metal and it doesn’t make a strong case for itself. I’ll leave it there; this album is lazy and lifeless so I feel no need to waste any of my time and work on it.

4. Burzum - Thûlean Mysteries

Ol’ Varg must’ve needed a new wizard hat or camouflage pants or whatever goofy shit he’s been doing since retiring the Burzum name to focus on his racism and LARPing because I thought Burzum was supposed to be finished. I thought you were done with Burzum, Varg. Apparently not too done to not dump an hour and a half of embarrassingly half-baked ambient dungeon synth song fragments that sound, so many of them, quite obviously unfinished. Varg Vikernes has been a washed-up shell of the musical god the various weirdos who idolize him make him out to be for a long time now, and it has shown in the gradually degrading work he had put out after his release from prison. Yet after clearly not caring about creating music in any meaningful way for a long time, Varg drops this heap of shit in his fans’ laps. I suppose they deserve it, but I’m sure some of them are delusional enough to lap it up with a smile on their face while still believing their white nationalist idol to be a musical genius. Again, it’s entirely dull ambient music, not metal at all, but it deserves to be shit upon for its astounding laziness and purposelessness.

3. Asking Alexandria - Like a House on Fire

Doubling down on exactly the unflattering crossover of pop music with their significantly sanitized butt rock in their apparent quest for arena glory that started with their self-titled album back in 2017, Asking Alexandria’s bid for the big spotlight that Imagine Dragons occupies didn’t get any stronger this year with Like a House on Fire. After three or four years of aiming for this style, the band still aren’t even all that competent with the basics of fucking pop rock, which is pretty downright laughable. Honestly, for an album so high up here on my shit list, my feelings on it are more or less just that of unsurprised disappointment; as soon as I got a feel for what the band were doing with the album, I knew it was going to be a mess of predictable results. And lo and behold. This was just such a wholly inexcusably floppy paper towel of an album, and one more Asking Alexandria release I know I won’t be returning to ever again.

2. Hollywood Undead - New Empire, Vol. 2

Coming on at the last minute to get on the scoreboard, reliably, is Hollywood Undead. When I reviewed both volumes of this project earlier, I referred to them as “corporate Linkin Park”, and I stand by that 100%. This album especially showcases nothing but what an incoherent, vapid, clout-chasing act they are, with such a corny, focus-grouped sound that sounds like it was made in a lab by a bunch of out-of-touch boomers. God, they could’ve been safe too if they had left it with the more tolerable first volume back in January, but this follow-up sequel from just this month was exactly why I had avoided listening to the first installment in the first place. And I should’ve never played this second one either. The album opener, “Medicate”, is probably the worst song I sat through in my own volition this year, and the rest of the album doesn’t get much better. It’s nothing new for Hollywood Undead after I gave their 2017 album my award for least favorite album of that year: more unfitting interplay between machismo posturing Eminem-cosplay and the sappiest, wimpiest radio rock and pop choruses; more cringy tough-guy struggle bars; more forgettable-at-best instrumentals. Congrats again, Hollywood Undead, you made one of the worst albums of the year once again.

But even worse than Hollywood Undead is an album that I feel like is already so legendarily bad, that there is no other album that could’ve been sat here. It had to be this one.

1. Six Feet Under - Nightmares of the Decomposed

Shitty metal bands everywhere can breathe a sigh of relief any year Six Feet Under decide to put out new music because any album they release is just about bound to end up as everyone’s #1 worst album of the year, and boy is that guarantee becoming more and more airtight with each successive release. It’s truly astounding too how Six Feet Under manages to outdo themselves every time. I don’t even want to think about what could possibly come after Nightmares of the Decomposed; we’ll cross that bridge when we get there. But for now, holy fermented shit, this thing is not just bad, it’s like the holy grail of terrible TERRIBLE albums and I don’t want to know what kind of apocalyptically despicable album Chris Barnes and company could possibly conjure to outdo this one. And make no mistake, it’s still Chris Barnes dragging this band down. I gave this album a 1/10 instead of a 0/10 because there was at least a sliver of salvageable instrumentation on it, as thin of a sliver as it was, a few halfway decent musical ideas of you squinted hard enough. The instrumentalists are checked out and clearly just participating for the paycheck, but I can’t even imagine what kind of professional instrumental performance could possibly overshadow the embarrassment that Chris Barnes put to tape in the studio here. Maybe that says it, because it honestly sounds utterly unprofessional. It’s baffling how this got through management and sound engineering to be released to the public because I don’t think I’ve ever even heard any amateur high school band’s vocalist sound this bad. Vocal ingenuity is generally something to be applauded in the metal world, and pioneers like Randy Blythe, Dani Filth, and Travis Ryan deserve all the praise they get for their innovation with dirty metal vocals, yet what Chris Barnes has “invented” here on Nightmares of the Decomposed to compensate for his continually-deteriorating vocals is just sad. The man simply cannot perform highs anymore, clearly, and the alternative is this fucking comical, cartoonish squealing that sounds more like a bratty toddler gargling their own snot than it does anything fitting for a death metal record, even a death metal record at stupid and cheesy as Nightmares of the Decomposed. Chris Barnes should be thankful that metal is not a sport and that there’s not nearly as much of an abundance of performance statistics to point to and analyze to see what kind of records are broken in a legendarily awful performance. I feel like if there were any kind of performance stats to pull up, this album would have to break some kinds of records. Like this is worse than that 7-1 Germany-Brazil World Cup game, this would be like if the Brazilian team all got unholy levels of blazed and repeatedly scored on themselves because they kept going the wrong way and kicking the ball into their own net, and then pissing their fucking shorts. Even in 7-1 defeat, Brazil had more dignity than Chris Barnes here. Six Feet Under and their label have to know they are a laughing stock and that people will listen to them at this point for the sheer entertainment value of how mind-blowingly awful they sound. It’s not an illegitimate marketing tactic, and it’s the only explanation I can come up with for how this passed inspection. If that’s their mission, to be a spectacle and instill cringe in death metal fans in a regular ritual of comically stupid performances across every successive album, they’re sure doing it, and I guess this baffling headache-trophy is their well-earned prize. Congratulations Six Feet Under, you did it again! Worst metal album of the year.

[jenni42085]

Made in the AM <Two>

Ch. Two

Alex's POV

The rest of my day consisted of packing, making sure all my bills were paid up to date, and getting more coverage for my cellphone. I didn't have any idea of how long I'd be gone for but I packed enough clothing for atleast three weeks, hopefully that will be enough. Plus having two big suitcase with plenty of room for if I have any souvenirs.

"So where are you going first?" Tori asks while helping me straighten up my room. Figured since I might be gone a few weeks no need to come home to a dirty place.

"The itinerary says I'll start off in Singapore for a few days, and from there no idea really, I guess they figure if I finish quickly enough no need to fill me in. I hope to get a bunch of great pictures and souvenirs though in my down time. Are you sure you can't beg them to come with? I don't want to do this alone." I ask sitting down next to her resting my head on her shoulder.

"Lex, you are going to be fine. I'm sure they will absolutely adore you. Let's have our last lunch before you leave."

"T, what am I going to do without you there?" I ask getting my shoes on and lingering at the floor.

"You are going to shine bright like I know you can."

MANY HOURS LATER

"Alexandria, we're in Singapore." Paul nudges me awake.

I wipe the sleep from my eyes and look out the window. "What time it is? "

"Umm almost 8 am." Paul says as he hands my laptop bag from the overhead compartment. "We are heading to the hotel then possibly out to eat. The guys will probably be asleep until noon if not later."

"Ok, that's great because I'd like to sleep in an actual bed instead of on the plane. When will I meet them?" I ask because I'm not mentally ready yet. Most of the 15 hour flight was spent listening to their albums trying to figure out what kind of style they lean to. Mainly it is a lot of pop but some songs show a different kind of range in music, maybe I can use it towards my advantage. I didn't actually close my eyes until the last two hours of the flight.

"If you are up for it, you can meet them tonight before their show. If not tomorrow, I know jet lag is a pain."

"Understatement, I'll try to be up and ready to meet the guys tonight. I'm just exhausted."

"I understand, if you can't meet them today it is ok.  No stress.  " Paul replied leading to the black SUV.

We rode silently to the hotel, I was taking in the sounds, smells, and scenery of Singapore. This city is so large, I can't wait to explore but right now I can't wait to get to my room. Paul informed me that they had blocked off the entire penthouse so I wouldn't have to worry about anyone really bothering me.

I open the door to a large suite; most of the room was a crisp white color which was refreshing. There was a king size bed that has big plush white comforter on it. After my bags were in my room I stripped out of my clothes and step into the oversized bathroom. Seeing as I was too tired to soak in the tub, I opt for a shower because I don't think I could stay awake much longer. I dry off then apply some Love Spell body butter then put on a cami and some boy shorts then crawl into bed. Slowly, I close my eyes and drift off into dreamland.

BAM BAM BAM. What was that? I shoot up in bed with my heart racing. Seriously? I thought this was going to be a peaceful time of just exploring more emotions and writing but apparently not. These boys are already way to loud.  I grabbed my headphones and turn up some peaceful ocean waves then try to drift back to sleep.

I wake up to my once bright room to be dark but illuminated by the lights of outside. The city looks kind of like a Christmas wonderland with all the lights going on. I take out my camera and take a few shots of the beauty because it is absolutely breathtaking. I stretch once again and look at the clock. Paul had said that they try to leave for the arena by 8, that means I have less than forty-five minutes to get dressed.

Thankfully I'm not high maintenance it only takes fifteen minutes to get ready. I throw on my Old Navy skinny jeans with a plain white tee and my light weight gray hoodie. Part of me was afraid to wear flip flops in a high traffic place where someone might crush my toes so I fall back to my usual cotton candy colored Converse. Pretty sure that isn't the name of the color but I call them that since they are pastel purple, pink, and teal with a clear coat of glitter to make them sparkle.

Checking myself in the mirror I look more of a stage crew member then a song writer but meh. I'm comfortable and it looks semi cute. I throw my braids into a messy bun. So happy that my nap made me alert enough to not need any makeup, just some watermelon flavored Chapstick. I grab my mini Fossil cross body then pack the usual necessary items Chapstick, mirror, wallet, notepad, pen, room key, and cell phone then head out.

As I walk into the hallway I'm greeted by one of the security guards who looks rather intimidating. I give a small wave but he doesn't return it. "Miss Morris, this way to the van." I follow him down the hallway then midway I hear a door opening out comes Paul looking slightly stressed but upbeat.

"Glad to see you made it to our first concert after the break. They will be the best and most energetic. You can ride with us over there." I nod my head at him. " They should all be meeting us here in a moment and I'll introduce you."

I flash him a smile and reply "Great, can't wait." But mentally I can wait, this is seriously making my blood pressure jump a few points. This isn't what I need but yet here I am feeling hot and a little dizzy.

A loud noise approaching me knocks me out of my thoughts. What the fresh hell is going on? I turn around to be greeted with a herd of bodies. "Guys!! Seriously we don't need to get kicked out for all the noise." I stare back at the group of guys with wide eyes.

"Who's this? Your new assistant?" The blonde asks.

"No Niall, this is your songwriter. Her name is Alexandria. She is here to help you guys along. She is going to watch you guys tonight and probably travel with us for a few weeks. Be nice."

I have four sets of eyes shift in my direction suddenly I feel even more self conscious and kind of naked, I let a small " Hello" out with a wave.

"Hello Alexandria. I'm Niall." He offers his hand to me and I graciously shake it. He releases my hand then points out the rest of the guys, "That is Louis, Liam, and Harry."

Louis and Liam both give me a firm handshake while Harry barely acknowledges my presence. What crawled up his ass? Maybe he is still tired from traveling all day. Who knows, but it was kind of rude.  I guess my facial expression showed some disgust with his hand shake because Liam shot him a look. "Don't pay grumpy much mind, he didn't sleep to well on the drive here."

With that response I force my face into a half smile and nod. "No worries. And you can call me Alex."

"Well Alex, are you ready to see how we rock it out?" Niall asks excitedly. Again I nod feeling very shy and unsure of what I have signed up for. We pile into the van and head towards the arena. I wish I had brought that water I had just opened with me because my blood pressure is trying to get the best of me.

*****************************************************************************************************

Harry's POV

So this is our songwriter? She doesn't look like anything special. I was honestly hoping for someone a little fitter than that but I guess if you only write and never perform what would you expect.  Right?  This was not what I was expecting when Paul said Simon had sent us something that we needed. She seems nice enough just really quiet and very shy. It does beg the question as to how she was able to write music about love, life, and everything in between it doesn't seem like she even leaves the house often.

Niall and Liam are always the first to make friends with people. They have her seated in between them chatting it up like old friends."So what album were you working on last?" Louis asks as I shoot him a dirt look that he ignores.

"Umm, I... I have been working with Tori Kelly mainly." She finally managed to get out.

"Really!!?" Niall exclaims excitedly. "Her voice is powerful! Nobody Love is an epic song I bet the rest of her album will be amazing. How did you meet her?"

"High school."

"High school" the three of them repeat her as in a slight shock.

"Yeah, we have been best friends since freshman year."

Without even thinking I state, "So you are like riding off of her talent, yeah?" After the words left my mouth I knew I went to far. "Umm I'm sorry. I didn't mean it like that"

But it was too late the damage was done. The van fell silent. I turned around to get a look at her, her face was illuminated by her cell phone and her face was solemn with tears in her eyes. "No, I got here on my own merit. I work hard I just don't sing. Simon picked me for my skills." She calmly states in a flat tone.

I hear Liam whisper something to her. My intention wasn't to make her tear up like that. Louis smacks me in the back of the head. "Smooth move mate! You are going to have her crying and not for the right reasons."

"Fuck! I wasn't trying to be mean. I was just wondering how she got here." I say as we get out of the van. Niall helps her out of the van and puts an arm around her shoulder.

As I bring up the rear Paul stops me, "Look, I know you aren't thrilled about this but give her a break she didn't even want to come because her nerves are so bad. She has maybe said twenty words to me on the flight. Simon wants her here because he thinks this is what you guys need so....."

I cut him off already knowing what he is going to say. "So don't fuck this up." I sigh as I enter the dressing room. The guys are shooting me looks as if I don't already know I've messed up, I don't want to be in the doghouse much longer so I decide to formally apologize. But as I'm about to do so I don't see her anywhere. "Where did Alexandria go?"

"No idea. She kind wandered off once we got inside." Liam says with a slight worried expression.

*****************************************************************************************************

Alex's POV

<sigh> This is exactly what I didn't want to happen. I just wanted to stay on comfort zone. I can feel my mood shifting to depression so I do one of the few things that calm me when I'm depressed.

"Hello?"

"Hey T. I know it is late. I just need to talk."

"Alex, what happened?" She asks groggily. I give her a run down of what has happened and she takes a breath "He is a man who obviously can't deal with the fact that you are so special and talented. If everyone else is being nice to you don't let one prick try to drag you down."

I let her words penetrate my heart and think on things. <sigh> "Ok I'm going to show them all how talented I am. Thanks T. I don't know what I'd do with out you."

"No problem. Night."

"Night." I hang up the phone and pull out my headphones. I need some real music to clear my head. I felt kind of old school so I played some Maroon 5 Songs About Jane. Listening to this album always calms my nerves.

Listening to Adam Levine's voice gives me a pretty wicked beat, then I start thinking over the conversation with T, 'Don't let anyone drag you down'. I made notes on my phone and my fingers start flying as I'm typing out lyrics. Apparently, I was so in the zone that I didn't notice anyone come up to me. I feel a hand touch my shoulder and it makes me jump out of my skin. "What?"

It was Harry looking pretty hot minus his shitty attitude. He looked at me with big green eyes that I could see why the women love him. "Ummm, I'm sorry for earlier I haven't really been myself lately. I didn't mean to say that. Can you please...."

"Please what?  Just don't worry about it.  You already don't like me for whatever reason so, lets just steer clear of each other and everything will be ok.  Alright?"  I reply without shedding a tear or batting an eye.  The look on his face was of shock.  He stood there a moment about to open his mouth.  "Just go back and get ready.  I have songs to write."  With those few words I leave him standing there speechless and speed walk to the nearest ladies room so I can get a few more moments of peace of quiet because my mind is racing with song lyrics.  Maybe proving people wrong will fuel the fire that I need.  <sigh>  I wonder if they have a spare guitar for me to use......

*****************************************************************************************************

Harry's POV

I can't bloody believe she dismissed me like I was nothing!  I was trying to give her a heart felt apology and cover my ass at the same time.  Not going to lie, I hate that I did say that out loud to her because I really know nothing about her, plus she is only here to help. Walking back to my dressing room I start warming up my vocals.  But this just adds to the stress I'm already feeling.  I'll find a way to make it up to her, but after the show.  I need my head in the game.

"Did you find her?"  Liam asks, he is always playing Daddy Direction.

"I did."

"And?"  He stops  lifting weights long enough to look at me.  I swear that is his new favorite pass time.  

"Well I tried...."

"You tried?!!  Harry.  Seriously?" he rolls his eyes.  

"She didn't want to hear it.  She just shut me down and sprinted away."

"Well bull lox, you have to make it right.  Soon."  Liam replies as he walks away from me.  "Next time think before you speak.  She is a nice girl."

*****************************************************************************************************

Alex's POV

The news of me being new to the whole concert spread pretty quickly because when I asked for a spare acoustic guitar it took them no time to let me borrow one I guess they know their job kind of depend on me to write music.  I sit on the counter in the ladies room and start getting a melody in my head.  There was a knock on the door.

"Yes?"  I ask.

It was a male's voice but not really sure who's.  "Alexandria?"  

"You can just call me Alex.  And can I help you?"  I reply shyly.

"Can I come in?"

"Umm, I guess so.  Who is it?"

"Niall."

"Sure come in."  The adorable blonde hair,  blue eyed, guy comes into the bathroom which was probably the size of my bedroom back home.  He looks at the fact I'm sitting on the counter with headphones on, guitar out, and my notepad writing stuff down.  Still unsure of my mood he stands in front of the sink, glancing in the mirror then back at the mess I have on the counter.

