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hanniiesuckle17 · 4 years ago

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Little Stars

A/n: THANK YOU GUYS SO MUCH FOR 1.5K!!! THISMEANS SO MUCH TO ME SO HERES A LITTLE IMAGINES I WROTE OFF THE TOP OF MY HEAD THAN K YUO GUYS AGain

(this is way longer than I thought it would be! also not edited lol sorry)

Word Count: 3.4k

Warnings: maybe like one or two curse words, sexual tension??

Summary: Y/n is an up and coming artist. The problem is her collection deadline is one past up and coming. Lacking motivation since the job was assigned she is stuck the day before her deadline with no paintings or photos and thoroughly depressed. That is until shes see inspiration outside her window. Inspiration by the name of Lee Felix.

Genre: Fluff, strangers to ‘lovers’,

✧

Empty. My brain was empty. I had two months. Two months to come up with a small exhibit for a local gallery I was signed to. Two months. For five paintings. Or photos. Or both. TOO MANY DECISIONS. Decisions...granted I should have made...two months ago.

I sat near the biggest window in my apartment. Sunlight streamed through the glass, casting a natural glow on the stark white canvas. I just needed a theme. A subject. I know! I could do a five-part exhibition on tea kettles!

“Oh for pete’s sake, I’m going crazy,” I said head in my hands.

I can’t paint teapots. Flowers are overdone. What the hell am I supposed to paint? This exhibition was a huge deal. I had nothing and my deadline was tomorrow night.

That’s it. I’m done. My short career is finished. I should just throw away all my paints and pencils and chalk and coal and trash all the canvases that littered my apartment. I glanced at my phone which sat a few feet away from me on a small wooden table littered with tubes of paint and jars filled with brushes and blades covered in paint.

An hour had passed and I still had yet to touch my brush to the canvas. Groaning, I rested my forehead against the linen canvas. “Come on, Y/n. Search your artsy soul for inspiration.” I took a deep breath and closed my eyes. I tried to imagine the canvas being filled by something beautiful. Something worthy of love and legacy. Something that could burn a hole in my life and set it on fire. Something to ignite my passion again.

When I opened them, of course, the canvas was still empty and my brain was too.

With the thousandth aggravated sigh of the hour, I sat up and looked out the huge window near me. My eyes caught on a flash of blonde hair. Down on the street, a boy with light hair and bright eyes was bouncing along with two other boys. They were joking around and laughing, as people who’s entire job wasn’t on the line would do. For some reason, I couldn’t take my eyes off of him.

All of a sudden I could see the brush strokes of his hair on my canvas. The delicate lines of his eyes. I needed to paint him.

I launched myself out of the chair and rushed to the door. My feet took the stairs two at a time and I jumped the last three before sprinting out onto the street. My head turned in all directions trying to find the boy I saw from my window. Once again, I found his blonde mop bouncing and laughing down the street, away from my apartment.

“Hey!” I called out, running to catch up.

Good grief boys walk fast. “Hey! You! With the blonde hair!” At my words, the three boys turned around, astonished someone was running at them. After a few words, the boys started running away. “No! Wait! I need to talk to the Blonde Guy!” I yelled out of breath. Desperate, I ran after them. Thankfully they turned down an alley only a few feet away that I knew was a dead end.

I put my hands on my knees catching my breath. The three boys stared at me a little fearful. “Look, I just need to talk to Goldilocks. I saw him from my window and there was just something about you. It inspired me.”

“Well... yeah. We’re kind of famous. We get that a lot.” The boy with doe-like eyes and dark, almost black hair said like it was obvious. The boy with blonde hair elbowed him in the stomach making the other laugh.

“You’re famous?” I asked, finally standing upright. They looked between each other surprised.

“You don’t know who we are?” The youngest looking asked. He reminded me of a fox I painted once. “Sorry. We thought you were a crazy fan.” To be honest I hadn’t really been keeping up with the news or popular things lately. I had been holed up in my apartment trying to paint. “We’re from a group called Stray Kids. I’m Jeongin. The rude guy is Jisung, and that’s Felix.”

My eye immediately darted to the boy now known to me as Felix. “Felix...” I said looking him over. He was even more entrancing up close. He had soft sun spots dancing across his cheeks and nose that brightened up his face. Freckles. How cute. How different.

“Yeah...what’s your name?”

“Uh- I’m Y/n, Y/n L/n.”

Jeongin’s eyes widened. “Hyung! Isn’t she that painter that Hyunijn likes? He dragged us to that gallery last year to see her stuff.” Jisung nodded and looked from me back to Felix. “Our friend loves your stuff. He made us take a bunch of pictures of him in front of it.”

“Oh, that’s awesome.” I couldn’t take my eyes off Felix, and he noticed.

“Do you think we could like buy a painting off you? That would shut him up for like a solid six months.” Jisung said pulling out his wallet. “How much are we talking?”

“For something I have with me? Not in a gallery? Probably like....Fifteen.” I said, still quite distracted. My imagination was spiraling out of control with how I wanted to paint the boy in front of me. How I wanted to capture his image. Photograph him.

“Fifteen bucks? Great! That’s awes-”

“Fifteen hundred.”

Felix burst into laughter as the look on Jisung’s face fell. His hand was frozen, extended out in front of him, already prepared to give me fifteen dollars. My heart skipped a beat watching Felix’s bright grin. He practically glowed.

“I’ll make you a deal. I’ll let you choose any painting you want from my apartment and I’ll sign it for...Hyunjin, was it?” The boys nodded. “I’ll give it to you if Felix will help me finish my new exhibition. It shouldn’t take long. I’ll even-”

“Sure.”

Felix shrugged with a small smile, stuffing his hands in his pockets. He looked me over with a soft and happy gaze. It seemed I intrigued him as much as he intrigued me.

“My apartment is just around the corner.”

“Cool. Just a heads up, I’ve never modeled except for like album jackets and stuff.”

“Don’t worry about it.” The closer he got, the harder it was not to smile. Jisung and Jeongin were joking behind us, something about Felix finally getting into a pretty girl’s apartment, but it all kind of faded away as I walked back with Felix. I felt the passion to paint again burning in my stomach.

✧

Felix patiently waited as I opened the door to my apartment. When we entered I hastily cleaned up some random junk cluttering the counters as he looked around. There was nothing I could do about the multiple canvases lying in stacks all around the living room.

“Wow. You are really good.” He said looking at a large canvas painted with bright and happy colors near my kitchen. Why did the compliment feel different coming from him?

“Thank you very much. I’ve had a bit of a dry spell recently.”

“For how long?”

“Give or take three months.”

Felix chuckled and looked at the other paintings near him. While he explored my art-filled apartment, I set up my camera on a tripod near the window and adjusted the position of my easel. “So, how is this gonna work?”

“Um...I’m not entirely sure. I’ve never been inspired like this before. I really have no idea what medium I’ll end up using...so I’m sort of using...all of them.” Felix laughed again watching me frantically prepping everything I could possibly need. I didn’t miss the lingering stares he cast my way.

“We’re doing photos? Should I like put on a base or something?”

“NO!” He was a little shocked at my outburst. He probably wasn’t used to being photographed without makeup. “Sorry. I just- I don’t want you covered up. I want to paint everything. Everything about you.” I looked to see a shy blush on Felix’s face as he came to stand near me by the window.

“So, I sit here?” He motioned to the windowsill, overlooking the street on which I discovered him. The light hit him perfectly, bouncing of his cheekbones and practically giving him a halo.

I nodded quietly and adjusted a few settings on my camera before returning to my easel. Felix looked at me with a smile. I laughed seeing he was trying to pose and stay very still.

“You don’t have to do that. I’ll ask you to be still if I need to.”

The sound of the camera clicking filled the apartment as Felix watched me paint him. The lines came easy to me as if I had painted him many times before. He watched as I painted the lines of his face and his eyes quickly appeared on the canvas, staring back at me just like he was.

“Do you want some music? This will take a while. I’ve got five pieces to do.” Felix chuckled, his adam’s apple bobbing up and down and his eyes crinkling into crescent moons.

“Music would be wonderful.” With a smile, I shoved my wet paintbrush behind my ear, streaking my cheek and possibly my hair, and shuffled over to turn on my stereo. Felix let a curious grin slip onto his lips. “Classical?”

“Do you like it? It helps me focus.” He nodded and looked out the window. His eyes closed as the sound of soft violins floated through the apartment. “So, Felix, what’s your favorite book.” He was a little shocked at the random question, but that happy smile returned.

“Ummm...let’s see,” While he thought I continued painting, the basics of his face and form already done. I quickly painted the window and background so I could go back to focusing on the shadows and details of Felix’s face. My hands worked quickly, shading in the dark patches behind the cushions and curtains.

“Peter Rabbit.”

“Like the kid’s book?”

“Yeah, what’s wrong with that?”

“Nothing! It’s just different. I knew there was something special about you.” I said with a laugh, grabbing a smaller brush and looking at the shadows behind Felix. He tilted his head, resting it on the window.

“Why did you pick me?”

The movement of my brush stopped. My eyes met the dark brown stare Felix held. He smirked noticing the heat rushing to my cheeks. “I thought you looked like a shooting star.” His eyebrows rose and he tried not to laugh.

“That’s quite the artist's answer.”

“Well, I am an artist.”

He chuckled and started playing with the edge of his sleeve. “So, a shooting star?” Again, I blushed. The painting was almost finished I just needed to finish the details of his eyes and cheeks. “Yeah. I don’t know. You just seemed so full of life. Something fleeting. Something...ephemeral.”

“Ephemeral? As in not lasting? What am I supposed to turn into dust after you’ve finished with me?” He laughed, his eyes crinkling. My eyes trailed down his cheeks to look at the stars dancing across his skin. The freckles scattered about his cheeks. Delicately, I began placing each and every spot as Felix told me about his life.

“It’s finished.”

“Can I see?” He said jumping up from the window sill. I shook my head and grabbed the still wet canvas. “Come on, Y/n! Let me see!” He chased me around the living room trying to carefully grab the painting. I laughed when his arms wrapped around my waist and he pulled me to him.