"You ok?"  I look at him and pull my ear plugs fully out, I can tell he is sincerely asking about my well being.

"Well, when I finish this song I might be ok.  I'm just in the zone and need this out of my system.  Why?"

He flashes me a quick smile.  "You are already writing?  I thought we were supposed to be doing it together."

"Yes, you are but right now I'm in the zone and can't afford to lose this."

"Aye!  Can I hear what you have so far?"

That question really throws me off guard, I know that eventually they will have to see my work first hand.  I look at him moment thinking over if I really want to do this.  "OK,"  I slowly start to drum the cords out on the guitar,

"I've got fire for a heart

I'm not scared of the dark

You've never seen it look so easy

I got a river for a soul

And baby you're a boat

Baby you're my only reason."  

I stop and look at him then continue, "I'm not sure what would be the other part of the verse  but I have the chorus

All my life

You stood by me

When no one else was ever behind me

All these lights

They can't blind me

With your love, nobody can drag me down"  

I finish playing and give him a look indicating that I needed his opinion.

"I like it.  Did you  just come up with it?"

"Yes.  Was feeling down about the car ride and I had to call my bestie, then I listened to Maroon 5 and now I'm feeling a little better.  I can't let anyone drag me down.  Even your bandmate."  

Niall starts packing my stuff up for me.  I cock my head to the side.  "I know Harry can be a pain, but he is the baby of the group so I just don't think he realizes how much of a jack ass he can be at times.  And I'm only packing your stuff up so you can watch the show."  He pulls me off the counter and pulls me in for brief hug.  "It will get better I promise."

"If you say so."  I mumble into his chest.

"I do.  Come and watch us.  Please."  He does a puppy dog face which causes me to smile.

"You are a lady killer I swear.  You look innocent then you pull that.  Don't think it will work all the time on me."  I say with a a smirk.  He gives me a quick wink.

"I know it won't always work but I'm going to milk it until it no longer does."  He puts an arm around me and lead me back to their dressing room.  With Niall looking out for me maybe this trip won't be so bad.  I'm ready to see what these boys have to offer.  

[truelovevoltage]

SITS: Famous Singer On Break

“chizuru-yukimura-okita said: Hi still open the req? Can you do sits if mc famous too like actress or singer? If you do please do for ryo,takashi,iori and nagito Thanks”

“voltagelv said: Ohh then can I request a HC of SITS where MC is a huge pop star and both MC and The guys fall for each other. Thank you🙂 i hope you can answer my request😅 if not its okay🙂”

“Anonymous said: Hello can you do a SITS where mc is a singer on break and guys reaction?”

“Anonymous said: hello this is the anon who requested the SITS headcanon the guys reacting to mc being a singer on break the guys i would like you to do are Kyohei, Iori, Takashi and Kota sorry for not clarifying”

Requested: Yes

For: chizuru-yukimura-okita, voltagelv and Anon 

A/N: Since the requests are very similar to each other I’ve combined them. 

Prologue

You were just finishing up your tour and you couldn’t help but feel sad about it. Once the tour is over your management said that it would be good for you to take a break, after all, you’ve been working non-stop even before the tour started. There were television interviews, magazine interview, guest performances, album signing and a few meet and greets. Your manager applauds you for all the hard work that you’ve been doing. 

“Sorry Haruka, I’m sure by now you’re tired as hell as my manager. You’ve done a wonderful job organizing my schedule and I’m sorry if I’m overworking you.”

Haruka didn’t mind it after all she’s your manager. “Don’t worry about it Y/N knowing you? I know that you’re a workaholic and this break would benefit us.” You were very thankful for having Haruka as your manager, she was simply the best manager you could ever ask for. 

No one except the people from your management knew about your upcoming break after your tour but someone there was rumours going around about it. Your fans were shocked at first upon hearing this news but they were supportive and said that you deserve a break. They knew how hard you were working to keep your fan happy whether it’s a game show or television interviews. But since this rumour was out, there was another rumour saying that this is your last year with music and that you were never going back into the industry again. 

The rumours were getting out of hand and today, on your last day of the tour you were going to clear things up. In the middle of your performance, you took a breather and spoke to the fans. “As most of you guys know, I will be taking a break.” The stadium was filled with people saying “Aww.” And of course, there were chatters going around asking if you were coming back. “To clear things out, I will not leave the music industry yet. I’m just having a short break.” You smiled at the fans and they all cheered. 

After explaining to the fans you were about to sing another song of yours when the event organizer mentioned that you had a guest performance today. This caught you off guard because Haruka didn’t mention anyone to you today and when you looked over backstage she just gave you a shrug meaning that this was also news to her. “There has been a change of plans guys, we have some guest performers and this is not only a surprise to you but a surprise to me as well.” There were murmurs going around the stadium wondering who could your guest be. The event organizer whispered the name and you were shocked to know they were here. “Please let us welcome the one and only, Revance!” 

The cheers from the crowds were deafening, but you were happy to see your fans having fun. While Revance was performing you were changing into your new outfit. Haruka filled you in on what the event organizer told her after he revealed that the Revance was your guest for tonight. Haruka discussed with you that Revance will be singing one of your songs and that’s when you join the band. You nodded at the information you were getting. 

In just a few minutes the band welcomed you back in and started to sing your song. Singing along with the guys was a great experience for you and the fans, they were fun to be around with. Whether they were singing or playing an instrument the fans went wild whenever you were with him. In the fans eyes, they believe that the two of you were a match made in heaven and they were quite jealous of the fact that you two would be considered a power couple in the future. 

When the concert ended everyone backstage made a big cheer indicating that the concert was a success. “Thank you to everyone who made my tour successful, memorable and enjoyable whether it’d be the lighting crew, the sound crew, stage crew, makeup crew, costume crew, backstage crew, security crew or my manager. It’s going to be weird not seeing you guys almost every day after this but I’ll manage somehow.” The staff members smiled and you, some were even crying hoping that they were tears of joy. “I also want to thank Revance for performing today with me, I know you guys have a busy schedule and most likely went out of your way just to make time to come and perform with me.”

“Don’t mention it Y/N. We are honoured to be part of this moment with you.” He smiled and everyone agreed. Everyone shuffled away and you started to pack your things. Unknown to you that he followed you just to talk to you one-on-one. “Hey Y/N I know this might sound weird and totally out of the blue but, would you like to have coffee sometime? Maybe even movies, or dinner?” He started listing things and you could tell he was quite nervous. You gave a playful smile at him, “What’s this? The ever so great member of Revance is nervous about asking me out?” He just glared at you. “All right, there’s no need for you to glare at me like that. I’d love to hang out with you sometime, after all, I’m on a break.” You smiled at him and he smiled back.

Nagito Aoshima

“Nagi! Can you please slow down? There’s no need for you to run!”

You called out to the energetic dirty blonde member of Revance.

“Sorry Y/N! But there’s a lot of things we need to do today! At least before I get stuck inside recording, designing clothes and my schedule gets packed for our upcoming tour.” Nagito whined. He was never a fan of a busy schedule but even so, he does enjoy his job.

It’s really nice having Nagito spend time with you while you’re on your break. Honestly speaking if you haven’t met them at your concert, you would’ve stayed at home and possibly write more pieces of music for your come back tour.

Nonetheless, your entire break from music consisted of hanging out with Nagito, which doesn’t sound so bad. He’s a great guy to be around with, easy to talk to and you felt comfortable around him. It’s come to a point where you might’ve developed a small crush on the pop star. But you shared that feeling off because there was no way Nagito would like you back. If anything he’s just being a nice friend, right? Nothing more, and nothing less… At least that’s what you want to believe.

The day was ending and you frowned, Nagito didn’t let that slip past him. “Hey… What’s wrong?”

“Nothing really, I was just thinking how close we got after my break and I hope that I’m not bothering you on your days off. The last thing I want to do is cause trouble for you and Revance.”

“You’re not bothering me at all Y/N! I love hanging out with you! If I had a week break I’ll take you places in Japan but of course, I can’t do that so I’m happy with what we have right now. You’re special to me Y/N.” He rested his hand on your cheek and retreated right away. “Sorry.” He apologizes and saw a small blush on him. Could this bloom into a beautiful romance, or an everlasting friendship?

Ryo Chibana

Ryo loved your company and you liked being around Ryo as well. Often time he’d tell you how jealous he was that you’re on a break.

 “Really? But it’s so boring.” You whined.

He chuckled at your comment,  “Everyone needs a break eventually Y/N otherwise you’ll burn yourself out. I get it you’re a workaholic and you’re not the only one that I know that’s like that.” You can already tell which members he’s talking about. 

During your break, you learned a lot of things from Ryo and you were itching to write lyrics and compose a new song but you stopped yourself. He can tell that you were ready to jump back out in the music industry and perform. He loved how passionate you were and sometimes he wished that he had the same drive as you. 

“Speaking of, what’s the plan today Ryo?” You asked.

“Hmmm... I don’t know Y/N but I was assigned to write lyrics for our next album and....” He scratched the back of his head.  “Annnddd? Come on Ryo. Don’t leave me hanging here.” You crossed your arms. 

“And I was hoping you could look over it?”  Your face lit up and you were so glad that he asked you. You weren’t even sure why he did but you didn’t mind it. You were still a rookie compared to Ryo when it comes to writing lyrics and you felt honour that he was asking for your opinion. Ryo could only chuckle at your expression. You looked like a child ready to open a present during Christmas day. 

Iori Enjo

It was a beautiful day and Iori invited you to go to the countryside with him. Why? You had no clue. It was strange that he’d ask you out to go to the countryside but being away from the city sounded like a good idea. 

“You haven’t told me why we’re going to the countryside Iori.” You questioned him.

“Ah well... You see Y/N I wanted to buy a small house away from the city” He answered. That didn’t really explain anything but you just went along with it. 

When you both arrived at the destination your jaw dropped. “Really? This is your definition of a small house? It’s a mansion! Who the hell is going to live here?!?!” 

He found your reaction really funny and cute. “It is small if I do say so myself.” Iori shrugged his shoulders. “Come on, they’ll give us a tour around the house.” As the two of you walked around the mansion you were speechless. 

You couldn’t believe that he was planning to buy the mansion. He mentioned that the city sometimes feels like it’s suffocating him and he wanted a place where he can go and enjoy the quiet environment. Just as you were about to mention his vacation place he said that the two were different. 

Once he decided to buy the mansion, he took you to the theatre room and watched old movies. Even though the two of you walked around the house and talked about random things followed by a movie after his final decisions, you enjoyed spending the day with him. “Thanks, Iori!” 

“For what?” He raised his eyebrows at you. 

“For inviting me to your ‘small house’ and spending time with me on your day off when you could be doing something more exciting.” 

“Don’t mention it. I wouldn’t want to spend my day off any other way.” He smiled which made your heart flutter at his response. You quickly avoided his gaze and watched the rest of the movie and to avoid your blushing face. 

[thebandcampdiaries]

The Robinsons - Beta Male

An irreverent punk rock jam that isn’t afraid of the genre’s pop-oriented side, while retaining ties with the grittier aspect of it as well.

The Robinsons is a punk rock band based in NYC - They are sharpening their teeth in the local scene, often playing basements and other events, unleashing the true spirit of punk rock music. Recently, they released a brand new single, “Beta Male,” which was actually published back in June.

The group’s roots actually have a cool “national” background. Initially, Jordan and Brandon started the band in Philadelphia and eventually moved to Orlando, where they enrolled bassist Phil while in college. Currently, they are testing out the Big Apple and its notorious music scene! If you know anything about punk rock, you probably realize NYC’s importance for the genre. The city is home to groundbreaking acts such as The Ramones or Television, and it is also home to legendary venues, such as the now-defunct CBGB.

Even if those glory days are long gone, the punk rock scene is still alive and well in NYC, and there is a lot of great independent movement throughout the 5 boroughs.

The sound of this release really makes me think of groundbreaking acts such as earlier Blink-182 or Fall Out Boy, making for massive guitar tones, melodic vocals and outstanding lyrics that have a lot of wit and grit, adding personality to the music in a very special way!

The first thing you might notice about this track is definitely the nice production value. The sound is actually very clear and crisp, giving the track a nice modern edge. However, the song is far from being overproduced, like a lot of the punk music coming out these days! The guitar tone for example, is fat, creamy and full, really reminiscent of the best guitar from artists like Green Day or The Offspring, along with hints of Foo Fighters. Although the chord structure of the song is relatively simply, it really allows enough room for the other instruments and the vocals to breathe, without overpowering the entire concept.

The song’s lyrics are the cherry on top and they are absolutely unadulterated: just listen for yourself and let the track do the rest of the talking!

The single is one in a long line of great songs for this band, and it really stands out as a fantastic milestone for them, as they consistently improve their production value and ability to write catchy, yet energetic and unapologetic songs. The guitar riffs are big and stadium-sized, accompanied by a fat drum arrangement. The drum grooves start out with a nice open downtempo groove, giving the song that big “headbanging” quality that is one of the best things about punk rock drops. Somewhere deeper into the song, the band picks up the pace and the drums really make for a direct and energetic rhythm, going for a faster feel. When the band stomps on the gas, they really make me think of earlier All Time Low, as well as Four Year Strong, with a sense of humor that is reminiscent of earlier Blink-182 (Think Dude Ranch / Enema of The State era)

One of the things that I really like about this track is also the condensed arrangement. Punk tracks should be direct and to the point, and this song really stays true to that template, clocking in at slightly under the mark of 3 minutes. Sure, that’s nothing wrong with longer songs, but what really got me into punk rock in the first place has always been the sheer and unadulterated energy of the genre, which is perfectly expressed in short bursts of blistering guitars, catchy vocal hooks, and amazing arrangements!

In conclusion, if you enjoy any punk rock that has been released anytime from the mid-90s to the mid-2000s, this one is going to be right up your alley. The Robinsons are true stalwarts of the authentic in-your-face spirit of real punk music.

Find out more about The Robinsons, and don’t miss out on Beta Male:

https://therobinsons.bandcamp.com/track/beta-male (Bandcamp)

https://open.spotify.com/album/0DLSR7fIBpd7X9mQdj7OF2 (Spotify)

https://youtu.be/Sja-9UzNOM8 (Youtube)

We also caught up with the band for an interview: keep reading for more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer:

(Brandon): When I write I try to just make the best song that I want to listen to. It goes both ways. I might have a melody first or the rhythm first. We are just tryin to make some good ole jammers for your friends to drink to.

(Jordan): Most of my songs come from my head, once I have an idea I try to play it through and imagine exciting parts to add from each instrument. We just try to have as much fun with it in the studio so we hope that translates well.

(Phil) Uh, I rock good tunes

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer:

(Brandon): We have played many shows. I 110% feel the most comfortable onstage! It's so fucking fun! Blowin some doobs with phil and jordy 2 seconds before the set is always a time and a half. Then we go out and have a fucking blast. I love jumping around and bein dick head up there. Thats what its all about anyway.

(Jordan): I always get nervous before a live show, but usually when the crowd’s into it, I open up onstage. The recording studio is my favorite place cause I get to do whatever I want and tinker around with equipment.

(Phil): Stage good. Studio good.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer:

(Phil): The One about my penis

(Brandon): Beta Male. I want them to know their wife is a dirty little slut.

(Jordan): A few songs that aren’t yet recorded I think will be my favorite songs to represent us.

What does it take to be “innovative” in music?

Answer:

(Brandon): Everyone has done everything already. I think you just gotta write music that feels good to you. Do your best to put it out there, have fun and people will ride your wave. People know when you aren’t genuine.

(Jordan): Being Innovative music is probably the hardest thing when you already like music. Usually when it comes to being innovative, you’re either making something that doesn’t exist or filling a hole that needs to be there. I just try to make songs that can get stuck in your head and are enjoyable to listen to.

Any upcoming release or tour your way?

Answer:

There are talks of a tour in the near future.    ;)

Anywhere online where curious fans can listen to your music and find out more about you?

Answer:

We are on everything. I got some links for ya .

OUR WEBSITE: https://therobinsonsband.com

Apple Music: https://itunes.apple.com/us/artist/the-robinsons/1382349194

Spotify: https://open.spotify.com/artist/7f8VkYSteDflO1B1F8yNWt

Bandcamp: https://therobinsons.bandcamp.com

Goggle Play: https://play.google.com/music/preview/Bzz3wvlm7rpd5no45fxlu7r6cki?play=1

[bigredbag]

Untitled! MAJOR SPOILERS AHEAD UNDER THE CUT

Okay, so I had a harder time remembering this one compared to Are You Happy, but I'll do my best!

It was pretty amazing having no clue where your seats were before hand. The scan your QR code and the tickets print and then you walk straight in. The first night I was with my friend who doesn't really know Arashi and she couldn't care less where we sat, but of course I wanted Arena at least once with the 2 times I was fortunate enough to go. I flipped over the ticket and just gasped. "WE GOT ARENA" I shrieked. I was so happy. 

The second night I met up with some people I didn't know. All four of us met for the first time. I 12was at what I thought was the right place and couldn't find them at first and panicked. finally I heard "SARAH SARAH SARAH" and the girl who I got the tickets from ran up to me.

It was 20 min before the concert started when we got our tickets.

She grabbed the printed tickets and I watched patiently. Her hands started shaking.

"ARENA" she screamed and the other girls with me flipped out, with me being excited as well.

I was incredibly incredibly incredibly lucky.

I was fortunate enough to get Arena two times! What the?

I also did a live stream where I basically overviewed this and went into some different details. The first part is me talking about my trip but the concert report starts around 43:00

https://www.twitch.tv/videos/205192958

Near the end it is a bit faster because there is less build up and context behind the concert on the last songs. Also note that when I say “recording” I just mean I have some audio from it. 

*****************************SPOILERS BEGIN NOW!!!******************************

SRLSY STOP IF YOU DON’T WANT SPOILERS.

The stage was just a long rectangle with a few large screens behind them (I'll get more to that later) There were two paths from the stage that formed a trapezoid shape and connected in a small rectangle.