“You can see it when the collection is complete! We have more art to make!” He laughed and let me place the painting away to dry. Together we walked over back to the window and he sat back down, watching me expectantly.

I scanned through the photos the camera captured. They were fantastic. They were the perfect candids. I could edit these into black and white and it would be gorgeous. Felix came to look over my shoulder. He gasped at the pictures.

“How the hell did you do that?” Felix gently took the camera and scrolled through the pictures. “Seriously. You were busy painting. How did you do this?” I shrugged and cleaned some of my brushes while he looked through the photos.

“Sometimes it is not about the angle or the position. It’s just what the subject is doing or feeling.” I took the camera and scrolled to a certain picture. “Like this one.” Felix looked at the picture. It was him leaning against the window, his eyes crescents and aimed somewhere off frame. “Do you know when this was?” He shook his head and looked to me.

“When I called you a shooting star.” Felix looked at the photo again, seeing it in a new light.

“So, what’s next?”

I felt so close to Felix. Like I had known him for years. Had it really only been a few hours? My eyes traced the lines of his shoulders and back. The perfect canvas.

“Can I...paint on you?”

His eyes widened for a millisecond and he let out a breathy laugh. “Have you done it before?” I shrugged and wiped my paint stained hands on my jeans. When I looked up he had moved a little closer.

“I’ve never really wanted to. Like I said, I don’t want to capture your image...covered up. It should be seen naturally.”

Felix smiled. “So, where are we doing this?” He said softly. My heart thumped against my chest. I pointed to an open space on the wood floor and he nodded. I grabbed some body paints I had lying around in a cabinet and brought them over to Felix.

“Let me know if anything gets uncomfortable and I’ll stop.” He nodded and slipped his shirt over his head. I motioned for him to lie on his stomach and he followed my instruction. Felix shivered when his tan skin touched the cool wood floor.

“What got you into painting?” Felix asked, resting his head on his arms. I picked out the brush I wanted to start with. My palm rested on his shoulder as the brush hovered over his back.

“I’m not really sure. You see...I really sucked at math.”

Felix let out the largest laugh, one that shook his whole chest. I took the opportunity to start painting. Soon his lower back was filled with swirling colors of blues and purples. “Is everything okay?” Felix asked, interrupting his own story.

“Yeah, just an awkward angle.”

“You can adjust if you want to. I don’t mind.” My skin started to crawl when Felix turned to me in the eye. Like he was inviting me to come even closer to him. He smiled at the blush on my cheeks before turning his head away. Hesitantly, I situated myself above Felix, slowly resting some of my weight on the lowest part of his back possible. I saw him smile when he felt my knees on either side of his hips.

Felix continued his story about something one of his friends named Chan did the other night. The sound of his low voice mixed with the music still playing guided my brush like it had a mind of its own. When I looked at my work, a nebula with hundreds of little stars was born onto his skin.

“I think it’s done.”

Carefully, I got off of Felix and helped him up. I set the camera up again and it started taking pictures. Taking Felix’s hand I pulled him in front of the lens and positioned him with his back towards the camera. He watched me as I positioned his body, my hands unintentionally lingering on his shoulders.

Felix turned to me as I began to pull away. “I didn’t know art could be so intimate.” I looked down to see his hand on my arm, his body was slightly turned at the waist towards me and his eyes bore into mine. Never had I felt this passionate about something other than art. I liked Felix. A lot. More than I should admit after just meeting the man. “Is it supposed to be like this?”

I shook my head, hoping he wouldn't notice I stepped closer. “No,” His hand slid around the base of my back. “Maybe you are a shooting star. I couldn’t have wished for something this incredible.” He smiled and looked down at me.

“Can I kiss you? Sorry...I just-”

“You really didn’t have to ask.” Felix, let out a small laugh, almost a giggle, making me smile. My fingers traveled up his neck and into the edge of his blonde hair. “Well, are you gonna do it or are you gonna chicken out, Felix?”

“Oh shh.”

His lips tasted like strawberries. He was gentle and slow, like he was savoring every moment. When he pulled away I rested my forehead against his. “I do not regret putting off my work until the last minute.” He laughed, his eyes brightening and lighting up the whole room.

✧

Standing in the gallery felt like a second home. My exhibition hung on the wall .It was one of my greatest yet. The gallery had given me an extension after seeing the semi-finished product. A group of rowdy boys walked towards me, a familiar and handsome face leading them.

“Y/n!” He called, running up and greeting me with a kiss. The other seven boys followed after him. One of the taller ones hung towards the back clearly nervous.

“You must be Hyunjin?” I asked reaching for his hand. His eyes widened and he shook my hand vigorously. His sharp features lifted into a grin and he laughed. “You might want to let go of my hand eventually.”

“Oh. Sorry. I’m just such a big fan.”

“I know. Felix has told me all about you. I’ve got a painting signed for you in my car.” Hyunjin’s jaw dropped and I swear he almost fell backwards had Jisung not been there to catch him.

“So, what is your collection called?” The boy Felix pointed out to me as Chan asked. Felix proudly wrapped an arm around my waist as I guided the group to the first piece.

“It’s called Little Stars.” Felix, blushed when I lightly pinched his cheek. The boys marveled at the first painting. It was one of Felix sitting in my window. It was the only piece in color. We moved on to the second piece. The photo I had shown Felix of him smiling.

The next photo was a frame I had cropped to show just his eyes. Even in black and white Felix still managed to bring color and life with just a single look. “Wow, Felix! I had no idea you were this cool looking!” Minho said, marveling at the photograph. Felix kicked him as we moved forward.

The second to last photo showed the painting I did on Felix’s back. He was completely turned away from the camera, but you could see my hands on his shoulder and waist. I had edited the photo so just my hands and arms were seen. Felix smiled and kissed the top of my head before the both of us led the group to the exhibit finale.

“DAMN FELIX!” Jisung yelled.

“Jisung. We are in an art gallery. Don’t yell.” Chan scolded.

“Sorry, but Felix got game.”

I laughed and looked at the photo; it was my favorite. Felix was half turned towards me but you could still see the nebula and stars on his back, his hand was gripping my waist tightly and he smiled down at me, our foreheads pressed together. You could see my fingers pulling away from the base of his hair, giving movement to the photo.

“This is incredible, Y/n.”

“Well, it’s all you so I should say so.” He kissed my cheek with that bright smile of his. “You really are my shooting star. I’m getting everything I could ever wish for.”

✧

Requests are open, my lovelies!

Masterlist

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crowdvscritic · 4 years ago

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round up // MARCH + APRIL 21

March and April were a whirlwind of vaccines and awards shows! A full year after we starting staying at home, the end of this weird chapter in recent history seems like it might finally be coming to a close, and this pop culture awards season—typically a time full of fun and glamour—captured our moment weirdly well. (Emphasis on the weird.) This month’s recommendations is filled with more Critic Picks than usual, so without further delay, let’s dive right in...

March + April Crowd-Pleasers

Double Feature — 2018 Action Thrillers: Bad Times at the El Royale + Den of Thieves

In Bad Times at the El Royale (Crowd: 9/10, // Critic: 8/10), Jeff Bridges, Cynthia Erivo, Jon Hamm, Chris Hemsworth, and Dakota Johnson are staying at a motel on the California-Nevada state line full of money, murder, and mystery. In Den of Thieves (Crowd: 9/10 // Critic: 6.5/10), Gerard Butler takes on some of the best bank robbers in the world. Whether you like your action with a dose of mystery or the thrills of plot twists, these will fit the bill.

Double Feature — ‘80s Comedies: Caddyshack (1980) + Splash (1984)

In the mood for pure silliness? Take your pick between a mermaid and a gopher! Five years before The Little Mermaid, Tom Hanks fell for Daryl Hannah’s blonde hair and scaly tail, and John Candy was his goofy brother in Splash (Crowd: 8.5/10 // Critic: 7/10). And four years before Ghostbusters, Bill Murray was the goof on a golf course full of funny people like Chevy Chase, Rodney Dangerfield, and Ted Knight in Caddyshack (Crowd: 8.5/10 // Critic: 6.5/10).

Double Feature — 1980s Coming-of-Age Films Starring Corey Feldman, Kiefer Sutherland, and Challenging Brother Relationships That Influenced Stranger Things: Stand by Me (1986) + The Lost Boys (1987)

Believe it or not, I had no idea these two ‘80s classics had so much in common when I chose to watch them back-to-back. In Rob Reiner’s adaptation of Stephen King’s Stand by Me (Crowd: 9/10 // Critic: 9/10), four kids (Feldman, Jerry O’Connell, River Phoenix, and Wil Wheaton) are following train tracks to find a missing body. In The Lost Boys (Crowd: 8.5/10 // Critic: 7/10), Corey Haim and Jason Patric move to a small California town and discover it’s full of ‘80s movie star cameos and…vampires? One is a thoughtful coming-of-age story and one is just bonkers, but both are a great time.

Spaceman by Nick Jonas (2021)

My love for the Jonas Brothers is well-documented, so instead of going down the rabbit hole I started digging at 15, I’ll talk about how Nick Jonas’s latest solo album will likely appeal to a wider audience than just the fans of the brothers’ bombastic pop records. It’s full of catchy tunes you’ll play on repeat and an R&B-influenced album experience about the loneliness we’ve experienced in the last year and how we try to make long-term relationships work.

Ted Lasso (2020- )

I love stories about nice people crushing cruelty and cynicism with relentless kindness, and Ted Lasso (Jason Sudeikis) is the warmest, most dedicated leader this side of Leslie Knope. Be sure to catch up on these witty and sweet 10 episodes before season 2 drops later this summer.

Double Feature — Tony Scott Action Flicks: Enemy of the State (1998) + The Taking of Pelham 123 (2009)

Tony Scott’s movies have got explosions and excitement in spades. I love a good man-on-the-run movie, and in Enemy of the State (Crowd: 9/10 // Critic: 8/10), Will Smith is running through the streets of D.C. after getting evidence of a politician’s (Jon Voight) part in a murder. I also love a tense story set in a confined space, which is what Denzel Washington is dealing with in The Taking of Pelham 123 (Crowd: 9.5/10 // Critic: 7/10) after a hammy John Travolta takes a New York subway train hostage.

Double Feature — Baseball Movies: The Natural (1984) + Trouble With the Curve (2012)

Sue me—I love baseball movies. Robert Redford plays a fictional all-time great in the early days of the MLB in The Natural (Crowd: 8.5/10 // Critic: 9/10), and Clint Eastwood plays a fictional all-time great scout in his late career in Trouble With the Curve (Crowd: 8/10 // Critic: 7.5/10). If you love baseball or actors like Amy Adams, Glenn Close, Robert Duvall, and Justin Timberlake, these movies are just right here waiting for you.

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Nate Bargatze: The Greatest Average American (2021)

Sue me—I enjoy Netflix standup comedy specials that are safe enough to watch with your whole family. That’s exactly the crowd I laughed with over Easter weekend, and while the trailer captures Bargatze’s relaxed vibe, it doesn’t capture how funny he really is.

The Mighty Ducks (1992)

I thought somewhere in my childhood I’d seen at least one of The Mighty Ducks movies, but after watching all three, I think my memories must’ve come from previews on the VHS tapes for other Disney movies I watched over and over again. The original still holds up as an grown-ups, which is why even my parents got sucked in to this family movie while just passing through the living room. Bonus for ‘80s movies lovers: Emilio Estevez is basically continuing Andrew Clark’s story from The Breakfast Club as an adult. Crowd: 8.5/10 // Critic: 6.5/10

Double Feature — New, Dumb Action on Streaming: Godzilla vs. Kong + Thunder Force (2021)

If you want something intelligent, go ahead and skip to the next recommendation, but if you’re looking for something stupid fun, these are ready for you on HBO Max and Netflix. Thunder Force (Crowd: 8.5/10 // Critic: 6/10) follows Melissa McCarthy and Octavia Spencer as they train to become superheroes who take on superhuman sociopaths wreaking havoc on Chicago, and alongside Jason Bateman, they do it with a lot of laughs. Godzilla vs. Kong (Crowd: 9.5/10 // Critic: 5/10) is, um, exactly what it sounds like, so I’ll skip a plot summary and just say it’s exactly what you want from this kind of movie. #TeamKong

3:10 to Yuma (2007)

All you need to know is Russell Crowe is an outlaw, and Christian Bale is the guy who’s got to get him on the train to prison. I also watched the 1957 version, which is also a solid watch if you love classic Westerns. Crowd: 9/10 // Critic: 8/10

Falcon and the Winter Soldier (2021)

Marvel’s newest series isn’t nearly as inventive as WandaVision, and it may not land every beat, but it’s worth a watch for the fun new gadgets, Sebastian Stan’s dry joke delivery, and its exploration into themes of what makes a hero and what governments owe their citizens. It’s a pretty satisfying entry in the MCU canon, but I’d also recommend re-watching Captain America: Winter Soldier and Civil War—the canon is getting expansive, and it’s getting trickier every year to keep up with all the backstory.

March + April Critic Picks

Best of 2020 Picks

As per usual, the months leading up to the Oscars becomes a binge period for potential Oscar nominees. In March and April, I watched many of the films that made my Top 20 of 2020, including Boys State, The Father, Judas and the Black Messiah, Let Them All Talk, Minari, Nomadland, On the Rocks, One Night in Miami…, Promising Young Woman, Soul, and Sound of Metal. You can read how I ranked them on my list for ZekeFilm, plus reviews of The Father, Minari, Promising Young Woman, and Soul.

Bonus: If you loved On the Rocks, don’t miss this feature and beautiful photography starring Sofia Coppola, Kirsten Dunst, Elle Fanning, and Rashida Jones for W Magazine.

Stranger Than Fiction (2006)

What would you do if you started hearing a voice who narrated your every thought and move? If you’re Will Ferrell, you’ll seek out a literary professor (Dustin Hoffman), fall in love (with Maggie Gyllenhaal), and track down the voice (Emma Thompson) who’s making ominous predictions about your future. Stranger Than Fiction is funny thought-provoking, and an unusual but welcome role for Ferrell. Crowd: 9.5/10 // Critic: 9/10

All the Royal Family News

Speaking of stranger than fiction, it’s been a busy few months for the Royal Family. We’ve celebrated 95th birthday of Queen Elizabeth, the 3rd birthday of Prince Louis, and the 10th anniversary of Will and Kate’s marriage. We also lost Prince Philip, and we watched the drama of Harry and Meaghan’s interview with Oprah. No matter what happens to their Crown, I don’t think we’ll ever get over our fascination with the Windsor family. A few pieces worth reading from the last few months:

“In Meghan and Harry’s Interview, Two TV Worlds Collided,” Vulture.com

“The Queen’s Man: Philip, Duke of Edinburgh, Dies,” TIME.com

“Obituary: HRH The Prince Philip, Duke of Edinburgh,” BBC.com

Goodfellas (1990)

One of my film opinions that makes me feel like a phony is that Martin Scorsese just isn’t my cup of tea. He’s brilliant, but his films tend to be long and dark, two qualities that are never my first choice…and somehow Goodfellas still worked for me? Maybe it was the TV edit graciously toning down the violence or maybe it was that Ray Liotta and Joe Pesci were firing on all cylinders, but for some reason this ‘90s classic didn’t suck the joy out of my evening like Scorsese often does. (Bonus: For a Martin Scorsese/Robert De Niro I don’t really recommend, head to the last section of this Round Up.)

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Fearless (Taylor’s Version) (2021)

Her voice has only matured, so Taylor Swift revisiting her old albums is like upgrading a blast to the past. Plus, the six new tracks make me feel like 15 crushing on that boy in Spanish class again, and her Grammys performance (just before her third Album of the Year win) was magical and folklore-tastic.

Double Feature — ‘60s Action Classics: The Guns of Navarone (1961) + Planet of the Apes (1968)

The Guns of Navarone (Crowd: 8/10 // Critic: 8.5/10) follows Gregory Peck and David Niven as they destroy Nazi weapons in the Mediterranean. Planet of the Apes (Crowd: 8/10 // Critic: 8.5/10) follows Charlton Heston as he attempts to escape from, well, a planet full of apes. The pacing of ‘60s films doesn’t always hold up, but that’s not the case with this pair. Both are still full of suspense, and you can’t go wrong hanging with casts like these.

Let Him Go (2020)

Kevin Costner and Diane Lane play a farming couple who unexpectedly help raise a boy who lost his biological father—sound familiar? But instead of a superhero origin story, they’re part of a thrilling Western with performances nuanced (Costner and Lane) and showy (Lesley Manville). If I’d watched this before completing my Best of 2020 piece, it likely would’ve been on my list. Crowd: 8/10 // Critic: 8.5/10

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The Oscars

I’m a ride-or-die fan of the Academy Awards, but I’ll admit even I found this year’s ceremony odd. Instead of focusing on what wasn’t so hot, I’ll recommend a few moments you don’t want to miss:

Emerald Fennell giving a shout-out to Saved by the Bell

Daniel Kaluuya acknowledging his parents’ sex life during his acceptance speech (??)

Yuh-Jung Yoon flirting with Brad Pitt and acknowledging she’s just “luckier” than her fellow nominees

Glenn Close dancing to…”Da Butt”?

You can also read about the historic wins and nominations from this year’s Oscar class and why the Golden Globes were an even stranger production weeks earlier.

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Trailer-palooza!

Movies are on their way back, y’all! I’m counting down the days until I can get back to a theatre, and even if some of these movies are duds, I’m planning to see all of them on a big screen if possible:

Those Who Wish Me Dead (May 14)

Cruella (May 28)

In the Heights (June 11)

Space Jam 2 (July 16)

Shang-Chi and the Legend of the Ten Rings (September 3)

West Side Story (December 10)

Also in March + April…

To add to the Oscars love, you can listen to a conversation about what we learn about family, community, and society in some of the year’s biggest nominees on the Uncommon Voices podcast. I join regular hosts Michael and Kenneth in this episode, and I recommend all of their thoughtful discussions on their “What’s Streaming” episodes.

I’ve previously recommended the Do You Like Apples weekly newsletter, so I’m proud to share I contributed twice in March! I wrote about Love and Basketball, directed by Gina Prince-Bythewood, and one of my all-time favorite Julia Roberts rom-coms, Notting Hill. (I also tied to win their Oscars pool, but I suppose that’s less exciting for you than me.)

It was a busy couple of months on SO IT’S A SHOW! New logo, new email list, new Instagram, and a host of new episodes about a flop of a Madonna flick, a Swedish children’s TV show, an urban legend turned into a horror movie, one of the best films about journalism ever, and a Martin Scorsese movie about a real boxer.

Most of what I wrote for ZekeFilm in March and April was mentioned in Best of 2020 recommendations…except for The Nest, a film that couldn’t figure out what genre it wanted to be.

Photo credits: Nick Jonas, Royal Family. All others IMDb.com.

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stuonsongs · 3 years ago

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My Top 10 Favorite Songs of All Time - 2006 Edition

2021 Editor’s Note: I was looking through some old files and found this thing that I wrote sometime in the summer of 2006 at age 22. For all I know, it could’ve been 15 years to the day! Looking back, I’m not sure how many of these songs would still make my top 10. Don’t get me wrong, I still love all of these tunes, but I’m sure you know how it goes - You get older, you get exposed to more things, and your idea of good music expands. Anyway, I thought it might be nice to share with anyone who still uses this site. I present it in its original format without edits to my writing. I ended up writing full posts in this blog about some of these songs if you go through the archive.

Stu’s Top 10 Favorite Songs…Ever

Let’s start with some honorable mentions. These were so close, and I thought about it for so long, but they had to be left off.

Honorable Mentions

All Summer Long – The Beach Boys

All Summer Long. 1964. Capitol

This song has been described so many times as being “the perfect summer song.” When you listen to it, you can’t help but smile from the opening marimba intro, all the way through. It just screams “summer” and it hurt me to leave The Beach Boys off my top 10.

Bleed American – Jimmy Eat World

Bleed American. 2001. Grand Royal

So full of energy, so rocking, and so what would’ve been the most recent song on my list. I wanted to keep it in the top 10 just so I could have a song from the ‘00s, but it wasn’t meant to be. When the chorus kicks in, I can’t help but headbang.