Here is a map:

 https://imgur.com/a/hzxDj

The images on the screen were a bunch of picture frames with varied pictures. I remember specifically one with a violin. Very "I'll be there" esque. When the lights finally fade there began a soft kind of mysterious music and the pictures started to move. They all circled around the center of the screen and when the music finally grew to a big crescendo, a blank frame appeared and everything went black. The "Arashi Untitled Tour 2017-2018" image appeared.

Suddenly the 'U' and the 'N' flickered red and slowly all the letters turned bright red. A design formed with the glowing red (think Stranger Things)and a low kind of techno synthesizer music. A small rhythm started and suddenly Green Light began and you could hear the "ah-ha" part at the beginning.

On 'Can't stop this feeling' they all appeared on the main stage a little raised up towards the back. They just sang at this point. Whenever one person sang, their face on the camera showed up behind them. So it would just switch between who was singing (they did this a LOT during this concert).

During the chorus they started dancing. Just a normal Arashi dance. They were wearing red and black... business casual? lol. No one was super done up but they weren't totally casual. On the second verse they started lowering I think. I could be wrong but at some point they moved down. At the point of the second chorus they were all at the front of the stage.

After the second chorus a dance started. A but different music than the actual song during the bridge/dance section. After the 'Gimme gimme' part it kind of repeated their voices like it was glitching out. When the beat dropped again the lights all went off. Just normal dancing and singing after this.

At the end all the lights went out.

A spotlight appeared on Aiba with everyone else crouched. I'll Be There started. This song was really cool just because of how the visuals looked on the screens. As soon as the main beat picked up the ENTIRE BACK SCREENS LIT UP. It was HUGE. They had a camera going around them that showed them at super cool angles and it was plastered on the entire backdrop. It was like someone had a drone over them while they danced.  It was different than any backdrop they've done I think. At least in size.

There were a lot of 'I'll be there' themed graphics going around as well.

Other than the massive screens (which were AWESOME) it was the same dance and they were just front center stage. On the last 'I'll be with you's’ they had a pretty cool looking graphics that were kind of psychedelic with all of the members doing different angles of the hand dance. Red and gold colored, a bit more flamboyant compared to the normally muted colors.

After that was done Fūun (風雲) started and the front stage lifted up to become the moving stage. All the lights were red themed and static waves and such. Very rock song graphics all over with a red theme. This song was really fun. There wasn't anything particularly different about it. They just moved across the stage and sang. They were just really energetic and had a lot of fun. The first time they move across the audience is always high energy I think.

It was pretty obvious where they were lip singing and when they weren't because I think Nino was sick or his ear piece wasn't working. You could tell it was live.

It was just a really pumped up and everyone kind of got high tension at that point.

It moved all the way to the other side. And as it was lowering Attack It! started, which surprised me. I hadn't heard this since... Beautiful World, I think? I love this song. I was a bit away both nights but they were very funny. Sho made a lot of funny faces. They all sounded pretty awesome on it. It was a really good one. They all played it up a lot.

Near the end they started the greetings.

Jun prompted the audience to be loud a lot.  Like, pointing to his ears and stuff. He said a few different things but I couldn't understand.

The greetings weren't very different from the usual.

At this point they moved on to the bigger train things. They were covered with letters that said things like 'unfinished'. It lit up and sometimes just a few 'AMNOS' would light up.

Ohno did his usual cheer as well. "SAPPORO MATSURI" is what he yelled at the end.

Sho held his "SAPPOROOOOOOOOOOOOOOO" a long time. He did normal up top, arena how are you. Then he did the 'men' part and there were very few. In my recording there is one VERY excited human.

He was particularly energetic and goofed off a lot this concert. In the best way possible. Reminded me of Shukudai Sho.

After he was done with the Arashi call backs, Attack It! finished.

'Happiness' started while they were on the carts. The carts weren't super close to me the first night but the second night Ohno and Jun came REALLY REALLY REALLY close to the right of the stage. The other side had the remaining three. They had moved all the way back to the main stage.

Once they finished Happiness completely, the lights went out and all the screens displayed a bunch of beautiful images with silhouettes of different types of people. The lights in the audience all changed with the theme shown on the screen. All the members took a turn speaking. My friend said they were talking about making connections with other people.

'UB' started up. Nino and Aiba appeared in spotlights both wearing blue turtlenecks, jeans and orange socks (makes sense with the dance they did). They just sang and walked towards each other slowly while they sang. When they sang their faces were appearing behind them on the monitors really big. No special effects. Just their faces really big. First night Aiba was in front of me coming from the left, second Nino was pretty close on the right.

Nino was always singing along to Aiba's part too. Not into the mic but he always does that. It shows in the DVD but it's crazy just how much he does it when the cameras aren't on him. It's a lot.

When they met in the middle at the bridge (when it gets a little slow), they walked past each other for a few steps. They turned around put their hands out together like they were going to start dancing. At the circusy part they started this crazy dance that was a ton of wrapping around each other and picking up and basically being human puzzle pieces. Apparently it was a German guy who taught it to them. Someone on tumblr posted a link to the choreographer doing a similar dance but I don’t have it at the moment. Anyone have it and can post it?

Difficult and playful. Yet their faces were so serious. I think they kind of were laughing while they did it one night at a few parts. They looked INCREDIBLY determined.

When they started singing again they grabbed hands (and interlocked fingers much to the fangirls screaming) and lifted their hands in the air. They started walking away from each other again after this for the last part of the song.

At the end they waved to each other and gave a thumbs up.

Almost immediately 'Come Back' started. This was one of my least favorite songs on the album but now it's one of my favorites. I still liked it before but this was awesome. That happened a lot for me with this concert.

They had a ton of red and purple/blue in the lights and screens. They'd have their faces projected with them singing their parts. The words were broadcast throughout the entire thing.

At the end of the first talking they both jumped out of the air on a platform.

They were on opposite sides of the stage in what looked like lettermans jacket. Sho in blue and Jun in red. They each had a slew of Jrs. behind them.

The whole dance was kind of a give and take as they each sang. Slightly rap battle esque.

The dance was so. freaking. fun. It was this weird skippy thing and it reminded me a lot of Ups and Downs, especially the dance break. Lots of fan girls screaming for Sakumoto here. Like... a lot.

When they do the middle singing part right before the chorus, the screens behind would take screenshots of what the person singing was doing and put it to the side like a little collage.

At the middle they did a dance break together. Like I said, think Ups and Downs. Very similar.

They finished it with a pose pointing towards each other and the lights went out.

This part was a bit weird, but all the Jrs came out in street clothes stretching like the beginning of a dance rehearsal. It was just an orange haze light shining on them. Nino and Ohno showed up and each started teaching a group some sort of dance. Pretty sure on my recording you can hear me basically being like "wut?" It was a weird mix of silly and serious that I couldn't quite get. It felt like it was supposed to be serious and Nino and Ohno weren't taking it so. At least this section.

Jun walked in. He started a clapping rhythm and at one big bang  Yoru no Kage (夜の影) started.

This was definitely a fan service song. Lots of hips. Lots of touching. Lots of everything. I think I had to cover my face a few times. It was really fun though. The whisper parts from Nino were pretty awesome (wanna make you mine and such).

The dance was pretty all over the place. Mostly hip hop ish I guess you would say. Nino and Jun were particularly affectionate. I'm sure people have seen the pictures of this. They were all wearing white street clothes. The first time Jun sings the chorus were a lot of hips. Which made me laugh pretty hard (and hide my face, obviously).  Obviously was a hit with everyone.

When Nino echos Jun with the "get enough" they were... um... all over reach other? I guess? At least Nino and Jun. Ohno actually fell into the background to this one. I think

And when Nino started his syncopated part he was jumping to the beat which was kinda cool looking.

When they got high on the harmony (which was AMAZING), everything stopped. The music changed completely and they did a whole different dance break.

All the Jrs were filming with phones and such in the back. It was like a dance circle.

Once they started singing again, they acted as if they had won a dance battle, it felt like. They just finished out the dance after this. Nino's high parts in the background (which I didn't even notice until I saw it live) stood out in a great way. 

Jrs all threw everything up in the air (jrs and them) at the end and the lights went out.

Suddenly a line conversation appeared on screen.

Aiba was the first to talk (his icon was him with a bandanna with glow sticks stuck in it) followed by Sho who had glasses and a bandanna too. Ohno appeared with a similar appearance as well. They were talking about something with Ganguro Style and then Aiba sent a picture of Sho dressed like it as a gif. Sho freaked out and replied with one of his drawings. Then Aiba sent one of himself. He sent one of Ohno last, who then let out a really high pitched 'OoOOOH!?" They then had a gif of all three of them. Sho kept using line stickers of stuff he's drawn on shows (the Totoro painting).

Sho talked really low and it was funny. Ohno talked really high and squeaky. Aiba talked really fast and a LOT. Aiba went on a huge rant at the end, to which Sho responded with a bunch of "Woowooioioiioiioiioiiioi" (no clue how to describe it) and sent another one of his drawings. Totoro was one.

At the end of the conversation Bazuri Night (バズりNIGHT) started. They each came out one by one and posed. Then started a very "fan boy of idols" dance. It was really great. The Jrs were in these tights and tunics and stuff (wut). Looked like ballet dancers. Jrs made frames with their arms and bodies to surround the upper bodies of the three members. They were dancing and goofing off.

On the "nin" parts, every time there was a 'nin' Ohno would do a leap frog and slightly sit o the back of Jr. Then Aiba. Then Sho. This happened all during the nins (lol) and Sho fell on the last ones as the other two started to run away.

During the chorus they did this dance where it was like.. hand hand, hands in the air. shoulder sway... All really silly. You'll kind of have to see it to get it. Think Disco Star but they're nerds trying to be idols.

They were goofing off with the Jrs as well. Trying to keep up, following them in their line dances.

They would do actions one at a time. Aiba would start, Ohno would copy, with Sho finishing up.

On the yoi, they did a rock from janken on each yoi.

They made their way to the center middle section.

Aiba held out a pen light on the camera in the background and then put out another. Each of them had two pen lights. The lights went out and they started doing a dance with the lights. Everyone was laughing. All the Jrs were doing it as well. The music was like a remix of the song.

They all of the sudden went really red and did this hard beat and fast. The Jrs made a few symbols out of the lights that had turned purple. I'm not sure what kanji they made though.

When the lights came on... the middle platform was raised and there stood all three in all their mini skirt glory. And long wigs. And the outfits they wore in the Ganguro pic. I was absolutely shocked.

They then did a parapara dance, all looking totally miserable. Doing the dance with low energy like they were embarrassed. Everyone was laughing and screaming pretty hard by the end.

All the Jrs were screaming and fingerling around them.

Right as the song ended, Jun and Nino came out in their normal white clothes from the last dance. Both laughing and judging. They shooed away (Nino very aggressively) the Jrs. The second night one stayed behind and said something. Aiba, Sho and Ohno were desperately trying to cover themselves.

Ohno has one shoulder exposed so they pointed that out pretty quickly. They took their wigs off.

Guys, they have much better legs than I will ever have. It's very sad.

They all made their way to the front middle platform, the three Bazuri Night dancers trying to keep their skirts down. The second night Aiba's spanks underneath kept coming down at the end and he was lectured and tried to pull them up.

I wish I could tell you want they were saying. If anyone wants to hear my recordings of the talking parts, let me know. A bit hard to hear.

They walked up the sides to the main stage (the Bazuri night dancers still pulling their skirts down)

The lights went out and another one of the screens with the silhouettes started to play. If I remember right this one had a really pretty sunset.

All of the sudden there was this sound of strong winds and a spotlight appeared on Ohno sitting on the ground with strings on the screen behind him. Really eerie music. The string would move and Ohno would jerk up, like he was a puppet. It got more complicated each time he did a move. It looked real. By the end he was doing a dance to this intense, ominous music (think the dance in Love right before P.A.R.A.D.O.X.) Two wire like hands (think Zero G set) were controlling the screen. He was wearing this really gorgeous military looking outfit with pleats underneath and blue/red/black.

I can't wait for everyone to see this part.

At the end he spun and chopped the strings off and Tsunagu (つなぐ)began. The other guys joined him on stage, wearing similar outfits. These were gorgeous. Probably one of my favorites of the night. All slightly military-esque. (Masquerade+ Seishun Boogie)

This dance is one of my favorites, and my friend who doesn't really know them said she really liked this one as well. Very Japanese. They also sounded good.

After this they took off the jackets they were wearing (with a flourish naturally) They were wearing a bit fancy... blouses underneath? Heh heh, best way to describe them. All silk like material. Nino in light blue, Sho in purple (I totally matched him the first night). Jun in a turquoise, Ohno in a gray, Aiba in Yellow.

As soon as they were done Hōyō (抱擁) started. They danced up front on the stage for a bit for this. It was just kind of a normal dance that they do, nothing particularly different. The lights were really bright and colorful. Reminded me of the popcorn song where they wear the vests. Almost like a filler?

Next was the Okinimesumama (?) (お気に召すまま). This was the b-side song. They made their way to the middle of the outer stage area. Nino and Ohno were in front of me on the right the second night. Nino kept forcing Ohno to wave. He'd grab his hand and wave it. The other three were making their to the middle on the other side. At the quick talking part they did a fun dance in the middle in a circle where they walked in a circle pointing to the person in front of them and then made a movement like they were using their hand to talk. Very Love Wonderland-esque. They would stand next to each other and sway with their arms on shoulders. And would go back and forth the middle of the stage.

Then the part that made me gasp the loudest.

Bittersweet STARTED. This is on my list of songs that I'd LOOOOVE to hear live but thought I never would. They got on carts on this part, so despite me being happy to see them do the song, they were all over the place and screaming was happening so I didn't get to enjoy it a lot. The dance was my favorite too, so I was a little sad I didn't get to see that but I was just so happy to hear it!

SO.

All of the sudden I feel someone shove me REALLY hard into my friend. I'm like "Ow wat" and I look up and see why. They were making the path clear.

Jun was right in front of us and I was the seat on the isle. The cart passed right by me. GUYS. JUN AND I MADE EYE CONTACT. FOR LIKE A WHOLE 2 SECONDS. As soon as he started on the little cart I turned to my friend with terrified eyes and she yelled "DONT LOOK AT ME." and when I turned around he was kind of crouched getting settled on the cart and looked around AND I MADE EYE CONTACT.

/end screaming.

All the carts led to the back platform that moves across the stage. They lined up and Guts! started. Another song that I'd never thought I'd hear, so when it started I was SO HAPPY. They were pretty far away from me both nights but it was still really awesome to see the dance.

On the chorus; Nino, Sho and Aiba stood together and did the choreography together. Shoulders over each other. Nino was in the middle, Aiba on the right and Sho on the left. Sho and Aiba did the bow and arrow part. On the other side Jun and Ohno were doing the same thing, but it worked out a little better. Nino just kind of sat and enjoyed the show between the two.

On the last "paredo" part they decided to change it up and did bowling. Pulling back for the bowl was the first build up. Second was the bowl. Where they normally pretend to swing the bat, they did a success sign.. not sure how to describe it. Like a "YES. Nailed it."

After they did that they all danced around each other hopping with their hands up high fiving.

"Nice strike" - Jun said and then introduced Doors (Yūki no Kiseki) (Doors〜勇気の軌跡〜).

This was all done on the platform as it moved across the audience. They all seemed kind of tired at this point? They just did a ton of movement, so this dance was probably a great break. This one wasn't lip sung and they sounded so great when they sung all together. I'm in love with this dance.

After this was the MC.

My friend tried to explain some of it but they talk pretty fast and she was pretty absorbed. They talked about how UB was choreographed by a German guy who they took to sushi but Nino doesn't eat shell fish so it was funny?

They also were very, very proud of their bowling part of Guts! and made sure to replay it for everyone.

They talked about the "nin" part in Bazuri Night too.

After that they did a janken game to see who talked first while the others dressed. Apparently who won didn't happen very often the second night. It was Nino and Aiba the first night. And I need to recheck who was on the second night.

They talked about Nino hosting Kohaku (I think?), and Aiba said something along the lines of "I didn't do very well, so please make up for me." It was very sweet.

They all did their promotions that they normally do.

They had Nino do the "start" and he goofed off both nights. "STARTO" really loud. Or really fast and quiet.

They were in white clothes underneath with tan tops with lots of belts

They did kind of a mix of a bunch of different songs where they were standing on the middle platform and interacting with the pen lights. They would all kick in a certain direction and it would look like a fireball across the pen lights would bounce around.

You could hear Step and Go and Zero-G.

You could a little of Sakura at one part and then they topped it off with P.A.R.A.D.O.X. No singing just parts of the song.

It finally built up to Sugar starting. This dance was all done in the middle section. All the talking parts by Nino were met by many a' screams. The dance reminded me a lot of Wonderful. Simple song but they had lights coming from the bottom of them that looked gave them a cool shadow on their face while they danced.

Thinking back, it really was a lot like Wonderful. During Jun’s part of the verse, he spun around and pointed to cameras at all different angles and when it got to Sho’s whisper part, he was really close to one of them.

All the lights went out and Now or Never started with a bunch of rainbow lights lighting them up from the bottom.

They didn't much to this song. They split to two groups and went along the stage. Aiba on the "body" part was touched by Jun and Sho I believe. This was just a movement to the front of the stage song. I was a bit sad because I really like this dance and they didn’t do any of it.

After this was over the lights went down and another one of the story screens came on. This one was a little sad sounding.

The lights came back on with them all in white (brown jackets and such taken off).

Pray started with a little scene in brown that had a few trees that would follow each member as they walked across the raised platform on the main page. The more they sang more scenery would appear. It was like a snowy village. The stage was moving back and forth, putting the members at different depths on the stage. Nino was completely blocked from me on the platform, but they were moving them forwards and backwards.

They all ended up at the same level and Hikari (光) started. Throughout the song they lowered and moved forward. There wasn't really dancing I don't think but it had all these stain glass windows behind them and it was very gospel singing like.