Marie – Randy Newman

Good Old Boys. 1974. Reprise

Randy has said that a lot of young composers pick “Marie” as their favorite Newman song, and I can see why. The idea of a guy having to be drunk to tell his wife that he loves her is pretty funny, and throughout the whole song it’s just the beautiful melody with tons of strings, all to a tune about a guy ripping on himself as he comes home drunk to his wife.

Does He Love You? – Rilo Kiley

More Adventurous. 2004. Brute/Beaute

I guess this is newer than Bleed American, so it would’ve worked too. This is another more recent song that it killed me to leave off the list. The outro is an arrangement of the main tune with a different chord progression performed by a string quartet. Very beautiful. Also when Jenny Lewis screams “Your husband will never leave you, he will never leave you for me,” I get chills every time.

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So here it is. After a long day’s work, I’m finally finished. It actually turned out much different than I was thinking when I first started. The number one wasn’t really even in my top five when I started, but I slowly realized I loved it so much. I also left Ben Folds (Five) off this list completely, and I don’t know, I just feel the whole catalogue of Ben is so solid, none of the songs stick out to me that much. But anyways, here it is! After the break of course…

Stu’s Top 10

10.

(Love Is Like A) Heat Wave – Martha and the Vandellas

Heat Wave. 1963. Motown.

This one beat out “Bleed American” just barely. The reason being that somehow, despite being nearly 40 years older than Bleed American, it still has so much energy that it kills. Dan Bukvich once told our Jazz Arranging class that you can boil all the oldies you hear on the radio down to three categories: 1) Great Song. 2) Great Performance. 3) Great Arrangement. This song is one of the great performances. The handclaps throughout, combined with the driving baritone sax behind everything and constant snare drum action will keep anybody with blood running through their veins dancing all night long.

Bodhisattva – Steely Dan

Countdown to Ecstasy. 1973. MCA

This song is my Freebird. It’s just a basic blues progression song at its core with some minor changes at the end of the form. The real kicker that drives this song home is the three minute guitar solo in the middle that isn’t nearly as rocking as Freebird, but it is highly proficient and takes me to places that just make me want to play the song over and over again. I have no idea what this song is about, probably Buddhism, but hey, this once again proves that lyrics rarely matter and the music itself is the core.

Zanzibar – Billy Joel

52nd Street. 1978. Columbia

This song reminds me of long car rides on vacations down the west coast with my parents growing up. They used to play a tape of 52nd Street, or at least their favorite selections, constantly on these trips. I didn’t hear this song again until early in my senior year in college and remembered why I loved it so much. The song has a heavy jazz influence, displayed in the breakdown where Jazz trumpeter Freddie Hubbard does a solo. The best part of this song though is at the end of the 4th line of each verse, Billy does this “Woah oh oh!” thing that just makes me want to sing every time. It was between this and “Miami 2017 (Lights Go Out On Broadway)” which is also a great song, but the “Woah oh oh!” is too much for ol’ Stu boy.

Rosalita (Come Out Tonight) – Bruce Springsteen

The Wild, the Innocent, and the E Street Shuffle. 1973. Columbia

Early Bruce Springsteen records have something that very few other artists can ever pull off without sounding cheesy or forced. It has this undeniable sense of urgency, like the world will fall apart and life will crumble through your fingers if this one moment in time doesn’t work out the way Bruce describes it. There are so many early Springsteen songs that just set a scene of “We have to get out of this town right now girl before it kills us, no matter what any of our parents, friends, anybody has to say.” There’s a line that kinda sums it up: “Well hold on tight, stay up all night ‘cause Rosie I’m comin’ on strong. By the time we meet the morning light, I will hold you in my arms. I know a pretty little place in southern California down San Diego way. There’s a little café where they play guitars all night and all day. You can hear ‘em in the back room strummin’, so hold tight baby ‘cause don’t you know daddy’s comin’.”

I’ve Got You Under My Skin – Frank Sinatra

Songs For Swingin’ Lovers! 1956. Capitol

This song falls into the category of great arrangement. This Cole Porter classic tune was arranged for Sinatra by Nelson Riddle. The story goes that he was still copying down parts for the players while riding in the cab to the recording studio on the day of recording. After the players ran through it once with Frank, they stood up and applauded. The Baritone sax takes control here, outlining a Db6/9 chord throughout the intro. Of course, Frank’s vocal delivery is spot on and goes up and down in all the right places for the biggest emotion impact. It’s amazing how a song with no real chorus can be so good.

A Change Is Gonna Come – Sam Cooke

Ain’t That Good News. 1964. RCA Victor

This song was not even going to be on this list, but then I ran across it while scouring my collection of music and remembered how good it was. Then I listened to it and was blown away by the level of detail that went into this arrangement. Sam’s vocals soar above the mind blowingly beautiful arrangement. The lyrics to this one actually add to the tune itself, speaking of wrongdoings in the world around him, and how social change is on its way in the form of the civil rights movement. The song flows with such ease out of Cooke that one might forget the weightiness of the content, but the song’s content is just so heavy that it’s impossible to deny it.

Whatever – Oasis

Whatever EP. 1994. Creation

This song was released as a Christmas present to the U.K. from the Gallagher brothers and company. It never appeared on any full album, only being released as a single, and amazingly, it blows away anything else they’ve ever done. Think “All You Need Is Love,” but with tons of rocking energy and a snide, nonchalant attitude. The chorus speaks, “I’m free to be whatever I, whatever I choose and I’ll sing the blues if I want. I’m free to be whatever I, whatever I like, if it’s wrong or right, it’s alright.” Not exactly poetry, and the song isn’t exactly breaking any new ground either, but the song is absolutely perfect in every way, and it was going to be my #1, but perhaps the only reason it’s not at number one is because I’ve played this song so many times that at the moment, these next three are beating it, but who knows how I’ll feel in a few months. This song also pulls the same “outro performed by a string quartet” thing as “Does He Love You?” but even better. It’s so simple, but I can’t get enough of it.

Mr. Blue Sky – Electric Light Orchestra

Out of the Blue. 1977. Jet

This is obviously the best Beatles song that the Beatles never wrote. The staccato guitar during the verse combined with the strings present in just about every ELO song combine to make a force that is undeniably catchy and musically challenging at the same time. This is really what makes ELO so good. I didn’t discover this song till probably Nov. 2005, and it was one of the best days of my life. I didn’t want to include two songs by the same artist in my top 10, but if I did, I probably would’ve added “Turn To Stone” on this list too because it is almost as awesome as this one. It’s a shame that just like Billy Joel, most critics at the time hated ELO for being overly creative musically (they called it pretentiousness). These days we have acts that really are pretentious (see Radiohead), but everyone loves them, even critics. I’m not knocking all Radiohead, just most everything post OK Computer. Sorry, got a little sidetracked there.

Only In Dreams – Weezer

Weezer. 1994. Geffen

This has been my favorite Weezer song since about a month into me picking up Weezer’s debut album back around early 2000. It has this ostinato (a repeated motif over and over again) in the bass throughout most of the whole song, never even really resolving to the Gb major chord (excluding chorus, which never really resolves) that it wants to until the end of a 3 minute contrapuntal guitar duet when everything dies out except the bass which just retards on its own until it finally plays the single Gb we’ve all been waiting for. The song on the whole up until the guitar duet is pretty tame, but once those contrapuntal guitar lines start intertwining, my ears perk up every time. I can sing both lines at separate times upon request and when the drums finally kick back in fully at the climax of the song, I let out a sigh of relief or bang on my car wheel in exultant joy, whichever is more of an option at the time.

All Is Forgiven – Jellyfish

Spilt Milk. 1993. Charisma

I always loved this song from the first time I heard it, but I didn’t realize how much I loved it until maybe April 2006. I found out about Jellyfish first semester of college in the Fall of ’02 and heard this song, and knew it was great. The constant tom-tom driven drums, the fuzzy, almost white noise distorted guitar, and the half time bass throughout. It was great. Then in April I put it on my mp3 player for the walk to school, and then I listened to it for about two weeks straight. Seriously. It runs into the next song entitled “Russian Hill” which is almost as good, but because it’s a separate song, I couldn’t include it on the list, but in my mind, they always run together and are basically one long 9 minute song. The ending just gets more and more white noise filled until you can barely take it anymore and then it just cuts off completely into the slow acoustic intro for Russian Hill. It’s perfect in every way. I think this would fall into the category of great song. And the way the song builds up right to the middle of the song and then cuts out completely except for some very VERY faint xylophone noodling, and then busts back in with some feedback directly into guitar solo. Man I love this song.

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zombiiesque · 3 years ago

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Nocturne Alchemy Halloween 2019 - Part Two

Originally published 10/10/2019

Hey y'all! Gonna dive right into these scents, today I'm reviewing the Resurgence scents that I have from the Nocturne Alchemy Halloween LC release. If you'd like to read my reviews of the new releases I chose, you can click here. NAlloween has always, and likely always will, be my favorite Limited Collection they do! I have so many treasures in my Halloween box.

Scarlet Bat - Red Sugar, Crimson Musk, Black Tea Leaves, Neroli-sugar, and NA Black Patchouli Absolute. Okay, my friend Heather picked this one up before I did last year, and she fell head over heels for it. I was already eying it, because I had two previous Vampire Patchouli Bats that I loved, and it had Crimson in it. It had to be a gimme. Like this year's Vampire Bourbon Patchouli Bat, it was a stunner right out of the mail - and it's only gotten better as it ages. Seriously, it's utterly fabulous. Slinky and sexy, and I think even if you ordinarily don't like patchouli, you might find yourself surprised by this one. Put simply, this is sugared red musk and patchouli. Crimson is a softer red musk than Kashmir, but there's almost a spiciness to it. This just warms up on the skin and reaches out, pulls you in. I crave this one when I haven't worn it in a while. For me, my two favorites of the Vampire Patchouli Bats are the Bourbon, and Scarlet. Neither is to be missed. And I don't find it to be like anything I have in my collection, either.