Near the end all the Jrs. came up from under the stage in gospel choir costumes. Sho's mic went out during the rap a little bit though. I was surprised. It's kind of cool being the first few shows because it's more raw and they haven't worked out kinks yet. Of course that means sometimes you don't get to see certain songs that they added after the shows you saw (IM LOOKING AT YOU 'FIGHT SONG').

This song for some reason hit me really hard. I love this song to begin with but it just felt really hopeful and happy the entire song. They had everyone clapping at the end.

Lights came back on fast and Kimi no Tame ni Boku ga Iru (君のために僕がいる)started. This has been in a few more concerts lately, hasn't it? I don't know the hand dance thing so I was like YEAh GO TEAM ILL DO IT TOO.

For some reason I don't remember this very much but I think it's because they were moving around on carts and such. I lose track of them and the song kind of gets a bit jumbled since they get so close.

PIKA★★NCHI DOUBLE started after this. They only did a short version of it, cutting out the middle where Sho Raps one at a time with everyone. I think they will still moving. And maybe put on new jackets? To be honest, I'm having a hard time remember exactly what happened here.

I think they were moving to the pillars at this point. Order from left to right facing the stage: Aiba, Nino, Sho, Ohno and Jun. I was between Nino and Aiba the first night and by Jun the second.

Hadashi no Mirai (ハダシの未来) started as the pillars lifted up. It was kind of surreal to be able to do this part with them. That's what's so fun about the concerts. You feel like you're part of it. Even if you don't remember the dance all of the way... I got it though!

They introduced the Jrs at this point. With MADE and the Six group (I can't hear their name so someone please correct me.) who do all the fancy flips. After that the finished up Hadashi no Mirai.

Believe started immediately as they began the decent and made their way on smaller carts back to the middle section that had moved to the back of the audience. Another song that I never thought I'd hear.

The best part is they did the main part of the dance at the end that's so hard, but so memorable. It made me really happy that I got to see that live, as silly as that seems.

They did so many different songs I wasn't expecting.

Like Monster that started with a bunch of flames around the raised platform at the back. The whole song had flames going off. They didn't do anything different from the normal Monster dance but the flames definitely added an extra umph. It also matched the PV, which was a nice touch.

A.RA.SHI began as they moved back across the audience. Nothing different but always a special one to hear in my opinion. ARASHI. ARASHI. FOR DREAM. BBY.

The few times I've heard Ohno struggle during a concert it's almost always during this song.

Singing at the end always makes me kind of emotion. It really connects the audience to them and just has history, I guess.

This led into another talking part. It was softer and sweeter. The second night it seemed like a lot of people this as a spot to sit down, but was so pretty with the lights. It was just as part of the concert as everything else, in my opinion.

The music transitioned into Song for You.

Guys.

Guyssss.

This was incredible.

I've been trying to guess what it would be like and it exceeded my expectations completely.

Ohno rose up from the center stage with a spotlight on him. He sang his part and began a really pretty, almost ballet dance. They were all wearing red, gold, black, silver clothes that were old fashioned and gorgeous. Nino had lace cuffs, so that's all you need to know. The best.

Partway through his dance, Aiba and Nino appeared really fast from under the stage. Like... abruptly. It was so smooth. And fast. They were just THERE. It left an impression. They started dancing with Ohno. Once gain, all the dancing here felt almost ballet.

The Aiba/Nino section started with Ohno dancing away and a bunch of jrs. appearing behind them. Their dance was still pretty classical but had some traditional Arashi dancing. Definitely hips for those it appeals to.

They danced after they sang for a bit and then Sho and Jun showed up with their own hoard of back up dancers. (I enjoy the term “gaggle”)

They went full West Side Story as soon as the Jun/Sho part started.

Once they finished the "a few years pass" that Sho says, Nino and Aiba left.

When it got to the chorus part they had a really cool graphic behind them where it had each of their silhouettes facing to the side, but then within them half of their face facing forward.

They sounded so good here too! This entire song was live!

Eventually all 5 were on stage and dancing when Ohno started up singing again.

The screen was incredible at this part.

It had five rectangles that would alternate between the three or two singing. Once the part where they alternate often started.

So, Ohno and Aiba (wow that doesn't happen much) and Jun, Sho and Nino.

It was very sweet and felt very human. The videos they showed of them in the back looked like they were having fun and had a lot of emotion.

They danced again until it started the slow ending that sounded like Ohno's first section.

They were lined up at the front, with the big screen showing a square with whatever member’s face was singing.

I believe there was a galaxy or nature behind them at parts where they weren't showing their face? Don't quote me on that.

During the part where they would be doing the "oos" they all took a minute to talk. It was the same both nights. It would be a spotlight on them. Ohno, Sho, Aiba, Jun and then Nino finished it. It was like their end messages. Ohno asked if everyone had fun, I think? But serious, not in a joking way.

I think it was just tying up all the talking points they have showed. It was very sweet and very heartfelt. I liked this a lot.

The last thing was Nino saying "Thank you very much" and they bowed.

THEN they did the "oo's"

When Ohno and Nino go high together at the end, it was AWESOME. It was all a pretty powerful ending and I definitely teared up a little. That song is just too powerful and too pretty, you know?

Mikan (｢未完｣)immediately started and they threw off the overcoats (with another flourish, of course) during the extending intro. All the lights were red and the theme was kind of a digital, grunge look?

On Nino's "YEAH" at the end fireworks went off and scared the crap out of me both times.

I don't think they moved too much on this song? I honestly don't remember. I think they were just on the front raised up or in the middle section.

This was pretty interesting. The "Arashi Live Tour" screen went up and the lights kind of lifted so everyone was like "What?!" and started cheering. They didn't do a bunch of goodbyes and then come back again for the encore, they just went off and came back which I think saves a lot of time.

When they came out they were on the big carts. Nino, Sho and Aiba one one. Jun and Ohno on the other. The music started instantly. They were all wearing random clothes with 'Untitled' on them. Hard to really pin point them. Some were like lettermans Jackets. Jun's was like his overcoat in Baby Blue. It was all a bunch of different stuff.

Wild at Heart (ワイルドアットハート) started instantly when they came out. Aiba, Sho and Nino were REALLY close to me on the big cart on the second night. They were all kind of looking away while they passed though. Sho turned around I think?

This is one of my favorite songs so I’m always really happy to hear it.

The encore was really short, it felt like.

Sakura Sake (サクラ咲ケ) started after this (another that I was surprised to hear). I TRIED to shake my hand properly. Anyone know why the hand actions are what they are? Because I've tried to figure it out and I can't.

Either way, it's super fun but hard to do with a pen light in your hand. I also didn't know the call backs to Sho's rap. Either way it was a blast.

By this point they were at the front of the stage all together.

Kanata e (彼方へ) started, which was very sweet. They just stood on the stage and sang on this one, with the usual portraits behind them I think? They looked really into this song. Just an emotional-esque one.

I can't get over how good Ohno sounds live. All of them really. Jun has gotten better every single one. Sho has such a high voice and I forget it until I hear him live again. Nino did sound amazing still. Aiba is sooo powerful now. He is almost exactly like the studio recordings and sounds fantastic.

They moved to the back-ish of the center stage. I believe they were on a platform that sank into the ground and they said bye. This is also where the tape exploded into the audience (the quiet before the chorus again). Right as Nino did his high part into the chorus. Obviously a mad rush. The girl I got the ticket from gave me some of the ones she got and I was so happy! Apparently being 5”9’ did nothing for me.

Nino sounded really good on his high part here! I was like THERE YOU ARE. THERE IS THE NINO WE KNOW AND LOVE.

The harmony of "don't stop music" was pretty awesome and that's how they ended!

Then thanked the Jrs again and introduced/thanked the band Mount Blast. I think they thanked the staff? And then they thanked the audience.

We all yelled their name and they bowed.

But what? No Energy Song? No Kanpai Song? HUH?

All of the sudden you hear the music of Kanpai Song (カンパイ･ソング)start and they slowly raise up from the platform they went down, all draped over each other pretending to be resting or asleep. Nino was laughing REALLY hard on the second night. They were all in a puddle of Arashi.

They did Kanpai song and that was it! They just ran around, didn't do carts. Just ran up and down the stage sections. I LOVED it. The talking part where Nino says there's no time or whatever, that whole section was great. The background was all alcohol themed. Tee hee. I love Energy Song and knew this one would most likely replace it for this concert but I was a little said when I thought about it. Totally fine with it after seeing it.

Great way to end it, even with out Energy Song. It has the same tension and same energy, if not more. Lots of cheering and running and loudness. It's way more call and response compared to Energy Song, so it made it feel a little more involved and like we were all singing it together.

They did a final Jump on the last beat.

The lights came up and it was finally all the way over.

Holy cow.

Final thoughts? It was really different. I didn't know what to expect especially since it took me a bit to fully love the album. It made me appreciate the album a LOT more and put a lot of them in better perspective.

This one was more performance art than Are You Happy? was. There was a lot of storytelling and metaphorical aspects. Many of the songs were conceptual in how they were presented. The penlights were utilized very different way and the giant screen was really awesome. They were subtle changes but overall it made for an incredible show and I loved every minute of it.

I can’t believe how lucky I am and I hope everyone can experience a concert someday. Let me know and I can go through the process I went through in a DM. <3

[convenience93]

Sayaka Yamamoto Live Tour 2017 ~identity~ NHK Hall 19th November Fan Report

On the 19th of November, I went with a friend to Sayaka’s NHK Hall Live. We were able to secure pretty good seats which were on the first floor, 7th row on the left side. 

As I’ve been to theatre before, I have technically seen Sayaka performing from even closer up before, but as this was her solo live and not in a group, the experience was completely different.

I’ve also been to one of Sayaka’s Zepp concerts last year, but my friend Jess had never been to a Sayaka live before, so she seemed completely overwhelmed the whole time. Haha.

Honestly, more than a week has passed since the concert, and I don’t remember a lot of things anymore, so I’ll just share some of the highlights of the whole experience itself.

MAIN HIGHLIGHTS

1. Making/preparing our own uchiwas

As you can see in the photo, that’s me and my friend, Jess, just around the concert venue. For some reason that day, there was some Spanish festival going on, so that’s why you can see tents and festive looking things in the background. We made that uchiwa about a week before the concert, and were very proud about how cute it turned out haha.

Then, on the actual concert day, we worked on the other side of the uchiwa as showing our support for the one and only Team SY, Sayaka’s incredible support band that are really ultimate squad goals as a team haha.

Here’s the photo of the other side of the uchiwa we worked on!

And then to the actual concert itself...

2. The epic beginning

We were able to know that the concert was starting because the lights dimmed, and some funky music started playing. Then as the red curtain started to unveil, the band began playing the intro to JOKER. And when the curtains fully opened, there was Team SY and Sayaka right before everyone’s eyes. Sayaka was dressed beautifully in white clad with her white guitar, and she looked absolutely stunning. I thought JOKER was a perfect start to the concert as the super rapid drum beats really built up the anticipation for the rest of the concert.

3. Sayaka’s beauty and elegance

Now, you may think I’m saying this as a a Sayanee oshi, but when I saw Sayaka perform Wings, my jaw dropped. I did personally want her to dance more in that song since it’s a super dancey track...however, even though she really only danced a little, every gesture and movement she made while singing with her mic stand was so graceful and elegant. In all honesty, words can’t even give it justice, but it was just the way she moved her hands and her expressions - everything was so cool and entrancing. What stage presence! She was still in her white dress then, so I think that added on to the flair of the performance.

4. Sayaka’s most engagingly emotional performance

When I went to Sayaka’s solo concert last year, I don’t know why but her Yukikoi performance then didn’t quite leave an impression on me. However, this time, Yukikoi started with a breathtakingly beautiful violin solo by Ayasa, Team SY’s violinist, and I think that really set the mood. I was able to really feel just how much Sayaka was getting into the song - the heartbreak, the angst etc. Everything just felt so vivid. It has to be one of the most emotional performances I’ve ever seen from her.

5. The performance that I got most hyped up about

Surprisingly, it wasn’t something like Rainbow Rose or Let’s Go Crazy that hyped me up the most, but instead it was Kassai. The whole song I got so hyper! It’s a real head banger!! I was pretty much bouncing and jumping the entire song. I do like the recording, but this song live to me actually felt like a completely different song altogether. It’s not even my favourite song of the album (though I do like it), but it definitely is up there as one of the best concert songs in Identity alongside Let’s Go Crazy. 

6. The performance that made me squeal the most

This was of course none other than my favourite song from the Identity album, Yubikiri. Sayaka’s smile, movements, and gestures - everything was so adorable. I kept squealing at how cute Sayaka was haha. I can’t wait to watch it again on DVD!! I guess January is not that long a wait haha. Also, at the part where she sings “Yubikiri genman” (pinky promise), she actually put out her little baby finger. Ughhh it’s sooo cute. I have no more words other than, “IT WAS SO ADORBS!!”

 7. The climax of the concert - the towel songs

I think most people can already figure out which songs these are. First, there was Smile which from last year had been a great towel flinging song. But when she performed Let’s Go Crazy, that reached another whole new level. Sayaka had mentioned before she wrote that song to cater especially for lives and that when it was performed, everyone could just leave aside their problems for a while and just enjoy themselves to the max. And I really did experience that at the live. Like while being accompanied by Sayaka’s crisp and energetic vocals, I was surprisingly not even focusing on Sayaka herself that much the whole song, but rather, I was just having fun getting hyped jumping about, and really just living in the moment, and it was GREAT. Haha. Thanks Sayaka, it was perfect stress relief lol.

8. The significance of NHK Hall

NHK Hall is filled with many important moments for Sayaka. First of all, it’s where Kouhaku Uta Gassen is held every year, so it has memories from the first time NMB was on with Kamonegix to various lives to many shows Sayaka has been on like AKB48 Show, Utakon etc. Especially, last year, Sayaka managed to get #1 in the AKB48 Dream Senbatsu at this very venue, so it held many special memories for her. She got really emotional talking about it, and you could feel just how nervous and thankful she was being able to perform there. Really though, Sayaka couldn’t stop thanking everyone during that live. That sincerity was really moving. The fans in the audience (including myself) also spontaneously broke into a Sayaka call, and then she got even more emo. Haha. To be honest, it wasn’t just for her, but even just realising how they hold Japan’s biggest year end music show in that very venue, even I in the audience kept being aware about what a prestigious and special venue it was. Thus, I can really understand why Sayaka got so overwhelmed.

9. Everything went by in a flash

For Sayaka’s encore, she performed 3 songs, but to be honest, at this point, I cannot really remember much because I was just trying to soak in everything but somehow, it all just passed by me in a flash. I did think Yume no Koe was a little tame to start off an encore. It was just very relaxing and chill. The same goes with Haru wa Mousugu which is gentle and touching. Melody is always a good ending song, so I’m glad she chose to end with that. That song really does feel like Sayaka’s promise to fans encapsulated in a song about how she’ll continue singing and doing what she loves up there on stage. 

10. There were concert streamers that fell from the ceiling!

The red circle is where my friend and I was. So, I heard that NHK Hall was the only venue they were able to get streamers to fall from the ceiling, so I guess that was pretty cool. Streamers are always a great way to end the concert with a bang. Only the people on the first floor and towards the front half of the hall really were able to get streamers, so that was pretty neat too. Later on, we also saw people coming towards the front after the concert to pick up streamers too haha.

As it was a very long strip, I folded it, but here’s an example of the streamer.

It said: 

｢今日は本当にありがとう！ 皆にとってのサードマンになれるよう がんばるぞ★｣

"Thank you so much for today! I'll do my best so that I can become a third man for everyone."

What a nice message. Thank you Sayaka <3

FINAL THOUGHTS & IMPRESSIONS

It was really fun going with my friend Jess as it was her first time ever seeing Sayaka in person and going for a 48-related live! I’m glad she really had a blast at Sayaka’s concert. By the end of the day, she wasn’t just gushing about Sayaka but also Team SY. To be honest, I was the same because I really felt how not just Sayaka, but every band member really levelled up from last year in both their presence and synergy with each other. If they were amazing last year, this year they were out of this world phenomenal. 

Just like last year, I also really liked the MC parts Sayaka would dedicate to talking to her band members one-by-one. It was really nice how we could just get to know the team. So much warmth and love; they’re reaaally the best.

As for the goods, I did buy some, but for things like the rave band, I reused the one from last year as it was still fully functioning (once I changed the batteries). It was very handy as the staff would regulate our rave band lights during the concert itself so we didn’t have to do anything. I’m glad last year’s rave band still worked the same because it was actually pretty pricey. Thank God I got to use it more than once haha.

Going for the concert actually got me thinking about a lot of things including my fangirl life haha. I realised when I got busy with work and chasing my own goals and aspirations, Sayaka who has all this time been a big focus in my life was slowly but surely becoming a side thing. 

It’s not like I’m quitting from being a Sayaka fan anytime soon, but it’s just I may not be able to spend as much time on her anymore. I am glad Sayaka has been my #1 this past 6 years, and I wouldn’t change that for anyone else. I’ve been inspired and motivated by her so much after all. Also, I’m really proud and happy to have an oshi who truly values and cares for her fans, and of course also the people around her.

She has even mentioned about how this time, she wrote songs this time for the sake of others, hoping people could find strength and courage in them. That’s just the sort of person she is.

Seeing her like that though, I began to feel even stronger about how I want to seriously pursue my goals and move forward in my own life too. I don’t really know how things would change for me as a fan from now on, but rest assured, I’ll keep supporting Sayaka one way or another. 

Maybe you’ll still see me at lives once in a while from now on if my schedule permits it XD

I mean come to think of it, my last fan report was actually from a year ago. So, that may be my frequency of going for lives/events after all haha. Anyway, thanks for reading till the end. Hope you enjoyed it!

[festivalladies]

Big Day Out Sydney - 23 Jan 2009

Gemdilem, Poleski and Carlsberg, take on the youth of Australia at the 2009 Big Day Out in Sydney!

Approx 10am… The day begins…

Gemdilem: It is hot. It is humid. I think I have lost 5kg in sweat and I’m not even at Homebush yet. Lets face it just getting to the BDO in Sydney is a mission. Thanks to the retardness of the Sydney public transport system. A journey that takes 0.5hr by car takes 1.5 hrs by public transport. Awesome. Thanks shity-rail.

Poleski: As I wait at central station I am bemused by all the youths clinging with hope that the 2006 Modular-started trend on Fluro might still live on. Hot pink cut offs. Why?

Carlsberg: I am very glad that I have brought my notebook, so I could make note of an early beauty overheard on the train to Sydney Olympic Park…

Underage girl: Should I just say they’re for personal use? They’ll let me off if I say that won’t they?

Carlsberg: I fear for the future of this country.

Gemdilem: Hopefully a depression will sort them out.

Gemdilem: Despite the 40 police and sniffer dogs at the train station when we get off, the underage girl doesn’t get caught. *sigh* There is no justice in this world.

Poleski: As I get to the main gate the line is ridiculous. I don’t do lines/queues. Don’t you know who I am? I don’t do nice at the BDO. Time to think quick-smart kids… I head to the beverage cart parked half way down the line. I’m  thirsty and want to push in (the token festival emo band is about to start PEOPLE!!!). I get in pronto, powered by emo loving.

Gemdilem: The line getting in is painful. It is long. It is hot. People pass out.

Poleski: I am sitting on the grass, watching emos. Life is awesome and worthwhile, but do the kids think so? Was that someone cutting themselves?

Carlsberg: After the pain of the train we battle through the always ridiculous crush at the gates. Once inside we quickly find the Whitest Person Alive, aka Poleksi, sitting on the grass listening to the emos (Getaway Plan).

Gemdilem: Poleski is humming away, completely oblivious to the rest of the world. She is in her happy place.

Poleksi: The emos finish. Now time to cut yourself and get smashed.

Carlsberg: Jeans = clothing fail. So many people wearing jeans! Why??

Eddy Current Suppression Ring – Converse Stage

Carlsberg: Eddy, two things:

Your name is too long. Even saying ECSR is too long. So you will be forever called Eddy.

It’s only because of you that we’re here this early. I could be in air con right now. Hence, anything that happens from here on in is your fault.

Gemdilem: First band of the day… great way to start… once more Eddy did not disappoint.

Poleski: I stand by my comment that Eddy is the man for Mrs Pop. He obviously has no attention span! All the cool kids are here being cool. ECSR rip through their set. Each song as energetic and rockin as the next! If you didn’t see them in 2008 then what have you been doing with yourself? I think only the rumour of a ‘princess chair’ incorporated into The Grates set could top this.

Carlsberg: Eddy is awesome. ‘Bass drum is what we need’ Brendan says. He is right. Loving the nervous twitch. Glad he is only rocking both legs sparingly, as it is really hot. Also glad he is wearing shorts with those gloves, even though they make the gloves look less hardcore.

Gemdilem: He has such skinny legs!

Gemdilem: After Eddy we set off on a mission to get 18+ wristbands, locate the Lizard Lounge and get beer. Poleksi has got us all guest tickets and Lizard Lounge wristbands. We aren’t sure what it all means but we figure it is probably something good. Just the name Lizard Lounge sounds cool.

Poleski: Why do people make it so hard to get drunk? Seriously. 40 minutes to get the right wristbands. We went to guest services to swap our guest tickets for wristbands which will give us access to shade, no queues and pee/vom free bathrooms (I am old. I need my comforts ok). Turns out they don’t have 18+ wristbands at guest services. We suggest it might be a good idea so that their ‘guests’ don’t have to go on a separate mission to get them. Light bulbs go off all round.

Gemdilem: We stop off at guest services and get a white and brown wristband. I have no idea what it is for.

Poleski: We go to get 18+ wristbands. Underage kids hover trying to slip past security.

Gemdilem: We walk around in circles trying to find the Lizard Lounge. I am getting frustrated, hot and I just want beer.

Poleski: We see a sign for the Lizard Lounge. The sign leads us up and down levels. Where is this Lizard Lounge you speak of? We eventually find our way but have lost all faith in festival signage. And then we are denied entry. I have not walked around for 40 minutes to be denied entry and made to go back to a world of sun stroke and vom covered facilities. I ask the lady nicely. I don’t think she wants to see me cry. I will cry. We get let in.

Gemdilem: Lizard Lounge success. Finally.

Gemdilem: The Lizard Lounge is like walking into heaven. 2 bars (no line), space, table and chairs, toilets (clean and no line), gourmet food, balcony with seating and a view of the two main stages. I settle in with a few beers and the best tandoori chicken wrap ever. I contemplate the idea of not moving for the rest of the day.

Carlsberg: Lizard Lounge rocks. Toilets, no bar queues, shade, seats, free Chupa Chups, being able to see the general public without actually having to touch them. Win!

Poleksi: Lizard Lounge sux. Where is the grass area for rolly pollies and antics?

Carlsberg: Waiting for the Grates. Hurry up Patience (ha!). Loads of people are watching Birds of Tokyo. What? Maybe people do like the bands on the main stage. Maybe it’s just us?

Poleksi: The kids love Birds of Tokyo. Who is this band? Really. We thought they were Children Collide until I noticed the guy is wearing white. Children Collide do not do white. Waiting for The Grates. Rumour has it Patience will be performing from a Princess chair after stacking it at Falls. The suspense.

The Grates – Blue main stage

Gemdilem: Despite being in the Lizard Lounge and a fair distance from the action the energy and pure awesome-ness of the performance is not lost. The Grates are awesome!

Carlsberg: Patience is wearing a marching girl costume. Ah the excitement! She is shimmying with a distinct limp. Poor Patience! No minus points to her awesomeness though.

Gemdilem: Trampoline, Science is Golden and all their recent hits have the crowd begging for more. Fantastic performance. Patience looks fabulous!

Poleski: We use to see these kids play at Spectrum to a half full room and now they have a stadium eating out of their hands… It brings a tear to my eye. PS. I’m losing my shit obvs (obvs.. that’s how the kids say obviously these days).

Carlsberg: Is she blonde? It’s hard to tell with the marching hat. Marching hat is off. Yes! She is blonde!

Gemdilem: Do you think Patience looks a bit like Courtney Love?

Carlsberg: No Gemdilem, she does not look like Courtney Love, I think it’s just your eyes.

Poleksi: I have a lime, and I will throw it at you.

Poleksi attempts to throw the lime at Carlsberg but drops it instead.

A quick look at the timetable and we realise there is no one on the main stage that we want to see. We must leave the Lizard Lounge and re-enter the real world.

Poleski: Remember when the kids used to dress up and not dress down. CROCHET BIKINIS ARE EVERYWHERE. Ho bags. And to think our mums thought we looked easy dressing like Courtney love back in ’98.

Ting Tings – Green stage

Gemdilem: Timetable fail. Who thought that putting the Ting Tings on the small stage was a good idea?

Carlsberg: Who the fuck decided it was a good idea to put the Ting Tings on the side stage when Cog are playing the main stage? I know they have the bogan factor to cater for, but what about the teeny bopper factor? And what about us? No That’s not my name for us.

Poleski: FAIL.

Carlsberg: It’s really effing hot.

It is too packed to see anything or go anywhere. We decide to escape the crowds by going to Lilyworld.

LilyWorld

Gemdilem: When in doubt go to Lilyworld for hangouts and antics. Also a great place for bad tattoo spotting.

Carlsberg: Have things changed here or what? It just doesn’t seem as crazy as it used to. It used to be about the craziness, now it’s about the Facebook photos. At least there is shade.

Black Kids – Converse Stage

Carlsberg: We head to Black Kids. This is who I’m here for, so they better bloody rock. They do!

Gemdilem: I wasn’t expecting much. But then the Black Kids start to play and they are great. Surprise act of the day! Party tunes to the max. But it’s too hot to dance! They end the set with I’m Not Going to Teach Your Boyfriend How To Dance With You. Crazy times.

Carlsberg: Oh my god it’s hot. Can’t. Stop. Dancing. Even in this heat my feet refuse to stay still. They are adorable. So surprised people know their songs. Maybe it’s heat stroke? Regardless, they are fantastic. Worth my double layer sunburn to hear their gorgeous tunes.

Poleksi: Fuck these kids make you dance. Who thought something good could come out of Florida? Not me. A two album band no doubt but fuck it’s going to be a fun two albums.

Southern Cross tattoos vs really dumb tattoos

Time to look at our tattoo scoreboard:

Southern Cross tattoos = 22

Really dumb tattoos = 27

Special mentions:

Ned Kelly + ‘True Blue’ + giant Southern Cross = our dream man!

The solar system on the stomach

Deftones around an arm, Connor on the stomach

Giant Southern Cross with a different pattern in each star

Spiderman tattoo covering the entire back

But the clear winner is the crazy bikini / board short wearing girl with the following across the top of her back: “I do as I please and I please those I do.” I bet you do.

Poleksi: I think I am going to get a map of Poland tattooed on my back.

Gemdilem: Poleski that is so un-Australian.

Carlsberg: Poleksi, are you writing notes in Polish? I don’t understand what you have written in my notepad.

TV On The Radio – Green stage

Carlsberg: TV On The Radio is ‘reason for being here #2′. My god, my ears. They are hurting. What in baby Jesus’s name is happening with this sound? The vocals sound right, but the rest is a mess.

Gemdilem: Victim of poor festival sound. It is really bad.

Carlsberg: Big call for Wolf Like Me to be third song. Somehow this alleviates my guilt at leaving. We depart, no longer able to bear the sound and the heat. Have I mentioned it’s hot? Feel like my brain is melting. This is surely the heat of death.

Gemdilem: This is awful… my beer is warm because I can’t drink it quick enough… stupid heat.

Carlsberg: Jumbo lemonade. Mmm sugar cold, cold sugar.

Lupe Fiasco – Boiler Room

Carlsberg: Looks like the rest of the BDO had the same idea – escape the heat by going to the Boiler Room. This move is more about shade than it is about Lupe, but damn he is good. Seeing Lupe with no shirt and his pants down to about his knees reminds us to issue a warning. Please think again when considering taking your shirt off when you’re surrounded by 50,000 sweaty people. I know you have those awesome Southern Cross tattoos to show off, but there are other factors at play here. If you’re a cut black dude by the name of Lupe, it’s fine. If you’re not, it’s probably not fine.

Gemdilem: Lupe is jumping around like a mad man so much so he nearly loses his jeans. His white undies are on show. Hilarious. It’s worth going to the boiler room just to see this. The highlights are Superstar and Daydreamin’. He owns the stage, he is a showman.

Carlsberg: We catch all his hits, except Kick Push / Push Kick whatever it’s called, and he sounds mighty fine. He looks so tiny on that stage, but his moves more than make up for it. Special mention to his Swan Lake impersonation, and downstairs dancing on the floor.

Carlsberg: I buy Chips (Mr Carlsberg) the most awesome Hot Chip t-shirt, because it has owls on it and I like owls. I refrain from purchasing a “Sneaky” t-shirt. Are they dropping the “Sound System?”

Pendulum – Blue main stage

Gemdilem: We head back to Lizard Lounge (aka heaven) to see the end of Pendulum’s performance. The arena is packed (the most packed it would ever be that day). People brave the heat and dance up a storm. The sea of bodies moving in time with the music is mesmerising to watch. They play Propane Nightmares and everyone goes nuts. Circle pits pop up everywhere. People are getting thrown in the air. It is madness.

Carlsberg: It is packed. Like beyond packed, with the whole main stage going crazy. Again I ask, am I missing something?

Poleksi: Pendulum – when did this happen?

Gemdilem: Do you guys not listen to Triple J? The kids love Pendulum.

Serj Tankian – Orange main stage

Carlsberg: I like his hat. That’s the best thing I can say about that hour. Thank God I have a seat. It’s still hot.

Gemdilem: Beer drinking time.

Cut Copy – Green stage

Carlsberg: Low expectations. I have heard they are having a break and heading overseas. Australian promoters will all surely struggle to fill their spot on festival lineups if true.

Gemdilem: They sound amazing. It is definitely the best Cut Copy live performance I have ever seen. They play a b-side called Sands of Time which sounds pretty good. Lights and Music goes off!

Poleski: So many glowsticks. If only Mrs Pop was here.

Carlsberg: Expectations exceeded. They sound strangely awesome. Cue conversation between myself and Gemdilem about Cut Copy hey days and seeing them with only 20 people there. Clearly those days are over, but this takes me back to when they were the shit. Inability to stop dancing continues.

Gemdilem: The cowbell is a very nice addition to their music.

Carlsberg: Some people say the cowbell has had its time and now it is no longer cool, but we all know those people are morons.

Carlsberg: Rumour confirmed, Cut Copy are off overseas for two years! Gasp! Two Homebakes / Field Days / Big Day Outs / Parklifes etc etc with no Cut Copy!

Carlsberg: We have lost Poleksi. Man down! Several confusing messages later we head to Hot Chip, doubting Poleksi will want to delight in their goodness and assuming she is off to find free tequila.

Poleski: I hate music. I hate crowds. I hate live entertainment. I hate the youth. Retirement is going to sux a fat one.

Hot Chip – Boiler Room

Carlsberg: Hot Chip makes me go all funny inside. Maybe it’s because they are massive nerds? Not even cool nerds, but dweeby nerds?

Gemdilem: We got there at the most perfect time for hit after hit. Dance offs to the extreme. Totally infectious beats. I heart nerds.

Carlsberg: They sound fabulous. My dancing feet continue. They pump out the hits, each sounding better than the last. Last time I saw them they didn’t have a full band. This time there is a whole stage full of nerds!

Gemdilem: I want more. I can’t believe this is the first time I have seen Hot Chip live.

Carlsberg: Hot Chip finish. We are sad. Sadness quickly evaporates and is replaced by desperation to leave the Boiler Room when we realise Pee Wee Ferris is on next. How is he not dead yet?

Gemdilem: Pee Wee Ferris? Isn’t he like from 10 years ago… Why is he still called Pee Wee? Surely he should have a more grown up name by now?

Gemdilem: Stupid people are breaking large fluro tubes and then rolling around in the fluro gell stuff. Toxic? Yes. Idiots. People are dancing on wheelie bins. Get me out of this nightmare!

Neil Young – Blue main stage

Carlsberg:  One last sit down. I have never seen so many people sitting on the main stage grass. I am seriously going to fall asleep if I listen to a full song.

Gemdilem: I know he is a rock n roll legend but he is seriously the wrong choice for the Big Day Out. What were they thinking? FAIL. There is hardly anyone watching him. I feel sorry for him. All the kids are trying to push their way to the Boiler Room for The Prodigy.

Poleski: I have been in hiding for the last few hours… fearing sun down. The kids go crazy at sundown. The stadium emptied out the minute the monkey’s left the stage. People make mention of going to Prodigy. I laugh. Will people never learn? If you aren’t in the Boiler room by 7pm you ain’t seeing the headliner.  Have fun sitting round for 2 hours, hugging the ground and feeling the music. P.S. later reports suggested Prodigy were nuts. 1996 lives on.

Carlsberg: Chips (aka best fiance ever) arrives at Sydney Olympic Park to drive us home.

Gemdilem: I love you Chips! No shity rail for us! Home time…

Overall

Carlsberg: Overall it was a very hot day, tattoos are definitely getting worse and people are getting dumber.

Gemdilem: It was a great day. Highlights had to be Eddy, Cut Copy, The Grates, and Black Kids. I am grateful that people have such bad tattoos to keep us amused all day. I think I might be getting too old for this.

Poleski: It was boiling. I’m moving back to the 2nd world where I can happily be pale. I fear for our future. What is happening to our youth? Despite all this it was yet another epic BDO. This thing is a machine. It’s the festival we will also have a brutally passionate love / hate relationship with… Can’t wait for 2010…

[thestempodcast-blog]

The Stem, Episode 1 (Script)

Howdy! My name is Thomas McPhee, and you're listening to the first episode of The Stem. The Stem is a music podcast where I talk about my thoughts and feelings on whatever happens to make its way into my musical rotation each month. While most episodes will be a review of a single album, I want to celebrate the new year, as well as the beginning of this podcast, by sharing my list for the top ten albums of 2016.

Before we begin, I want to take a moment to share how I built my list. For me, what makes an album one of the most successful albums of any given year is its longevity. Am I still listening to this album weeks or months after I first hear it? There are plenty of albums that I’ve enjoyed on the first listen, but have completely forgotten about after a week. This list then is comprised of albums that I find myself returning to again and again months after I first hear them. There are two important questions this raises that I want to address quickly.

First, what to do about albums released in December, which don’t give me a lot of time to see how they age? My list for 2016 Includes two albums released in mid to late December, which I am choosing to include based purely on the strength of my early impressions. Both of these artists’ previous albums are quite strong, and these new releases have been earning the majority of my attention since I purchased them. For these reasons, I feel safe including them on the list, though I recognize that my early impressions might be wrong and that I am somewhat breaking my own rubric by including them..

Secondly, there are some deliberate omissions that I want to comment on. This year there were several records (Danny Brown’s Atrocity Exhibition and Nick Cave and The Bad Seeds’ Skeleton Tree being the prime examples) that I expect to see top other people’s lists due to their artistic and technical merits. While I appreciate what these albums achieve and how they influence political and musical discourse, if an album doesn’t draw me in and make me listen to it again and again, or if it’s too intense to listen to without significant preparation beforehand, it won’t appear on this list. While I appreciate sharp, incisive lyrics and experimentation in form, I place higher value the ability for an album to be both casually and critically accessible. This list then, like my reviews will be, is very specific to me and my experiences and patterns of listening to music, and I want to be upfront about that so I’m not flooded with questions about why I didn’t include X album or Y artist on this list like everyone else did.

Without any further ado, let’s get to the list! First up, I have four honorable mentions I want to touch on briefly. These are albums that were enjoyable and had longevity, but I couldn’t justify ranking them above the 10 albums that made the cut. They are worth checking out though, so I recommend you given them a listen or two on your preferred streaming service and see what you think. They are

Hell Or High Water: Original Soundtrack - Nick Cave and Warren Ellis

Nick Cave and Warren Ellis are prolific soundtrack composers when they’re not busy working together as Nick Cave and The Bad Seeds, and this was a strong addition to their catalogue. This is the soundtrack to yet another western, and its strength lies in how well the original compositions play with the curated songs from other artists. “Sleeping On the Blacktop” by Colter Wall is a standout track here. This record is available through Milan Records.