V by Thoth - Incense, Sweetened spices of Cardamom, Cinnamon, Allspice and clove swirled with Vanilla pods, Ghost Musk and Copal Resin. V was a fan favorite last year - and for good reason. It's part of a set of 7 perfumes, each one designed by a House of NA perfumer. I remembered that I have another favorite Halloween perfume that Thoth did: Frank's Monster. I love that one, so I was pretty excited when I saw V was done by Thoth, too. Y'all, I have a lot of incense perfumes. They're something I just can't resist. Okay, confession time: I did love this one, I thought it was a beautiful perfume, but I didn't really get it until I pulled it back out after aging it over the year. I thought I perhaps had similar perfumes...well. I was wrong. I tried it again a few weeks ago, when the weather started to cool down here in Florida, and it absolutely floored me. It was like I was experiencing a whole new perfume - this is positively SPECTACULAR. Very, very different from my other incense perfumes, and it might just be my favorite yet. I don't know what Ghost Musk is, but if it's that beautiful musk I'm smelling here, I could go for a full 10ml bottle of it. It reminds me a bit of Egyptian Musk, but not quite as sweet - very clean, and very appealing - floaty. I think that's it, and if so....Y'ALL, PLEASE MAKE THIS I WANT IT! Hahaha. I think I might like Ghost Musk better than Cemetery Musk, and I love that one too. Anyway - I'm dwelling. This is balanced against a light incense, and the spices are very much in the background, just a nice warm hum of support. But the copallll. I'm sure everyone knows copal rules my world, when we discuss favorite notes. It adds a lovely smoky, slightly sweet depth to this. I'm fully mesmerized. Thoth has outdone himself. I think this is backup worthy. So, a lesson to be had here, and one I realize quite often - if you don't really love something, put it aside for a while, and see what happens when you return to it. And I want to reiterate, I really did like this - but I didn't see, last year, what I was supposed to see with it - aging it and trying it when the weather was a little cooler and dryer really changed my perspective of it, and now it's become an obsession and a Halloween favorite. If you were looking at this one and wondering if you need it - let me ask, do you like musk and incense? If so, you'd better run and get this before it goes away.

The Mummy Returns - Patchouli, Vetiver, Australian Sandalwood, Cardamom, Frankincense, Myrrh, Rock Rose, Labdanum, Siam Benzoin and Tonka Bean. I made a little mistake, and it's the first time I've ever done this. I usually have a solid idea of what I have in my boxes, particularly my Halloween box, but I ordered The Mummy Returns this year thinking I missed it last year, but after my order came in, I was digging into my Halloween box and pulled out....an aged bottle of The Mummy Returns. Yep. So I'll be putting up my new one for swap. At any rate, it just really proved to me about the differences aging makes in Nocturne Alchemy's perfumes, so I kind of enjoyed realizing the contrasts! The Mummy Returns is a resin lover's dream. It's a deep, dark, witchy scent. I love the balance between the sweeter notes, like the myrrh and cardamom, and the woods. I'm writing this based on my aged bottle, and it's just so....well, at the risk of sounding dramatic, it's deep and mystical, and I'll probably be using this for my rituals, I feel such a connection to it. I couldn't tell you how, but it's something I've smelled before - there's some memory I haven't tapped into yet. I find it to be comfortingly familiar, but at the same time, it feels solemn and sacred. If you are nervous of vetiver, as I am sometimes, it's not a note that stands out a lot here, I can barely discern it when I'm huffing at my wrists. So yes, The Mummy Returns is quite an intense experience for me, but I definitely would recommend this in a heartbeat if you, too, love resinous, woody scents with a little sweetness to them. It's a beautiful perfume. It lasts quite a long time on the skin, too - more than eight hours, and I would say it's on the stronger side, so try it sparingly at first, unless you love to slather like I do.

A Change of Heart – Copal Resin, Shiraz Wine accord, Kashmir Absolute, Indian Oudh, Leather accord and burning embers. This bottle actually was gifted to me by my friend Heather. When I first got it, the leather seemed a little loud on my skin - and that made me nervous, because I was thinking it would be more like Hokum, which is a snuggly, sueded leather. But I figured I'd put it away, and let it age - and it would probably balance itself out. Well, that's exactly what happened. This is one of those scents that you can identify the various notes, if you're familiar enough with them - but they compliment each other so well, they're seamless together. It's definitely a chilly day scent, I did try to wear it in the summer and I don't recommend that - it just doesn't do well in the humidity of Florida. But it's great throughout fall and winter - like the leather in Hokum, this is a snuggly, easy to wear leather, and the copal, wine, and red musk of Kashmir just meld together so well. The wine is sweet, and a nice foil - definitely not a sharp note. I do love the way NA does their wine notes. I'm actually kind of wanting to pick up She Could Raise The Dead, which also features a wine and leather combination - reviews are really intriguing for that, too. And I have totally fallen for both Hokum and A Change Of Heart, so I think I might need it! The copal is of course my favorite note ever - it's a little sweet, sticky, and resinous - and also a bit smoky. This really accentuates the smoky oudh when it starts to shine in long drydown. I'm not sure I am doing this one justice - it really is unusual, and striking. Leather was a death note for me previous to NA - I simply could not wear it. If I tried to put on a perfume that had leather as a note, it would take over on my skin - and I couldn't get away from it. But these soft leathers (vegan, by the way!) that Nocturne Alchemy uses are very wearable for me, and I really am enjoying being able to wear it!

Pirate Rum - Bay Rum and a Chypre of Lavender, Chamomile, Pirate Ship Cedarwood and Siberian Fir Needle with a touch of French Vanilla and Oak. I got this one for my fiance, as the notes reminded me a bit of his beloved Ghost Ship. I can only give you a brief impression of this as to how it smells on him, but I thought someone might be interested in hearing that, so I'm including it! So on him, the bay rum is a nice, round spicy scent. If you're thinking Old Spice, push that right out of your head - this is dark and sexy, and nothing like that old standby. Much more complex and well done. The woods in this are the perfect balance against the bay rum, and the chypre is clean, but not at all feminine, so don't let that lavender scare you. I love this on him. Long drydown is a deep, warm spice against weathered, well aged wood. Very appealing! I tried a drop on me, and it's very different with my skinistry. I get a lot more of the chypre and chamomile, the spice of the bay rum is sedated a bit. I think it might come out more with age, if you wanted to wear it as a unisex scent, though. It is there, it's just not as evident as it was on him. The wood notes are gorgeous - I loooove that fir and cedarwood against the slightly herbal chypre on me. I will say, I much prefer this on him right now.

And a bonus - Halloween 2020, which was given out as a sample with orders for this release. It's also available in the All Hallows' Eve section as part of the Permanent Collection, so if you love this, you can even get a big 10ml bottle! Notes: A special All Hallows’ Eve blend of 7 Sandalwoods (Hawaiian, Indian, Australian, New Caledonia, Indian Santalum Album, Karnataka Sandalwood, African Sandalwood (Baphia Nitida), Cardamom essential oil, Clove essential oil, Bourbon Vanille Absolute, Bastet Amber Absolute, smoked sandalwood infused with oak and pine smoke in the NA Studio. There was also a beautiful frosted black bottle, a special edition, along with Halloween 2018 and Halloween 2019, in frosted red and orange bottles, in the Halloween LCs this year. I had a feeling I was going to love this one right away - and I do. SEVEN. SANDALWOODS. 7, y'all! Now this will likely change and get even better with age, but my first impression of this? It is like a sister scent to Bastet Halloween 2016, which is one of my favorite PC scents. The spices in that definitely have a similar feel to the cardamom and clove in Halloween 2020, and of course the presence of Bastet Amber, one of my soul scents, is a star here, too. But those sandalwoods. So smooth. I'm making my way through that 2ml sample alarmingly quickly. Right now I'm not getting much of the smoke on my skin, but the clove starts out a little strongly when it's first applied. Once it warms up and sinks into my skin though, the other notes come out to play, and the clove sinks into the background to add a little spicy kick with the warmth of the cardamom. Beautiful for fall, truly. Brings to mind blue, blue skies, bright leaves, wispy white clouds. A fluffy scarf wrapped around your neck as you explore a farmer's market. That's the picture I have in my head when I huff at my wrist. I'll be reaching for this frequently. I can't really differentiate all the sandalwoods, but the blending of them reminds me just a bit of my beloved Pyramid Santalum. I think if you wanted more smoke, you could layer this with Titanosaurus - or if you wanted to really play up the sandalwoods, you could add even more Santalum or Pyramid Santalum, or Pteranodon. Hey, never enough sandalwood, am I right?

And that wraps up the second half of my NAlloween choices. Did you read the first half? What perfumes did you choose from this release? What are your favorites? I'm thinking about going back for one or two more, there are so many that caught my eye!

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a-dozen-moderate-fragments · 4 years ago

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so someone asked my opinion on mcr's discography I slapped a tag on it so I could find it later and in true tumblr fashion that post is gone forever! so new post I guess. I'll pretty much dump in the notes as I wrote them down with some edits for clarification & then summarize my thoughts on each at the bottom

BULLETS

- the mixing is very flat

- like the guitars and the vocalist are at the same volume even when the guitar is strumming and the dude is screaming

- ^Early Sunsets esp. - starts off voc. v. quiet under the gtar, then he slaps on the thiccest vocal fry known to man while the gtar stays chill - and the intensity of the vocals increases but not the volume

- like seriously babe I know vocal fry is hot but there are other vocal techniques

- everything seems to be panned pretty much center

- the mix in general feels very sparse

- he doesn't clearly enunciate a single word on this album

- I feel like the line "stand up fucking tall and take my fucking hand and never be afraid again" or w/e deserved a halftime chorus reprise a few key changes up. our lady of sorrows deserved the ending that welcome to the black parade got

- there's really just one sound at one volume for the entire album

- I kinda like the idea of demolition lovers?

- and drowning lessons?