The Adventure Zone: The Crystal Kingdom Original Soundtrack by Griffin McElroy

The Adventure Zone is a comedy Dungeons and Dragons podcast put out by the podcasting machine McElroy family, and along with his duties as the primary editor of the podcast, as well as the dungeon master for their campaign, Griffin McElroy has begun composing music for the show starting in the show’s third mini-arc. Griffin himself describes these pieces as more musical stingers than actual songs, but the thematic unity between them, as well as the effectiveness they demonstrate in capturing the feelings of the scenarios they underscore, makes this collection well worth a listen. The four part song titled Crystal Kingdom is the strongest song on the album, incorporating haunting melodies together with an almost playful instrumentation. It also features some truly fantastic vocaloid work. You can find this album on Bandcamp, and links will be available on The Stem website.

SremmLife 2 by Rae Sremmurd

SremmLife 2 is the sequel to Rae Sremmurd’s debut full length SremmLife, the 2015 release that was a surprise hit and one of my biggest guilty pleasures of that summer. SremmLife 2 takes the frantic energy and no shame party jams of the first album and pushes them even harder, while also adding a slight dash of love, regret, and reflection. The album is a lot of fun (and often very ridiculous), and even some of the slow jams on it deserve attention. The opener “Start A Party” is a fantastic first track and does its job of hooking you superbly. You can find this album from Interscope.

Now onto the list proper.

Number 10: The Storm – Tech N9ne

Tech N9ne is a Missouri based rapper, and The Storm is the sequel to his 1999 commercial debut, The Calm Before The Storm. Tech is one of the original co-founders of Strange Music, a record label that is an enormous part of Tech’s image and rap persona. The Storm, like his previous albums, features dozens of Strange Music artists, with Krizz Kaliko making a total of 7 appearances across the deluxe edition of album, which equates to a little more than 20% of the entire record. The lyrics here are often typical Tech N9ne fare, which often focusses on the nature of an indie rap life, as well as the darker nature of Tech’s music and his love for his Strange Music crew. I was first introduced to Tech N9ne through his 2015 album Special Effects, which I enjoyed quite a bit, and it prompted me to go into his back catalogue and pick up a few of his previous albums.

While all of them are lengthy, and all of them tread much of the same lyrical and thematic ground as this record, The Storm to me feels like the ultimate realization of Tech’s vision and interests, and as such it stands as one of his longest albums. While there are a few songs on The Storm that I found myself consistently skipping, a number of them come on the album’s second half, which finds itself devoted mostly to featuring songs from his Strange Music label mates that don’t even have Tech on them at all, so I’m willing to overlook them in terms of how I rate the album overall. The fact that, for an almost two hour long album, I would call a solid hour of it fantastic, with the remaining hour split between good, decent, and a few stinkers, seems like a remarkable achievement that deserves being rewarded. There’s something powerful in listening to Tech vault across a myriad of different musical styles provided by his producers, unleashing the full repertoire of his technical rapping ability, and hitting catchy, infectious success at such a high rate. Where the album shines, it shines the brightest of any album he has put out so far, and even where it fails, it feels like it fails more by comparison to the rest of the album than failing wholesale. While this album is a recent release, it has made up the majority of my listening time since I purchased it, and I can easily imagine continuing to listen to it for the months to come.

Number 9: Helter Seltzer – We Are Scientists

My infatuation with We Are Scientists was swift and recent, as I had never heard a song of theirs before summer of 2016, and in the time span of about two to three weeks bought all of their albums and fell in love. Helter Seltzer is the fifth album from this indie pop-rock duo, and in many ways it feels like a return to form for me. Their first album, With Love And Squalor, had a drive and energy to it that kept me hooked and kept the album on rotation in my headphones. It was simple without being sparse, and energetic without being exhausting. Brain Thrust Mastery, their sophomore release, incorporated more electronic elements, and while featuring a few strong songs, generally failed to capture the same feeling and energy that excited me about their debut. Then Barbara, their third album, stripped out a lot of the electronic elements, and while it was a slower paced album than their first, something in the melodies and the lyrics captured my attention again; it felt more intentional with its pacing, and you could almost feel the concentration that went into the album and it payed out in spades. Then TV en Francais came out, and was largely disappointing to me. It kept the slow pacing of Barbara, but lost the focus, feeling too slow and lacking any gripping elements for me.

Now we turn to Helter Seltzer, where it feels like We Are Scientists sat down and re-listened to With Love And Squalor 50 times in a row and regained some of their energy and excitement. Helter Seltzer has possibly one of the most gripping and exciting opening tracks of any album this year with “Buckle”, a hard hitting rock song that sonically and lyrically shows a clear drive and an intensity that hooked me in instantly. The album takes the best parts of all their previous albums and incorporates them seamlessly, navigating the slower ballads of TV en Francais and the electronic experiments of Brain Thrust Mastery, all while continuing to engage me and deliver on the promises of the opening track. Lyrically we cover a powerful range of emotions; we open in “Buckle” with “I want you to buckle when you think of me”, and we end in “Forgiveness” with “What I need’s anybody’s guess, but honestly I don’t expect forgiveness.” While the band are known for their humorous antics, their cat filled music videos, and their generally silly personas, what strikes me most about the album is how how serious they clearly are taking this music. It may not all be serious in tone or subject, but the intention and thought brought to this album is clear, and it helps make this a truly catchy, eclectic rock album that manages to avoid all pretension and still deliver something heartfelt and powerful. This album is available through 100%.

Number 8: Dangerous Woman – Ariana Grande

Dangerous Woman is the third full length album by pop superstar Ariana Grande, and for me it represents the moment that Grande was able to successfully combine all the ingredients in her formula and make a pop album that is so expertly crafted that it engages me critically as well as sonically. While I’ve always enjoyed pop music, I have found much of it to be fluffy enough or thin enough that it tends to only have about a week to a month’s worth of longevity. This album has blown that out of the water, providing new experiences and joys even after seven and a half months of listening. The way Grande weaves her way through the album, from the more classical love ballad “Moonlight”, past the innuendo rife sex ode “Side To Side”, and ending with the more downtempo, electronic, and thoughtful “Thinking About You” is joyful to listen to, really making you want to get up and dance at every moment. The production is infectious, but provides enough layers and development to keep me from getting sick of it after repeated listens.

I’m usually loathe to use a word like “genius” in this context, as it feels like it ties into broken concepts of intellectual superiority in music and “high art/low art” arguments, but it really feels like Grande is a musical genius on this record. It exceeded all my expectations for how much depth, complexity, and earnestness could be on a pop album, and it made fun feel as important as political discourse. Listening to Ariana sing about sex, love, and complicated relationships on this record feels more relatable, important, and in so many ways empowering than it has on any of her previous records, or on similar pop efforts by other artists. It’s also nice to see that the guest list is quite small, so it feels like the mastery of different tones and styles really does come from her musical ability. That said, Ariana uses her guests perfectly; each song is tailored to complement the featured singer, and yet they all fit in and flow naturally within the course of the album. The Lil Wayne feature “Let Me Love You” in particular is one of the standout tracks for me; also of particular note are the showtune-esque “Greedy”, and the longer, more relatively experimental “Knew Better/Forever Boy.” The album is available from Republic.

Number 7 (Tie): Life’s What You Make It - EP & A Place For Us To Dream – Placebo

English alternative rock group Placebo have been making music now for twenty years, and the growth and development they’ve shown over that period is remarkable and part of the reason they’re one of my favorite bands of all time. They’ve released 7 full length studio albums, each with an noticeably different sound and feeling, and yet all their music is held together by the divisive nasal singing of Brian Molko and the band’s music, infused by drugs, sex, and sadness. In a lot of ways I view Placebo as what would have happened had Depeche Mode picked up guitars rather than synthesizers, and both bands have now spanned a similarly epic length of time for a band to remain relevant (though Depeche Mode do beat Placebo out by a good ten years!). So now that they’ve been around for a while, it’s clear Placebo are thinking hard about where to go next. Their last full length release was the 2013 album Loud Like Love, which was my introduction to the band, and stands as possibly their most pop-friendly album to date, featuring bright, crisp production. While the sadness that is innate in Placebo’s very bones is still present, there’s a surprising amount of hope, happiness, and just earnest feeling, rather than the darkness and uncertainty of their previous works. Now, three years later, they’re looking back at their career and planning the next step forward. This consideration has manifested itself as two releases: a short 6 song EP which features four new songs and two live performances of their single “Twenty Years”, and a thirty-six track retrospective/greatest hits collection, which also includes one or two new songs, as well as finally releasing a couple of singles for the first time on the USA iTunes store. Thus while they are old songs they have been previously unavailable to me, so I will consider them as new for the purposes of including these albums on the list.

The new songs across these two albums themselves constitute a short album’s worth of material, and they speak to the band’s ever changing nature. “Life’s What You Make It” takes the pop rock of Loud Like Love and explodes it out into a grandiose atmospheric meditation on happiness and existence, whereas “Jesus’ Son” takes that same starting point and brings it inward, creating a tight, danceable exaltation of happiness and joy. “Autoluminescent” is a more winding and fuzzy electronic track that would feel at home on an electro remix/sequel to Meds, which I consider their best album. The slow version of “Breathe Underwater” takes one of the most fast paced and driving tracks from Battle For The Sun and turns it into a mournful ballad that evokes love and loss simultaneously. These tracks bounce around lots of new ideas, reframing old songs or jumping off from their recent efforts in new directions. It’s worth noting that many of these songs are covers, but I have not ever heard the originals before, and since the band has released an entire album of covers before and incorporates covers into a large part of their identity, I still wanted to call these songs “new”, in that the covers felt very much like they were still Placebo songs at their center. As someone who has been in love with this band since the moment I first heard them, it felt important to me to include these two albums and to mention these songs, as they serve as a neatly wrapped starting point for newcomers to the band, while still challenging all my conceptions of what they are capable of producing. You can find both of these albums on Elevator Lady Ltd.

Number 6: EP1 - FKA Twigs

While the previous entry on this list was a short EP coupled with a few singles from another album, this and the next two entries are all simply short EPs, which I want to quickly unpack here while I have a moment. While it feels a little disingenuous to include several rather short EPs on a best albums list, I tend to think of albums simply as any collection of songs that a musical performer has determined are a complete set by their own self-determined metric. The three EPs included here have such fantastic songs on them, and offer such a satisfying musical experience, that I see them as having a place on this list, and offer something different to many of the quite lengthy full lengths that make up the rest of the list. While I admit there’s something of an apples to oranges conversion going on, I think it’s worth just celebrating fruit and not getting too strung up in the details. I also think it’s important to recognize the role EPs plays nowadays, especially for certain artists.

FKA Twigs, British alternative/electronic/ambient singer, has long utilized EPs and shorter musical works in a way I see few artists with her level of fame and appeal do; of Twigs’ four releases, only one is over five songs long. While this particular EP was the first project she ever released, dating back to 2012, until now it had only been available in the United Kingdom on vinyl. It is thus a new release in the United States and this is the first time I’ve been able to get my hands on it (legally), so I’m considering it new, as there was clearly a choice made to make the product readily available to new audiences, which to me provides it with a context of understanding and reaction to current musical events. The atmosphere generated on this release, while tonally consistent with her other releases, feels simpler and sparser overall, featuring fewer lyrics than her already lyrically minimal other works, as well as less noise and fewer different production layers and instruments. While nothing that FKA Twigs does is “traditional” by any stretch of the imagination, and it all features a somewhat sinister feeling, this album almost feels like a lullaby, something to fall asleep to, not in the sense that the EP is boring or uninteresting, but rather in that there’s a sense of vulnerability and softness throughout, even in the harsher and faster songs, that seems to speak to a direct intimacy and connection with the listener. The song “Ache” is in particular possibly one of the best songs I’ve heard all year, and shows, without any pretension or angst, the ways in which love and longing can tear us down just as much as they can push us forward. This song in particular is a showcase for Twigs’ vocal abilities, which provide the majority of the melody, as well as the majority of the sound on the song, and the song creates an emotional response in me as a listener that was almost overwhelming and was certainly beautiful. You can find this album from The Young Turks.

Number 5: Hypnos/Flame EP – Chelsea Wolfe

Chelsea Wolfe is a alternative/experimental singer songwriter and multi-instrumentalist who started out making albums that were crosses between goth rock and folk music, and has recently began to incorporate elements of hardcore electronica and metal into her sound. If I had to sum up the genre of her most recent works in a single word, it would absolutely be “apocalypse”. Her 2015 album Abyss is sweeping in scope, drenched in ambient atmospheres of darkness and hopelessness, while also still featuring some incredibly hard hitting and crunchy guitar riffs, synth melodies, and unsettling vocal effects. This album was a stand out for me, and really captured something special in the way it mixed so many different elements I loved without feeling bogged down. Jump forward to 2016, and she releases the Hypnos/Flame EP. While only two songs on the album are brand new, the other three being unreleased demos of songs from Abyss, the strength of those two songs alone puts it in the number five spot on this list. The first single, “Hypnos”, is a little closer to a more “traditional” guitar ballad, but it is possibly the most sinister track you’ll hear this year. It starts with a simple but menacing acoustic guitar line, and Wolfe’s vocals seem to be slipping in from some far away location, the way it echoes and softens suggesting maybe the opposite side of a large, empty auditorium. She sings “I licked your hatred, you set me free, In summer in the boiling blood.” Then the melody line shifts, adding a simple extra layer of complication, and turning into a song for a loved one, more intimate and kind. After the chorus we get the subtle addition of a couple of extra guitar notes, which sound almost like a very soft piano, and a synth swirls gently in the background, making it sound like a small chorus of singers is singing from an even further away location in this auditorium of sound. Wolfe sings “Oh baby, I’ll carry your disease, That darkness that lives inside you deep, Oh honey, I’ll put up a fight with death, He’s never coming near my love again.”

The next track, “Flame”, moves a little more swiftly, featuring a more driven guitar line. Wolfe’s voice is front and center, singing right next to you and reverberating all around the sonic space as she sings about running west and chasing the sun, defying everything that has failed her and an unknown other in their relationship thus far.

The demos that are also on the EP are interesting, and vary widely in how much they differ from their counterpart takes that made the cut on the album. “Grey Days” and “Survive” feel quite close to the album versions, but feature subtle shifts in production and pacing, which reveal something interesting about the recording process, providing a window into Chelsea’s mind about what these two tracks needed in order to feel complete to her. “Simple Death”, on the other hand, is starkly different in demo form, featuring an almost entirely different instrumentation, a much slower tempo, and more elaborate supporting vocal work. Like many of the EPs and albums on this list, this collection plays with the idea of “new” and how those kinds of arguments influence what we allow on our end of the year Best Of lists, but based on the strength of the two new songs, as well as the way in which the demos offer something tangible about the perspective and process of the artist, I think this was an incredibly strong offering that deepened and pushed forward Wolfe’s artistry and music. You can pick up this EP from Sargent House.

Number 4: Ritual Spirit EP - Massive Attack

Massive Attack are a DJ duo/trip-hop group from the United Kingdom that’ve been around for almost thirty years, mostly consisting of Robert Del Naja, or “3D”, and Grant Marshall, or “Daddy G”.

Ritual Spirit is the first new release from Massive Attack in a few years, and it feels like a strong departure from their last full length album, Heligoland. Whereas Heligoland was a grander, more cinematic album, with moments of love and hope, Ritual Spirit is a tight, frantic, and desolate collection of songs. The opening track, “Dead Editors”, is a blitzy hip hop track with a haunting, synthetic, and dirty beat. Roots Manuva raps over it with a full, bass tone, unconcerned with exact melody or precision, instead using his voice more like a sledge hammer. The title track, “Ritual Spirit”, is a gorgeous evocation of darkness and uncertainty, featuring relatively sparse and open production and vocals from Azekel, who, while difficult to understand, conveys perfectly an atmosphere of wariness and the unknown simply by the power of his vocal inflection and tone. “Voodoo In My Blood” brings back the franticness, but with the inclusion of the Scottish group Young Fathers, this track feels more like a depraved, reckless party anthem for those already way far gone. The clicking of the drums, and the driving surge of the two note guitar line make the song hard to resist moving to, even when it’s unclear whether you should be dancing or running away. The final track, “Take It There”, features Tricky, another famous English trip-hop musician, and a previous collaborator with Massive Attack. Tricky’s thick, deep vocals as he sings “Treat the girl, like licorice, she's so soft, and ticklish” over the simple, repetitive, but almost hopeless beat is hypnotizing. The thumping of a morose repeated piano note plays as the track seems to almost drag itself forward; this is the song for the end of the night, when all energy has been spent, all hope lost, and the listener must simply lay down and wait for whatever comes next. Together the four tracks provide a compelling and engaging arc over their eighteen minutes, and while it’s undeniable that this is Massive Attack, there’s something in these tracks that feels new, reinvigorated, and makes me hopeful for a new record sometime in 2017. You can find Ritual Spirit on Virgin records.

Number 3: Strange Little Birds – Garbage

Garbage are another older band that have come together to produce new work, the previous release from Garbage being from 2012. In my opinion this is the most interesting work put out by the band, and to me represents the most successful attempt at their self stated goal of “tak[ing] pop music and mak[ing] it as horrible sounding as we can.” Which is not to say that this album doesn’t sound good or plays too much with sonic dissonance; this is by and large a harmonic and easily accessible piece. However, it’s clear that the band is pulling from pop influences and sensibilities, but then twisting them into these eclectic electro, grunge rock songs. Many of the songs, including the album’s opener “Sometimes”, feature heavy synth work and have a kind of otherworldly quality, but other tracks, like “Empty”, feel much more like traditional rock songs, and the balance on the album between all these different ideas and sounds is both successful and energizing. Most of the tracks on the album hit the 5 to 6 minute mark, and there’s something cinematic and luxurious in listening to them, as the space they take allow each of these tracks to grow and evolve as the seconds tick on. While there are a few exceptions, the overall tone of the album is quite dour, telling stories about doomed love, fights to stay alive, and the ways in which we self-sabotage in our own foolishness. From the final track on the album, and my personal favorite, “Amends”, we have the lyrics “It’s what you do to make it right, Matter of fact, it’s called revenge, Cut off your nose to spite your face, It’s pretty cool shutting me out.” The lyrics across the album are unafraid to get down and dirty, lending an almost confrontational tone to the album, and in several places it caused me to stop and think about my own life and relationships, finding moments where I felt like the singer was both describing my own feelings, or calling me out on my mistakes. There’s also something seamless about the album, as it all feels completely natural and effortless, expertly balancing complexity and simplicity not only across songs but within individual tracks as well. You can find this record on Stunvolume.

Number 2: Northern Lights – Allan Kingdom

Allan Kingdom is a Canadian rapper based out of St. Paul, Minnesota, who you may know for his work as part of Thestand4rd with Spooky Black, Bobby Raps, and Psyum, or for his feature on the Kanye West single “All Day”. While the Twin Cities have been known for a while for their indie rap scene, Allan represents the indie indie rap scene of Minnesota, not quite achieving the level of notice and acclaim as groups like Atmosphere and Brother Ali. This album, though, should be the first step in Kingdom receiving that level of attention, as it’s a smart, sharply put together collection of songs exploring love and lies, while expertly capturing a sonic representation of the winter up north. Kingdom is both a successful singer and rapper, effortlessly moving from one to the other. The song “Interruption” is possibly the only track that features almost no singing, and it comes across as an incredibly intimate and honest foray into the real Allan Kingdom, as he gives us scenes from his life, including countless journeys across buses to spend time with a lover. He raps

“I’m vulnerable vulnerable,

so laugh it up laugh it up,

the son of some immigrants ‘bout to sun ‘em like Africa,

you made me some dinner,

I said my debit was actin’ up,

my wallet got lost but we both knew that I ain’t had enough”

His lyrics play around punchy and puny one liners, captivating stories, and a more reserved and cautious version of the braggadocio rap that is all too common place nowadays. The hardest hitting and fiercest songs on the album, “Northern Lights” and “Go Fish” are all about love and relationships, documenting his struggle to communicate his attraction towards and maintain the attentions of those he sees being himself with. Kingdom is able to take the mundane or clichéd aspects of life and culture and transform it into something larger and more complex.

The production across the album is glossy and electronic, adding a brightness to even the darkest of the songs, but it never feels so bright or cheery that it becomes saccharine. Each song deepens our understanding of the person behind the mic, and he has curated his features wisely, allowing each guest singer or rapper to feel perfectly at home in the song they are brought in on. What at first may seem like a foolishly simple album is instead, I think, incredibly earnest; Kingdom is comfortable telling you the truth of how he feels, the struggles of his romantic entanglements, and he’s unashamed to put himself out there on this record, flaws and all. This level of honesty is charming and enticing, and rewards multiple listens. You can pick up this record from his website, allan-kingdom.com, as well as find it on Itunes and other digital music marketplaces.

Number 1: Nocturnal Masquerade – Toothgrinder

Toothgrinder are a New Jersey based metal outfit, and Nocturnal Masquerade is their first full length release, and with it they have firmly cemented themselves as a band to doggedly watch over the coming years. This record is simply, purely brutal, in a way that I’ve rarely rarely seen be so accessible and engrossing. Lead singer Justin Matthews’ ability to growl, scream, and sing, each with equal precision and mastery, on every single song creates the perfect album for those whose interest in metal is limited by your tolerance for harsh vocals. This is not to say the album isn’t heavy; the vast majority of most songs feature harsh shouted vocals, but Matthews lends them a melodic quality that soothes simultaneously as it pummels.

This is also to say nothing of the instrumentation, which utilizes nasty, pummeling drums and urgent guitar and bass riffs that compliment the aggressively musical melodies and harmonies in back. Where other metal bands revel in making their entire sonic palate a fuzzy, discordant, atonal mess of sludge, Toothgrinder cut through that notion with a surgical precision, bringing just enough fuzz and wallop to pack a punch, but never pushing so hard as to lose focus on the trajectory of the songs and the melodies that lie in their center. These songs are incredibly layered; not in the sense that they feature dozens and dozens of different instruments and different musical motifs or lines, but rather that they are similar to a painstakingly plotted novel: each component of the song has a specific purpose and has been matched with the parts around it, creating sub harmonies and sub-rhythms that only reveal themselves after repeated listens.

There are no simple tracks here, but it never feels overwhelming; each song readily provides a through line to follow and grab onto for your first listen, then trusts you to explore around the room each time afterwards until you realize just how much work must have gone into every single one of these songs. With the exception of the fourth song “I Lie In Rain” (which, admittedly, is still pretty heavy and has a strong pace to it, especially in its second half), this album does not stop or slow down ever. It is 42 minutes of constant brutal propulsion that does not let up, but simply changes forms and pushes you from a different angle. Normally I would find something so relentless exhausting or repetitive, but instead, the album makes me just want to go jogging the whole time, constantly feeding me energy and new ideas to keep me going.

“Diamonds for Gold”, which features vocals from Periphery singer Spencer Sotelo, showcases more stripped and bare guitar lines during its verses, removing the fuzz and punch that then comes full force during its chourses; this kind of willingness to mix and interplay with different tonal qualities and instrumentation even within single songs helps keep the album surprising and engaging for every second. My favorite track, “Blue”, is a clear love letter to Meshuggah, but still feels entirely at home within the album, and, more importantly, like a Toothgrinder song. The beat drops on this track are gut wrenching and demand a headbang from even the most staunchly non-metal listeners. “It ain’t nothing but a goddamn monster, harboring, dance a little closer, it ain’t nothing but a goddamn monster, I want to hold your breath right now” Williams screams in the song’s bridge, and he’s right: this album is a goddamn monster, and it makes me catch my breath every time I hear it.

The most moving and almost shocking musical moment on this album is the two song pair “Dejection/Despondency” into “Schizophrenic Jubilee”. “Dejection/Despondency” opens with a sharp guitar line that sounds like an alarm piercing out into the night, and as the song builds up around this sound and shifts, it morphs into something different, allowing for a killer guitar solo which leads into a percussive drop that seamlessly transfers us into “Schizophrenic Jubilee” which picks up the pace as if the two songs were really just one all along, carrying on the momentum and melody for a few seconds before transforming it again. The two songs together are a seven minute powerhouse of precision, technical ability, and pure energy, leaping through a dozen different melodic and sonic ideas while still all showing a direct relation to the starting seconds of ‘Dejection/Despondency.” The compositional work on this album is practically flawless, and I have returned to the album as a whole over and over again since its release in January. It still feels as powerful, fresh, and exciting as when I first heard it, and I don’t expect it to tire out soon. You can find this album on Spinefarm.

Thank you all for listening to this first episode! I hope you found something new you hadn’t heard of before that you might give a listen to. You can find me on Twitter, Tumblr, and Gmail, all at thestempodcast. I plan on having a new episode up within the next month, which will likely be a shorter, more typical review of a single album. If you have any comments, angry, happy, or otherwise, feel free to send those along. The theme music for the show was “Cash Rules” by Ari de Niro, which is available from Needle Drop Co. Happy New Year everyone, and I’ll be back soon. Until then, you’ve been listening to The Stem.

[stopreadingthisanddance]

2018 top eps

Let’s just skip over what happened to the 2017 list okay? First up is EPs, in no particular order, with some honourable mentions because i’m in decisive. I hope you at least listen to the standout track of each project, almost all of these EPs are approachable, so don’t be scared. 

top 5:

eli & fur - night blooming jasmine  

stand out - night blooming jasmine 

UK hailing electronic music duo Eli & Fur specialize in soul felt, dreamy deep house music with low key vocals often layered perfectly on top. While I'm not sure they will ever top their 2013 EP Illusions for me, this comes very close. The title track kicks this 5 track EP off with some brilliant synth leads, mixed with perfection into a sultry, dance-y bass line, and lyrics that paint a scene you can feel. While both Something Was Real and Honest keep a similar low key feel, all with groove-able kicks, that get you moving, but not quite up off your feet, Parfume kicks it up with some nice building bass lines,  and some heavier kicks towards the later half of the track. This whole project is great at 7pm, and even better at 2am.  

dj koze - pick up

stand out - pick up (extended mix)

While he doesn't have much of a prestige world wide, DJ Koze is an steadfast contributor to the German music scene for a few decades now. This 3 track EP is by far his most recognizable work, and it's easy to see why. While it definitely has hints of lo-fi house, a pet obsession of mine, it's so undeniably groovy that it's much more approachable. Brilliantly produced, with delicious little peaks and valleys built into the layered synths and vocals, the extended mix of Pick Up doesn't wear out it's welcome even at 10 minutes. No bangers here, but those willing to settle in for a longer house track will not be disappointed with this EP.

good kid - good kid

stand out - tell me you know

This is probably the most easily digested project I'll be writing about this year, it also contains one of my most listened to, and definitely one of my most sung songs of the year. From the moment this album starts til it ends, it feels like a little time hole into the hyper-energetic-but-still-sad pop-punk that dominated music charts in the early 2000s. The self-titled project from this Toronto based band features all of what you'd expect, catchy rifts, brilliant change ups, structured tracks, and lyrics you can't help but sing along to. While I can accept that some of this might have to do with the hit of nostalgia that a record like this elicits for me, the vocal range, lyrical content and danceability of this entire project is so hard to deny. It's like your favorite bag of chips, exactly what you expect, and still desirable at all hours of the day. 

soleima - bulldog

stand out - low life

Danish pop goddess Soleima delivers yet again, with her distinctive voice, lyrics that resonate, and deliciously adventurous poppy production. I have to stress this pretty heavily, her voice is really odd, it's a mix of her accent and vocal range, but it takes a while to get used to, that along with her taste for more experimental song structure and production choices, despite being 100% pop music, this might be a bit harder to get into than you'd expect. If this was the kind of music that played on the radio, I might be able to stomach them only having a playlist of about 15 songs on all day. 

j'von & lido - spacesuit

stand out - highly overdue

Let's get this out of the way before we get into it, conscious hip-hop always comes across at least a little pretentious. That being said, J'von has some connectable bars, and while he doesn't entirely avoid the slightly-off-flow feeling that I often get from this kind of music, there are some really solid bars on this project, both from a flow and "when he said that i FELT it" perspective. Lido delivers, as he always does, with stunning production. While lots of these beats are what you would expect from tracks like this, there are touches of jersey club, jazz, house, and lots of other genres all over. The intro rift in Sneakerhead sounds straight out of an early 2000s alt-rock song, and of course, his piano work is as gorgeous as ever. On top of that he provides vocals on some of the tracks, from hooks, to the soulful Time & Space. An overabundance of feelings and brilliant execution carry this album, even if each track can sometimes lack identity. 

honourable mentions:

mija - how to measure the distance between lovers

stand out - notice me

I love Mija, from her message, to her style, to the amazingly varied mixes she makes. She manages to walk the fine line between crippling-depression-inducing tracks, and still I-wanna-dance-to-this for this entire EP. Probably her most experimental project yet, it feels emotionally raw, and the perfect soundtrack to sleepless nights. Notice Me features some moving lyrics and brilliant production decisions I just had to include it. 

childish gambino - summer pack

stand out - feels like summer

Childish Gambino has a habit of reinventing himself musically every project. While I loved Because The Internet and Kauai, I respected but never really got Awaken, My Love! the same way a lot of people did. This project however, I love, from the steady beats, to the busy leads, and the gorgeous singing Childish provides, if his next full length looks like this expect it in my top of 2019 list. 

diplo - california

stand out - suicidal

It's really hard to deny how fucking talented Diplo is at spotting trends and developing talent, layer on top of that his really impressive producer chops, it's easy to see how this is one of the most diverse, and yet digestible project this year. Suicidal proves that Desiigner has a place in music in 2018, he just needs some direction.The brilliant layering of sonic elements comes to a head on this track and yet it doesn't require the listener to work for it. Full of big name features, Diplo once again proves that the future of pop music might be a guess for the rest of us, but he knows exactly where it's headed. 

lane 8 - bluebird/duchess

stand out - bluebird

California native Lane 8 proves once again that he is the master of making you feel a sound. The piano lead, the build up, the bass line, he knows exactly how to structure a track to make you shiver. I'm in awe of his ability to make a beautiful, ear worm track. And remember, this never happened.

iglooghost - clear tamei

stand out - clear tamei

UK based producer iglooghost came through with two great projects, clear tamei and black mogu, but the former came out on top for me. Filled with some brilliant experimentation, riddled with orchestral influences, cut with the acid trip of trap and UK hardcore, this is probably the least approachable project on this list, but if you get it, it's hard to deny it's brilliance.

you made it to the end ♥, don’t forget to dance.

[vskpop]

August 2017 ⋅ Enerzetic

Gashina - Sunmi

It’s true across most big companies that we will never get to see what their artists actually want to do until they either have enough power to make their own decisions, or they leave the company entirely. While Yeeun has always been the clear breakout act within Wonder Girls, and the only one with some space to do her thing, I have been waiting for Sunmi to have a decent solo career ever since 24 Hours.

Sunmi had a bunch of writing and composing credits in the last two Wonder Girls album, so it’s not a surprise that she knew exactly what she wanted to do and how to do it as soon as she moved away from JYP. If Gashina is anything to go by, full creative control for Sunmi is everything I didn’t know I wanted. It’s catchy and sexy, which we knew she could pull off, but also incredibly weird and out of the box. I can’t wait to see what she does next.

Following - Hyuna

Last year, Hyuna’s comeback was an exaggeration of all her defining elements, and not in a good way. It came out in the first moments of a very very bad phase for Cube Entertainment, a phase they haven’t left behind yet. After the excellent Triple H project, it’s nice to see Hyuna build on her past work rather than staying exactly where she was thematically and musically.

While the central idea of title song Babe is kind of weird - she feels younger and younger because of her love interest, to the point that she feels like a baby - I like that for once Hyuna didn’t have to put  all her effort into being sexy, and looks happy and carefree in the music video and in the live performances.

Babe has catchy parts, but doesn’t shy away from its weirder, more meandering parts. It’s definitely a dance song, but there is more to it: even if the song is about feeling younger, Hyuna is growing up as an artist and can do more than straightforward party tracks.

While A’wesome sounded like a collection of random leftovers from other projects, Following sounds like a cohesive piece of work that shows all different aspects of Hyuna, now a grown-up with control over her releases; after years of collaborating on her songs’ lyrics, she has composition credits as well this time.

Party and Purple mix the party atmosphere of older Hyuna classics with the voices of Cube’s newest acquisitions, Pentagon’s Wooseok and E’Dawn. Dart and Mirror might be trendier, but they are the real gem of this album: both songs are performed by Hyuna in her actual singing voice rather than her high-pitched tough lady voice.

It’s really special that Hyuna and Sunmi are promoting at the same time: the two Wonder Girls alumnae (even though Hyuna’s experience as a WG was quite short) show that there is a life on the other side of a girl group, and that women idols can find their own voice in an industry that doesn’t particularly want them to.

  White Night - Taeyang

There is a fringe of k-pop fans that is absolutely obsessed with establishing scientifically that their favourite is the best singer in terms of technique. I have never seen this kind of morbid obsession in Western pop music, but it does make me laugh to see people spending so much energy on letting everyone know that Taeyang is a bad singer.

Bad technique or not, I think Taeyang is one of the most charismatic, emotional singers in k-pop. This comeback is quintessential Taeyang for me: both Darling and Wake Me Up are sweeping, emotional songs that sucker punch the listener with the insane expressiveness of Taeyang’s voice.

I think this is the first time that instead of pairing a dance song and a ballad, Taeyang chose to go with two slower songs. I’m not huge on very samey comebacks, but the pairing of Wake Me Up and Darling really allowed him to show all of his strengths, and probably to save all his choreo energy for the huge tour he’s embarking on.

It’s also interesting to consider that both Taeyang and G-Dragon, who are celebrated for their danceable or more hard-hitting songs, went with ballads for their comeback. It’s obvious that G-Dragon’s circumstances were forced (and that his original plan was different), but I like seeing that they have reached a point in their career where they can do something that feels close to their heart rather than something that is easier to sell.

I think it will be hard for Taeyang (or anyone) to ever put out an album that’s better than Rise, but White Night is as good as I expected to be. The only song that’s an obvious dance single is Naked, which would have never ever been picked because it would have never been aired on Korean TV with the lyric “I want you naked”. As usual, his intros should be whole songs and he knows it - so much that this time he made a music video for the intro to White Night this time around.  

Since this might be Taeyang’s last comeback before his enlistment (although I secretly think and hope we will get one more GD x Taeyang), I was terrified of how it would turn  out, and I was honestly just relieved that he managed to go through an entire album without any gross cultural appropriation. Even though I still don’t want him to go on a two-year hiatus, I think I can be happy (and by happy I mean rolling in my own tears listening to White Night) with how he closed this chapter in his career.

Our Twenty For - Winner

It will take me some time to get used to Winner having regular comebacks instead of disappearing for 18 months at a time. I’m glad to see that their new four-member incarnation is finding success shedding their mid-tempo image and throwing themselves into the latest trends.

Winner used the obvious title song (the one that sounded like Really Really) as the b-side of their comeback. Island has the staples of every other tropical track, but is made a bit less predictable by avoiding the drop and going with a chorus that’s a bit less formulaic than Really Really’s. I have to admit that it’s my favourite song between the two; the video is so gorgeous and romantic, and the song is the perfect halfway point between hype and chill.

The actual song that was promoted, Love Me Love Me continues the tradition of Winner singles with a repeated title (after Really Really and Baby Baby) but switches things up again in terms of sound. When everyone else is stuck in a labyrinth of EDM trends, they looked in a different direction and put out a disco-inspired song. It’s similar enough to Really Really in structure, but it’s a signal that new Winner is ready to experiment and maybe is not so set on a new identity yet.