- maybe if I had heard it live? or if I listened to it on my good audio gear and not just my car speakers? idk

- like there is a certain appeal to the rawness of it, how it's just like. a couple guys with some guitars and a microphone. or I guess there's a certain appeal to the idea of the rawness of it. because this needed a few more minutes in the oven if you know what I mean

- it seems to me that they tried to pull off some things they didn't really have the technical skill or volume of instrumentation to accomplish and that makes it sound really shitty. there are ways to make two guitars and a vocalist in mono sound big and angry! but they hadn't figured them out yet, I don't think

- it's just like. screams in mezzoforte

- all in all this album does not fuck

- small dicc energy

- is shid

- is goodn't

SWEET REVENGE

- yeah so far this entire album fucks

- it's everything bullets wanted to be but now they have the technical and musical skill (and money) to pull it off

- dude is actually enunciating a lot of his words now

- and he screams when he needs to rather than all the time

- I'm not ok smacks of a song on black parade that I'll have to find later

- excellent driving album

- and it's in stereo!

- like hang em high didn't work for me but everything else fucks

MAY DEATH NEVER STOP YOU

- ok so like there's the two songs from Bullets on here and while I'm still not the biggest fan of the constant screaming, they sound a lot better so. I think it's literally just that the og is in mono

- also fake your death slaps hard

CONVWEAP

- fucks so far

- ambulance is very slap

- gun. has a knife on the cover which is funny

- light behind your eyes is v good obv

- ok on first listen to gun. I was distracted and thought it was an empowerment fantasy about having a gun which like. bad vibes in america. read the lyrics and it's about soldiers' struggle n stuff and while I despise the entirety of the us military there is a slight grey area there. still not great vibes tho

- yeah the rest are all pretty decent

WTTBP & DD

- we all know that the entirety of black parade is an absolute masterpiece and I love danger days so not much to be said here. solid bangers start to finish

TL;DR

Bullets didn't work for me mainly because I'm a music & audio nerd and the execution of the music and the audio was... not great. It seems to me that Sweet Revenge is basically just Bullets but with good execution, and while I still probably won't find myself listening to it that often I must admit that it does fuck. Again, if I'd heard it live or started listening to them before like 2019 I might have liked Bullets enough to forgive the low quality. And maybe the low quality is what does it for you and that's okay! But I'm absolutely gonna roast you for it

Conventional Weapons is pretty much just more Sweet Revenge. Pretty good bops and a couple standouts, but on the whole I'm probably not gonna listen to most of it much. I went in knowing that I really like Light Behind Your Eyes and I left still liking it and with the knowledge that the songs around it slap pretty okay too

Nothing much to say about May Death Never Stop You other than Fake Your Death is a whole bop and the piano line in it reminds me of christmas music for some reason

Black Parade and Danger Days are in my opinion the best of their music. Both are well written, musically engaging, and literally do not miss at any point. I think Black Parade is definitely their greatest album and what they'll be known for in thirty years, but Danger Days is my personal favorite

#sam speaks #answers

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adrianalxander · 5 years ago

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1989

We are finally here, 1989 is my favorite album to date by Miss Taylor! Everything from the nostalgic feels to the deluxe tracks, lets get into this!

Highest score: 📸📸📸📸📸

1. Welcome to New York // 📸📸📸📸📸

There are so many good tracks on this record and I don’t skip a single tune, every song on here is special to me. This opener was something so fun and unexpected. Sounds like something you’d hear in a musical but mixed with Taylor’s swag. It’s about her experience moving to New York and it’s adorable and the perfect way to start of this album.

2. Blank Page // 📸📸📸📸📸

Listen. We all know about this song and all of its glory. Probably one of who most popular songs to date, every lyric in this is perfection. And the production, whaaaaat. Also, one of my favorite music videos she ever did! We all know what this ones about so shall we move on?

3. Style // 📸📸📸📸📸

Everything about Style is incredible. Starting with the production, holy shit how this song is catchy. You can’t help but to dance when the beat drops and the chorus plays and you just song at the top of your lungs. I’ve always thought this song was about Harry Styles and still do till this day. I mean, the title, hello! Such a bop!

4. Out Of the Woods // 📸📸📸📸📸

Definitely one of my favorite tracks on the album, this song is an eargasm. The production and metaphors in her lyrics are just so beautiful! I remember when she released this before the album came out, I was so obsessed and never got sick of it. Lyrically, she’s talking about a relationship that’s going well but doesn’t know exactly where their heading or what to call it. Like she’s stuck in limbo with this person. Another track I think is about Harry, just sayin. Love this one to pieces.

5. All You Had To Do Was Stay // 📸📸📸📸

Let me tell ya’ll, this was the song I used to despise. I didn’t connect to this song when I first listened to the album but wow how much I love this song now. It definitely grew on me. I really love the simple and sweet chorus and the “all you had to do was stay, STAY” will be stuck in your head for hours! She said when making this song, she had a dream where that park kept playing in her head. And now look!

6. Shake It Off // 📸📸📸

Not that I think Shake It Off’s a bad track but if I have to choose, it’s my least favorite track on the record. Like I told y’all before, her first singles to me are never it for me. I don’t understand her process for picking the first song that’s going to represent her album because girl, this ones not it. It’s a fun song and quite catchy and the lyrics speak for themself. She’s chuckin dueces to the haters and if you don’t like it, BYE. Not a terrible song, I listen to it every now and then.

7. I Wish You Would // 📸📸📸📸

The title sounds like she’s giving serious attitude! Then you listen and you’re like, ohhh. I’ve always loved the production of this song, ecspecially the chorus! Lyrics are pretty straight forward, she talks about how if she could go back in time, she would’ve changed how she handled some things in a certain past relationship. It’s a solid bop for sure!

8. Bad Blood // 📸📸📸📸

Rawrrr, this is probably the biggest diss track on the album. We all know it’s about Katy Perry but hey, they’re all cool now. Afterglow on Lover exists because of her I’m pretty sure and I’m thankful. This song goes in! The production is pretty sweet as well. And the music video!?!? Crushed it! But the radio overplayed this one to the ground! You couldn’t go anywhere without hearing this one. It’s goodie though.

9. Wildest Dreams // 📸📸📸📸

Production wise, probably the most beautiful song on the album. I love Taylor’s voice in here, she has this signature falsetto she does that lingers and I’m obsessed with it. She definitely does it a lot more in her newer music. The lyrics are pretty sad, talking about a relationship that she knows will never work, except in her wildest dreams. My boo Scott Eastwood plays her counterpart in the music video, need I say more?

10. How You Get The Girl // 📸📸📸

Picture a group of younger girls holding hairbrushes and dancing with each other until their bodies are tired. This is the song they’re listening too! The song is cute for sure! It’s an ode to men on how to get the girl you want by following Taylor’s simple instructions! I wonder if it worked for anyone...

11. This Love // 📸📸📸📸📸

One of my favorites on the album and the most stripped down, this song is absolutely beautiful. The way she sings about this resurrected love she had for someone just makes you swoon with tears in your eyes. It stands out from being so different production wise, but it’s the hidden gem on the album for sure. Love this one.

12. I Know Places // 📸📸📸

Ryan Tedder from Onerepublic produced WTNY and this track on this album. While I prefer the opener of the album, this song is definitely the most eccentric off the album. I love her use of metaphors in this song, where she talks about how she knows places to go when it’s time to hide from the media and the paparazzi when she’s just trying to have a nice time with her lover. It’s mystical and cool, and I dig it.

13. Clean // 📸📸📸📸📸

This is my favorite track on the album, periodt. So many things about this song just sit right with me. First, she worked on this track with Imogen Heap- who’s incredible and who’s sound really showed it’s wonderful face in here. Her background vocals also provide such an alluring sound to Taylor’s whimsical falsettos, you can’t help but to fall in love. And the lyrics are simple and pure. She’s telling a story about someone who brought a lot of negativity in her life and how she learned from it and is wiping her slate clean. Something we all can relate to. Such a beautiful way to close out the album.

There are three bonus tracks as well on the Target Edition that I’ll add as well...

Wonderland // 📸📸📸📸📸

A glorious and wonderfully produced song about her lover and them finding complete bliss just being with each other. Definitely would’ve replaced this with Shake It Off and would’ve been okay with that. It’s a really neat song with awesome instrumentals and Taylor’s voice sounds wonderful in it.

You Are In Love // 📸📸📸📸

So this song sounds like This Love Part II. It’s beautiful and Taylor is pretty much giving ya the tea on signs of when you’re in love when in a relationship. It’s very cute and could probably be used in a rom com of some sort. I think it too, is good enough to replace SIO, but at least we got this as a bonus!

New Romantics // 📸📸📸

So this one is tricky. I like it to a point. It’s for sure my least favorite bonus track and doesn’t really connect well with the album, which is why I think she left it off. During her concert, she played this and I much preferred it live. It’s a fun song but the replay value is up there like most of the album is.

So overall, 1989 has my heart. As a whole, cohesively, it’s my favorite record that I could listen to from start to finish without skipping much of anything! What do y’all think?

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hallelujuh · 6 years ago

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shay’s favorite albums of 2017

didn’t commit to finishing this until the literal very end of 2018 but whatever fdjhfkjdsnfds

I’m not sure if it was my newfound willingness to explore new genres and artists, but I thought 2017 was a fantastic year for music. Plenty old favorites of mine released new albums this year, and I was lucky enough to discover a lot of music, both from new musicians and old. Here’s my top twenty albums of this year.

20. Divide by Ed Sheeran

19. Fin by Syd

18. Blossom by Milky Chance

17. I See You by the xx

16. Trip by Jhene Aiko

15. Good for You by Amine

14. Future Friends by Superfruit

13. Sacred Hearts Club by Foster the People

12. American Teen by Khalid

11. All We Know of Heaven, All We Need of Hell by Pvris

10. From the Outside by Hey Violet - While I originally only cared about this band because it’s composed of mostly girls, which is rare, I’ve grown to really love them as musicians. They’re very creative, producing catchy pop tracks that aren’t like most pop songs, and their debut album is fun as hell. Each song makes the listener feel badass and sexy and young, and you just kinda wanna dance and enjoy life. Favorite track: Tie between Like Lovers Do and Unholy. The former is distinctive and unique, and reminds me of Emilie Autumn, and the latter is incredibly well-produced and pretty visceral for a pop track by such a young band.

9. After Laughter by Paramore - Continuing their previous album’s sound so that every song sounds like Ain’t It Fun, After Laughter has a gorgeous aesthetic, a memorable sound, and, notably, follows the trend of most emo artists of today - disguising sad lyrics beneath happy music, as made famous by Twenty One Pilots. Each song is catchy, allow the lyrics all leave you feeling a bit empty, but you’ll be dancing to misery. Favorite track: 26. I’m always a sucker for the one mellow song on an album full of bops, and that rang true once more. 26 is about reflecting back on how you’ve spent your youth, and it’s paired with a bittersweet simplistic guitar. Hayley’s vocals hold pain, but also gratitude.

8. Hopeless Fountain Kingdom by Halsey - I’ve been a huge Halsey fan since before Badlands even came out, when all we had was Room 93 and live versions of then-unreleased tracks. Though her evolving sound was criticized by some, I appreciated that HFK follows the formula so many other sophomore records follow, with the lyrics addressing new-found fame and how the artist is dealing with it, and also how they want their sound to be since they’ve already made it big. This record was clearly more hip-hop driven, with production that sounded heavily influenced by Kanye, but it felt fitting. Furthermore, HFK is the redemption arc to Badland’s heartbreak-themes. It’s really a triumphant album overall. Favorite track: Sorry. While 100 Letters is my most-played track and therefore a close second, because the simplistic beat allows Ashley’s lyrics to shine, and she’s a lyricist and a poet before she’s a singer - I believe Sorry is the quintessential song from this record. Her pain is so tangible in this stripped-down ballad, and it’s such a nice switch from her usual lust-driven upbeat songs. I always have respect for musicians who can bear their sleeve in such an open, honest way, and while Ashley’s always been vocal about her struggles, it’s still nice to hear such a heartfelt track come about even after all her success.

7. Dua Lipa by Dua Lipa - This young pop singer's self-titled debut is a catchy, passionate, and solid record that's earned her a well-deserved place on the charts and in people's playlists. The songs are rather cliched, recycled themes that I've heard from dozens of other young female artists, but there's some emotionally-charged pop ballads that show potential. Dua's vocals remind me of a raspier Ariana Grande mixed with a less-powerful Christina Aguilera. Seeing as those two aforementioned singers can over-do their performances a bit, I enjoyed this mellower newcomer. Don't get me wrong, Dua's unique in her own way, and she's hardly a copycat; but I'm worried her talent will overlooked because there's already others like her. Still, it was a solid album that I enjoy thoroughly, and I had multiple tracks from it on repeat.

6. Beautiful Trauma by P!nk - I've been a P!nk fan since I was very young, and this album was wonderfully nostalgic to me. P!nk's one of the few artists who's never been swayed by a need to stay relevant; she just makes the music she wants to make, and her fans love her for it. This record was, at times, a little generic beat-wise, but still distinctly P!nk. As always, she wore her heart on her sleeve and you can feel how personal every song is; how genuine every word is. It really pays off. Favorite track: Barbies - This is a song I think every girl over thirteen can relate to. I'm twenty years younger than P!nk, but this track really resonated with me. It was the only song on this record I listened to repeatedly. I think every girl wants to grow up as quickly as possible, but once you reach adulthood, you just want to be a kid again. You long for simpler times. The beautiful message of the song (enjoy your youth) is paired beautifully with gorgeous instruments (violin! cello! wow!), which adds a timelessness to the track.

5. One More Light by Linkin Park - Although most, myself included, were unhappy with the pop-driven sound of LP’s seventh effort, the death of Chester added a lot to how meaningful this album is. Listening to it now fills me with a hopeful nostalgia, in contrast with how I listened to it in the days following his passing. What once sounded like a cry for help that no one listened to, now sounds like a triumphant farewell. As usual, these guys put their hearts into the making of this record, and it’s a real bummer that it took Chester killing himself to make people appreciate that. LP is a master at their craft, regardless of what genre they’re feeling at the moment. It’s a solid album, full of truly heartfelt lyrics and Chester’s beautiful voice, and I’ve often found myself listening to it when I’m feeling down. It really helps. And that’s what LP’s music has always been about, I think. Being there for you when you feel like no one else is. This album still felt like that, even though it was through a different genre. They let go of the anger that fueled their signature sound in the beginning, in exchange for a more rounded, reflective take on things. I think that’s comforting, and beautiful, in a way no one seemed to understand. What’s better than someone making peace with the world? Alternatively, what’s worse than someone taking their own life because people didn’t want to see them get better? Favorite track: Talking to Myself. I watched this video the day it was released - hours before Chester’s passing was announced. I enjoyed the bass and the video made me smile. After I found out, and after a few hours of crying, I rewatched this video, and it meant so much more the second time. The song itself is a favorite because it’s such a fun track. The bass line is catchy as hell, and my favorite part of the song is the chorus following the bridge, where Chester does a powerful run and then briefly lapses into Meteora-style vocals (”you keep running like the sky is falling”). That bit is so profoundly incredible to listen to for me, and I’m glad he left us with it.

4. Revival by Eminem - I’m one of the biggest Eminem stans of all time, so I’d probably buy a record that consisted entirely of Marshall shitting - but in all actuality, though he could never disappoint me, I was prepared for the worst, and I was pleasantly surprised. This album felt more solid than MMLP2′s experimental sounds, with Em showing us he really hasn’t fallen off. His usage of words like “lit” and “shook” are admittedly a little cringey, and his take at a more modern sound on Believe (with a trap beat and a Migos-like flow) is questionable, but the lyrics show he’s just as on top of his game than ever. It’s not an instant-classic like MMLP - those days are probably over - but it’s a decent record with several damn good songs. (Edit, 12/2018: Bro I wrote this last year, what the fuck was I on dgfkjdgh.) Favorite track: In Your Head. While the most memorable tracks on this record are definitely the collaborations - my favorites being River with Ed Sheeran and Need Me with P!nk - this rather short track really stood out. I listened to the album for the first time on my CD player, without having looked at the track listing since it was released a few weeks back, so every song was a surprise, and when I heard O'Riordan’s vocals, I got very excited, since Zombie is one of my favorite songs of all time. Though the original song is about war, Em raps over the sample track’s bass line and signature guitar riff and speaks about the skeletons in his closet with a passion reminiscent of The Eminem Show and a flow taken from his Recovery days. The smooth transition to Castle is another nice touch. While his speed in the last thirty seconds of Offended is impressive (with Flight of the Bumblebee in the background! Ha!), this was the song that sold me on this album. It’s everything I love about Eminem. (Note: This was written before O’Riordan’s passing. RIP.)

3. Scum Fuck / Flower Boy by Tyler, the Creator - From the goofy poster boy of a generation of carefree and colorfully dressed punks, to an extremely talented and capable producer and musician, watching Tyler’s growth as an artist and a human has been extremely rewarding, especially as a longtime Tyler/OF fan. While Cherry Bomb failed to impress me in the midst of my emo-craze, I appreciated that it was a turning point in Tyler’s career. SFFB, however, successfully took me right out of my indie-craze. Flower Boy builds upon what Tyler tried to do on CB, and it works out much better. Watching his brilliant NPR Tiny Desk Concert only solidified this belief. Tyler’s a musical genius, and I hope more people come to realize it. Favorite track: 911/Mr. Lonely. The whole record is full of earworms - Glitter, Boredom, See You Again - and it’s truly a feat Tyler was able to pull that off. But I have to go with this single - both songs are catchy, the production is masterful, Frank Ocean and Steve Lacy’s voices are beautiful. Who Dat Boy didn’t particularly excite me upon first listen, but these two tracks did, because they reminded me how talented and incredible Tyler is.

2. DAMN. by Kendrick Lamar - My favorite thing about musicians is getting to watch them mature, both musically and personally. I’ve frequently compared DAMN to J. Cole’s 4 Your Eyez Only, as both records feature Jermaine and Kendrick discussing much more mature concepts within their albums. Kendrick’s always been grounded because of his upbringing, whereas Cole was a little more blinded by fame for the first few albums. However, since their respective last albums, Kendrick has gotten engaged, and Cole got married and had a little girl (EDIT: Apparently he had a boy!), and you can hear how these lifestyle changes have influenced their lyrical content, which is really nice to behold. Kendrick’s always seemed like a very intelligent person, with an understanding of the world many in his field lack, and this album highlights that beautifully. Favorite track: Humble. While Love’s a personal favorite, Humble’s success reminded me of Control. I still remember the day that dropped - and Humble felt similar, as it was Kendrick reminding us that he’s simply on another level. The simplistic and almost grating beat excellently parodies every single rap song that’s on the radio these days, except Kendrick proves his superiority by showing us that the beat’s not the important part; the lyrics are. It’s genius, and I’ll never get over how iconic it is, honestly.

1. Saturation I, II, & III by Brockhampton - Because this remarkably talented new group released three new records this year, and I can’t pick a favorite, nor can or do I want to rate them separately, they easily earn this spot. With flawless and innovative production, refreshingly creative and intricate lyrics, remarkable versatility, and, best of all, a youthful individuality reminiscent of Odd Future circa 2011, Brockhampton is one of the best things 2017 has offered. I’ve grown attached to these kids, and I’m glad I’ll be able to see where they go and how big they get. Favorite track: Star. While Junky is the most impressive track, and Follow is my personal favorite, Star earns this spot because it’s the song that single-handedly got me into Brockhampton. The name-dropping bop is a good introduction to the band, as it features their signature memorably synth-infused beats, Ameer’s clever wordplay, Ian’s favorite thing to talk about (his sexuality) as well as his penchant for hooks and bridges, Merlyn’s loud and brash vocals, etc. I won’t be compiling a list of my favorite songs of this year, but if I did, this would easily make the top ten. It reminded me exactly why I love rap music, in a time when I was beginning to doubt hip hop.

honorable mentions

CTRL by SZA - Though I’d never heard of SZA aside from her feature on Consideration, this album was hyped immensely by Twitter, so I felt I had to check it out. Unfortunately I was disappointed. Although the album’s masterfully done, and I love the production and her voice, the lyrical content ruined it for me. Of course, this is personal preference, and she’s allowed to write songs about whatever the hell she wants to, but the nature of the lyrics were what kept me from being a fan. To each their own, I guess.