If there’s something that I appreciate about Winner, it’s that their lyrics aren’t made up of the same three sentences of the average love song; they actually express feelings that people in their twenties would have, like the apparently very controversial line “I want to mix it up with you on the sofa”. They are corny enough to sell, but not so much that thinking about what they’re actually saying makes me cringe.

Winner have always focused on ballads; it’s interesting to see how they still clung onto a slower song in their first new-formation comeback, but they’ve entirely let go of it this time.

In a way, we are still looking what ‘color’ suits us best. ... I’d say right now, we are in round four (of 12 rounds in boxing).”  - 04/08/2017

For me, none of their songs has reached the levels of EXIT: E, but I appreciate seeing that they aren’t afraid to branch out and that YG is letting them.

Bonus: Island and Love Me Love Me acoustic version

1X1=1 (To Be One) - Wanna One

I am positive that the eleven weeks I spent sweating and crying over Produce 101 will be the last time I follow a Korean survival show (until the YG ones come around, that is). I was bound to be attached to Wanna One even after my favourite Samuel didn’t make it through just for the sheer amount of time I spent watching the show and following the drama and controversies around it.

The rumours that Produce 101 was rigged are unsurprising and, to be fair to Mnet, I do think that the final 11 members really create a fantastic team . After countless hours of performances and variety shows (you might sense that I’m a bit obsessed) I think they are one of the most well-balanced groups I’ve ever seen in terms of actual talent and personas/personalities.

While at this point I have my doubts that debut track Energetic was actually picked by the public and not by the managers of Wanna One, I think it’s the perfect debut song for them.

There is nothing crazily original in this song, but it capitalizes on all the best parts of Wanna One: charismatic dancers, top-notch vocalists, expressive rappers. It was clearly written knowing that capable people would perform it (if not exactly who would perform it), and that their parts didn’t need to be easy or muddled to cover their lack of skills. Mnet also managed to pull through and get a track written by Hui of Pentagon, who was behind the most successful Produce 101 original track, Never, pretty much guaranteeing the success of Energetic.

I am very impressed that Mnet managed to put together a video balancing a more cheerful, colourful vision of Wanna One with the edgier, blue-and-pink neon trend that has swept up “aggressive” k-pop groups. It really shows each member in their best light, and how the group will be able to switch genres and styles without looking out of place.

Seeing the music video for their second possible debut song Burn It Up makes it clear that there wasn’t a chance in hell that it would be the title track. Terrible editing and post-production aside, Burn It Up is a perfectly good song, albeit on the more banger-y side of k-pop trends, a style that Produce 101 never seemed to be particularly inclined towards.

I still really like the rapped pre-pre-chorus, and the distortion in the chorus felt like an interesting way to switch up the k-pop chorus formula that has been everywhere in the past couple of years (screamed title of the song + dance break).

Apart from the fact that it’s a bit conventional, Burn It Up would have really penalized the vocalists in Wanna One since it’s almost entirely rap or rap-singing, so I’m even happier that they went with Energetic.

The more I listened to it, the more I realised that there was another group that disappointed me lately and would have suited this song: it’s perfect for iKON, and I do hope that after their recent debacle they take a page from the Wanna One book and go for something similar to Burn It Up.

Wanna One have a sea of advantages over IOI, starting from the fact that they are men, so they aren’t expected to adhere to a cute, innocent concept. They are also benefitting from all the experience that Mnet and YMC gained from IOI’s failures and successes. Their debut is a million times better than the terrible Dream Girls, so I want to believe that all the other problems IOI had will be avoided this time around. I am really looking forward to the next 18 months with Wanna One.

Holiday Night - SNSD (Girls’ Generation)

In a year of underwhelming comebacks for SM artists, SNSD just reached a whole new level of disappointment for me: I’m furious that this half-assed comeback was their tenth anniversary. They have been working incessantly for ten years and this is what they got.

Considering their team must have been preparing this comeback at least since the end of the You Think/Lion Heart promotions in 2015, it’s quite shocking to see how uninventive and cheaply made their new round of “promotions” (more on that later) was.

I think most people agree that Party was a terrible song, so I can’t imagine why SNSD would double down on it with Holiday. The song is a decent b-side at best, and the styling is atrociously childish for a group of adult women; if Taeyeon hated Gee, I can’t imagine how she felt about this. I can hardly get past Hyoyeon’s rap, which is literally “You know I’m hot, hot, hot, hot”; SM could have at least gotten someone to write her decent lyrics.

All Night is a fun song, and with a much more current sound than Holiday. It does a good job mixing the bouncy atmosphere you’d want for a celebration and a sound that matches a group of women in their late twenties.

The video feels a bit strange - as if they had had to cut out some elements that were key to the narration and we were only seeing the leftovers. If I had to put my money on something, it would be that they had to cut out 90% of the footage with drag queens.

There is everything to hate about this comeback, still - the videos have clearly been shot on the cheap, and some of the costumes are just horrendous. Seeing this comeback in the context of the larger situation with SNSD, however, makes the subpar quality of Holiday Night one of the least important problems that the group and fans should have.

I don’t think I’m exaggerating when I say that SM is using organized-crime-level intimidation tactics to make the members renew their contracts: cutting their promotions short, refusing to reprint the album, sending them to schedules with no security, throwing out random contradicting news for media play…

I’ve read as much as possible about the situation (as much as a non-Sone can) and I honestly can’t imagine how being treated like this would make anyone reconsider the choice of leaving SM. I really wish the best to each of them, especially after they’ve worked so hard for ten years for a company that showed yet again that doesn’t give a shit about them.

Free’sm - CLC

The first thing I thought of when the Seonho teaser for CLC’s comeback was dropped was Reality from La Boum (the French film, not the Korean girl group).

Where Are You? is yet another sharp turn for CLC, coming from a “fierce” concept in their previous comeback with Hobgoblin. I wasn’t persuaded by the song straight away, but I ended up falling in love with the 80’s inspired sound and the strange, dreamlike, artsy music video.

I wasn’t so in love with the styling of the performance, which saw the still pretty young members wear outfits I wouldn’t wish to the last surviving second-generation girl group.

Free’sm sounds like a strange mix of bits that they had leftover from previous comebacks and from what they had in mind for them. There’s one tropical song, one hard hitting song, one cute song (that they ended up promoting), et cetera.

Lack of success has pretty much made CLC a directionless group since day one, but this comeback, especially with the promoted song switch in the middle of the promotion - from Where Are You? to cutesy Summer Kiss - really highlights how Cube Entertainment have literally no idea of what they should do with them.

I understand why they would want to try different things and see what sticks, but I don’t think that the constant flip-flopping between concepts will help them cement a fan base. Free’sm has sold about 1500 copies as I write, a pretty severe dip from the 4000-5000 of their previous albums - still an unsatisfactory number for Cube, but not as abysmal as what they did now.

After listening to the album over and over, I still wish that Cube had pushed through with the “tough” concept and had picked Call My Name or I Like It as the title track. Call My Name is trendy enough to be popular, and fierce enough to escape the cuteness. I would have picked I Like It as one of my favourite songs of the year if it wasn’t for the obnoxious chorus; Seunghee’s pre-chorus is just about perfect and I hope to see it live at some point.

With Pentagon hitting it big and Hui becoming a household name as a producer, as well as trainees Guanlin and Seonho making a splash on Produce 101, I can’t imagine that things will look up for CLC if they don’t turn their career around by mid-2018.

Sixteen - Samuel

It’s shocking to think that Samuel is at his nth debut and he’s only fifteen. He was supposed to debut in Seventeen (which is how I ended up following him), he was in the terrible 1Punch, he was on Produce 101 and narrowly missed being in the final group, and now he’s debuting again as a solo artist.

Despite how much I love him, I don’t think this was a very good idea. While it’s obvious that he’s talented and has been working hard for years, he’s still not the most well-rounded performer - which makes sense, since he has literally just turned 15.

The album is sort of neither here nor there for me; a lot of it felt really dated and I’m not sure if the autotune was meant to be a feature or just be covering up for Samuel’s vocal shortcomings. I didn’t mind the song with Chungha, but it’s still not something I would listen to again.

Being onstage by himself underlines Samuel’s limitations and I think he would give his best in a group, even just to share the pressure he seemed to be putting on himself during Produce 101. I hope that Brave manages to build a group around him in the coming months/years, because I can’t imagine this being sustainable for him.

Ever - Jeong Sewoon

I felt bad giving space to Samuel and not dedicating a single word to another of my very favourite Produce 101 contestants, Sewoon. Differently from Samuel, he always looked out of place in Produce 101, and like he didn’t really want to be there or be a idol.

I highly doubted Starship would be able to put together a group for him, but I was glad to see that at least for now he is getting a solo debut. The single Just U and the rest of the album exquisitely blend pop/trendy sounds and the more singer-songwriter identity that is Sewoon’s signature.

Ice Chu - Gugudan Ogu Ogu

While I was bound to watch everything this sub-unit would put out because of my eternal loyalty to Kang Mina, I wasn’t so sure I was going to like their debut concept. I don’t know if I would say I was “pleasantly” surprised, but the horrifying tortures they inflict on the ice-cream people in the video for Ice Chu really gave an edge to what I would struggle to define as a cute concept, at this point.

The hammering rhythm, the tiny voices, the cute-but-freaky concept really reminded me of the later songs of Orange Caramel (it’s more Catallena than Magic Girl). It was watered down just enough to be appropriate for Mina and Hyeyeon, who have just turned 18, but it’s all there. I love it.

MORE SONGS OF NOTE

Don’t Speak - Ali ft. Cheetah 

I’m OK - Cosmic Girl 

What Can I Do - DAY6 

Kiss Me - DIA 

Dumb Dumb (originally by Red Velvet) - Jang Jane, Giantpink, PERC%NT 

The Real - N.Flying

To Do List - Pentagon Kino and Hongseok

~42 - Primary ft. SAM KIM, eSNa

Love City - 9muses

STRAYS

Some more VCRs from Seventeen, always being totally perfect:

AKMU can make everything good/better:

WJSN covering BTS I Need You is EVERYTHING:

Queen Lee Hi sang 2ne1’s Come Back Home on JYP Party People:

Winner cover Wonder Girls’ Nobody on JYP Party People, what a time to be alive.

[ibythetidepromotions]

Album review: “Home” by Gigantes

Gigantes (pronounced jai-gan-tis) is a metalcore outfit from Chico, California. They’ve just recently announced their partnership with PinUp Artist Management; congratulations to them. Making up the line up is Ignacio Ysern on main vocals, Walker Trotchie handling both clean vocals and guitar, Matt Stein on guitar, Jordon Morch on bass while also handling a few back up vocals on the EP, and Trevor “Bam Bam” Richardson on drums (Every Hand Betrayed, ex-Lifeforms). This EP was mixed and mastered by the guys at Fang Studios in San Mateo, CA. I’ll be breaking down my opinion of each song, the placement of each song on the record, and my overall opinion of the EP. Let’s get into it...

1. Fractures: Very nice, fun, energetic start to the record. The band decides not to waste time getting into the swing of things; a song I envision they like to start their live sets with. The main groove of the verse has a very catchy feel to it while leaving behind the cheesiness that some “catchy” metalcore grooves and riffs tend to have with them. The synths behind the riff are some what questionable, given that these days synths have a negative connotation behind them. However, looking at the album artwork for the record while listening to the opening section gives off this hypnotic feel to it, convincing the listener it makes sense being there. Once the chorus hits, Walker puts his pipes on display with a quite catchy chorus. It has a very big stage feel to it, telling me already that the band is gonna go far. The main verses are very encouraging of circle pits and I dig that a lot. There’s a big build up towards the end of the song that leads me to believe that I’m gonna get a big, chuggy breakdown at the end, but instead I got a groove/riff oriented breakdown where the drums are nice and simple, and the grooves and riffs spice things up by being pretty sporadic and I was quite refreshed by it. Felt like an IPA I thought was gonna go down rough, but went down just right while quenching my thirst. A nice taste of what’s to come for the rest of the record; leads me to believe I can have a great time with the guys going out for drinks, which gives them a sense of identity you can feel through the first song, not something very many artists can pull off.

2. Young: Once this song kicks in, you can already see the big, bright lights of the big stage with these guys on it. Super catchy in almost every regard of the word on almost every second of the song. Ignacio and Jordon did a great job here making sure their vocals corresponded with the vision of the song, not going too overboard with their vocals, making everything sit perfectly in the mix. The leads in this song mixes with the grooves of the percussion section so well, such a smart move to make. Walker is a true songbird of our generation in this banger. Everything from the pre-chorus, the chorus, the “raise the lighter” soft build of the big emotional moment right in the middle, he does everything quite perfectly I must say. He sounds like the bear from The Bunny The Bear, but good. Really, really good. The drums also provide a really big reason that the chorus has a big, emotional feel to it. Simplicity is really the key here. The soft build had me singing the words the very first time I heard it. The only drawback here in the song is actually the heaviest, most buck wild part of the song, just after the soft build. Solid section, really cool execution too, I bet it causes a pretty hefty crowd response, but I think that’s all it has to offer the song. It’s there for the sake of heaviness and crowd response, but doesn’t add to the feel and vision that the rest of the song provided. Not a smooth transition in, and not a smooth transition out of it either. But it brings it back to another chorus, which is cool. Great song, one I would pick as a first single music video.

3. Sailing Stone: The “ballad” of the EP. Ignacio takes a bit of a back seat here as this is a song that was meant for Walker to really shine here, as it is the least heavy, most commercial song on the record. The leads are very catchy, I can envision girls in the crowd, leaning against their boyfriends, being held tenderly as they watch the band play this song. There’s a very emotionally fueled section where Ignacio and Walker really compliment each other, where Walker is singing the main lyrics of the passage while Ignacio does vocals over it and he, right there, made it very easy to feel the emotion of the song through his voice. Very powerful, the ending was really great and emotionally powerful, yet really serene and smooth, showing how smart and emotionally driven the songwriting for this song was. Great decision to have this song smack dab in the middle of the EP, where it is held as one of the 3 most important songs of the record. It could have very well been the final song, but I think the band has big plans for this song, so it was smart to put it here.

4. A Certain Fountain (Short Drink): Enough of the pussy shit, right? Let’s get back to having fun back at the bar again! The opening is very Bring Me the Horizon, Sempiternal inspired (as you could have told by the album artwork). They all brought an attitude of, “Let’s lay it all out there” on this song, which I respect a lot. Every section where you can envision it being very simple, has an added element from each instrument that makes it not simple, while still being easy to digest. I especially like the little two step groove section where they slow it down every bar, to take it from the nice professional feel of BMTH, to a real Every Time I Die, Southern Fried, gritty goodness about it. I even like that on this song, Walker is his weakest on the record (not saying he’s weak, he did just shine like a star for 3 songs, so cut him some slack). It was even more intelligent overall to have this song follow “Sailing Stone” to bring it back to the high energy that the first two songs provided, and then take it even higher. Very fun song, geared towards the 21+ crowd, while still being cool enough for the kids.

5. Take Me Home: As the cliche goes, it’s last call, and we gotta go home. The boys take us home (lol) on this one, bringing us to that moment in the night where we reminisce after a wild nighht over a cold one as the sun slowly crawls up over the horizon. Really nice, soft start to the song, and I like that they kept to the emotional aspect of the song in the first verse when the song kicks in before we take a trip back down the real high energy part of memory lane. Each transition between sections of the song is very smooth, and the chorus brings us back to when our jaws hit the floor hearing Walker’s singing voice for the first time. The verses are very groovy, the bass thumps like a mother fucker in them. Jordon on bass was that guy that was there the entire time with the group even though you didn’t really notice him until the very end of the night when you’re having a cigarette sobering up.

The vocals from Ignacio before the breakdown sounded like Silent Planet meets The Devil Wears Prada,  but also sounded like they hurt. It was a gutsy move on Eggo’s part, but I think working on his highs a little more before hitting them on a record again will do him great service in the long run. The breakdown was cool, but it went from good to great when they added the ambient leads and the drum fills. The transition from the breakdown to the last chorus will make your hands clap. Then the chorus will make you sing. Then the bridge will have your hands raised and clap again. The very last seconds of the song were cool, but it didn’t have as big of an impact I felt it should have had. But it did go with the natural flow and vision of the song, so there’s more positive than negative about it.

Overall thoughts: I had a really great time with this EP. It had me listening to it over and over again just because I wanted to, not just for the sake of the review. The presentation of the artwork is great and it mixes in with the theme of the EP, so there’s a star right there. The production was great, everything felt big and important, so there’s another star. The order of the songs presented a nice journey to the listener that can sometimes be overlooked by the smaller bands who are just trying to get their name out there. Each song had a purpose for being right where they were placed, and revealed the identities of the members of the band in their own special way, which to me, is the difference between people who just wanna play in a band, and people who are trying to hit the big stages and earn their spots in the industry. Star and a half right there. The songs themselves were dope, very catchy, very intelligently written, really served towards the strengths of each individual member, the vision of the record, & the overall purpose of the band’s existence. Star. Side note, I’ve seen “Bam Bam” on drums before live with Every Hand Betrayed, and listening and paying attention to his performance on this record shows me that he is super smart, business oriented and highly skilled at his craft more in what he didn’t do and his restraint in being flashy, extra big plus from me.  There are just a few things to work on, the vocals from Ignacio sound a little bit hollow and airy at times, Walker’s cleans sometimes are a little too high up for my personal taste, and that one heavy part in “Young” served against the song rather than for it. But other than that, they’ve got nowhere to go but up, and I’ve got no doubt that since they’re under PinUp Artist Management now shortly following the release of this EP, they’re gonna grow until eventually you’ll see the boys hit a big summer festival stage, this EP is the proof. Highly recommend downloading this EP for personal use.

Grade: A-

Personal Favorite: Young

FFO: Bring Me The Horizon, Memphis May Fire, For The Fallen Dreams, dash of Every Time I Die  

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HOME by Gigantes

Reviewer: Alfredo Hernandez