Everybody by Logic - I wasn’t a big Logic fan prior to 1-800. Funny story, actually - I thought he was entirely white, and I’m vehemently against white rappers. He's more like a biracial Kendrick, especially in flow on Hallelujah. The record continues the trend started by Bey’s Lemonade of celebrating black power and beauty, with Logic demonstrating a fresh, biracial perspective on it. Loved that there were actual instrumentals, that was refreshing, considering modern rap beats are often created entirely using synthesizers. Also love that Logic’s cementing himself as the Inclusive Rapper, and accepting that title proudly. Good for him.

I Decided by Big Sean - I’ve been a casual Big Sean fan since Finally Famous (2011), but he’s very rarely impressed me with his lyricism. This album showed that Sean’s matured and grown as a person and a rapper, but the songs didn’t leave enough of an impression on me to be featured on my list.

Lust for Life by Lana Del Rey - Although I’m sure die-hards were more than happy with this record, I didn’t enjoy it as much as I wish I could’ve. Lana’s sound hasn’t changed much, so I don’t think the quality of her music is decreasing, I just think my tastes are changing. This newer stuff hasn’t appealed to me nearly as much as her Born to Die/Paradise stuff did. I think 2012!me would’ve loved this record, but 2017!me was unsatisfied.

Melodrama by Lorde - I can always appreciate growth in an artist, but in Lorde’s case, I couldn’t bring myself to like the change. While there’s traces of the sound that put her on the map, and the music still sounds like teenage rebellion, it just doesn’t invoke the same feelings. It’s less grounded - and not in a good way.

Lovely Little Lonely by The Maine - The pop punk 1D continues to make catchy, solid tunes, but nothing about this record particularly stands out to me. Still, it’s a decent album from an underrated band.

extended plays

they’re too short to be included in my top albums, but i wanted to mention them anyway.

Caught Up by Sarah Close - I found this adorable Brit through her fantastic covers of popular songs, and thankfully I was subscribed when she started posting original music. Caught Up isn’t particularly unique, but the songs are fun, her voice is wonderful, and it’s a solid little EP.

Y.O.U by Dodie - I’ve watched Dodie’s covers for a while, so it’s nice to see she’s making original stuff. Love the style of it. Very excited to see what she puts out next.

dont smile at me by Billy Eilish - The fifteen-year-old, who sounds very similar to the recently-disgraced Melanie Martinez, may talk like an annoying skater boy, but her angelic singing voice keeps pulling me back in. I’m not used to talented celebrities being younger than me. It’s depressing. (EDIT: I spelled Billie wrong jdgdhf she’s in my top 10 artists of this year now too hahh)

Hard by The Neighbourhood - This band has been a favorite for four years now; I even saw them live for my birthday in 2015. They could never disappoint me, but their recent music hasn’t changed much to what long-time fans like myself fell in love with in the days of I Love You, which is nice to see, when so many other artists I used to like are experimenting with their sound in unflattering ways.

#mine #txt #2017

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musicreviewsthatdontsuck · 7 years ago

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“I Brought you my bullets, You Brought me your Love”

“I brought you my bullets…” is the first album released by American rock band “My Chemical Romance” in 2002. As the story goes lead singer Gerard Way was a struggling comic book author working from his basement. After the events of 9/11, he decided he needed a change in his life so he decided to start a band with his brother. He took guitar lessons but never really grasped the instrument (I know that feel) so he took on lead vocals.

Instrumentation

Each song on the album has a very gothic feel, which might surprise those who associate the band with the more “emo” subculture. Matching the very dark subject matter of the lyrics, Ray Toro and Frank Iero provide layered riffs. However unlike many bands, having two really talented guitar players didn’t drown out the bass. Mikey Way’s chill basslines still shine through predominately through a lot of the songs. Take “Honey, this mirror isn’t big enough for the two of us”for example a very heavy and brutal song which starts right off the bat with a creatively dark riff but expertly slows it down near the end with Mikey Ways bassline before picking it up again with the guitars. Now something I continue to be surprised about, is the drumming across the MCR discography. The drumming on this particular album was performed by Matt Pelissier whos skill actually reminds me a lot of Dave Grohl, knowing when to back off and let the guitars do there thing but not letting himself be too intimidated to unleash his own power, it’s honestly really fun to listen to. Now is the time where the fandom brings out their pitchforks and razor blades because I’m about to state some things I don’t like about the album musically. The most disappointing part of the album was probably the ending of it, however not in the “I love this album so much I hate that its over” way more of the “who ever made the decision to end the album like that should be shot” kind of way. The abrupt ending of “Demolition Lovers” is just so…fucking dumb there is no sugar coating it, it’s just musically unintelligent. Unlike songs such as Muse’s “Time is running out” which uses the abrupt ending to exaggerate the songs meaning and is more of a soft rolling stop. “Demolition Lovers” just jerks to a fucking ending like that one friend that doesn’t know how the brakes in their car work. It’s such a weak and disappointing ending to the album that when I first heard I legit thought my fucking phone crashed. “This is the Best Day Ever” has a similar problem but I can write that off for two reasons. One, it’s a much shorter song that quite possibly might have just been album filler which means it doesn’t pull you in as hard, and two ITS NOT AT THE END OF THE GOD DAMN ALBUM. Lightening things up I would prefer if Mikey’s bass was more predominant at parts, he clearly plays well so they should give him more of the spotlight every once in a while. Of course we live in a post “Three Cheers for Sweet Revenge” world so I know that it only gets worse from here so I shouldn’t have been surprised but this first album shows just how much more unique the band would have sounded if Mikey bulked up his sound a bit more. My favorite song on the album personally is “Early sunsets over Monroeville” though I do secede that musically “Headfirst for Halos” is better. “Headfirst…” starts with some beautiful riff work accompanied by the aforementioned stunning drumming before going full out headbang mode (don’t judge me) with an impassioned scream by Way. I like “Early sunsets…” more because the juxtaposition of calming musicality and the increasingly desperate and frantic lyrics isn’t a trope that’s used nearly enough speaking of lyrics though….

Lyrics

Gerard Way is one poetic mother fucker. The lyrics were pretty hard for me to analyze because it seems as if he wrote the lyrics as poems or short stories first and then wrote music match while editing the poems/short stories slightly to better work as a song. However this writing style really allows the lyrics to shine and the wordplay and diction to really grasp you. Take “Drowning lessons” at first listen I thought it might be a generic song about death specifically by drowning (it would actually make sense considering the later releases by the band) however looking at the lyrics more closely there are clear references to marriage, keeping with the theme of the album. Of course with all poetry it’s very open to interpretation in terms of meaning. the repeating themes can be a turn off to some listeners as it can bring up a “all these songs sound the same” kind of feel but I didn’t have a problem with it. Then again I am the kind of person who can listen to Jimmy Urine scream into my ear about sex and drugs for 45 minutes so different strokes I guess. I will say this now to avoid any confusion, I DO NOT PROFESS TO KNOW THE MEANING TO ANY SONGS, unless I’ve read or seen that a song was confirmed to be about something specific by the artist, I will be relaying what I think the songs are about or what the lyrics convey. Disagree with me, tell me what you think, I’m totally down to discuss. Lyrically the songs that stick out are “Skylines and Turnstiles” a song about 9/11 that skips the shitty “AMERICA FUCK YEAH” sentiment and takes a more somber and (arguably) more respectable approach. Then there’s “Headfirst for Halos” which has allusions to both “Alice in Wonderland” and “Peter Pan”. Gerard delivers the vocals very cleanly despite his not very clean vocal style. His passion while singing matches the lyricism and theming perfectly. I actually prefer the more raw sound of Gerard Ways vocals in his early days then the more “polished” sounding “Danger Days” or even “Black Parade”.

Conclusion

“I brought you my bullets…” is an amazingly unique album filled with dark gothic themes and raw powerful vocals. The instrumentation of the album beautifully compliments Way’s vocals with creative and powerful riffs and they know how to use their FUCKING RHYTHM SECTION. Anyway now comes the time where I’m expected to rate the album so people can scroll down see the score I gave it and then immediately challenge me on it without reading my actual statement so I think overall, I’d have to give this a solid….

Another album to make my parents worry about my mental health/10

#my chemical romance #frank iero #ray toro #mikey way #matt pelissier #music reviews #album reviews #music #album

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doomedandstoned · 7 years ago

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Strike The Sun: An Interview with Miami’s SHROUD EATER

~By Billy Goate~

~Pictures by Wicked Ways Photography~

This piece has been a long time coming. SHROUD EATER has been a powerful force in doom metal for damn near a decade. Their sound crackles with electricity, with a rumbling low-end that has caused a ripple in the underground and vocals that soar triumphantly above the rubbled landscape. It's inexplicable that we haven't covered them in these pages before. Chalk it up to a scene that has just mushroomed exponentially in size since Doomed & Stoned blasted off in 2013. I came within feet of seeing them at Psycho Las Vegas a few years back, but by that time in the festival I was so exhausted I overslept. So it was high time we gave the Miami trio of Jean Saiz (guitars, vox), Jan Valentine (bass, backing vocals), and Davin Sosa (drums) some love. This has been an eventful year for the band, seeing the realization of their second full-length, 'Strike The Sun (2017 - STB Records), and then having the unenviable experience of seeing this self-same sun "stricken" by a certain hurricane called Irma just a month later. The band was kind enough to oblige me an interview in the days following, including an in-depth, track-by-track walkthrough of their Doom Charting new record.

The new record is a behemoth. Are you finding your approach to writing as a band has changed significantly since the early days? What's your creative process like now?

Jan: First off, thanks for digging the new record! Now, as far as the writing process goes, it’s definitely changed due to changes in dynamics within the band depending on who we’re writing with. I feel that with Davin in the band we are all more involved as a unit. Normally, a riff idea blooms, one of us writes lyrics, things just come together and if it feels right we run with it. Sometimes Jean, being the main song writer, has a solid idea to work off of. Currently, the process has a pretty organic flow.

Most young bands would find it hard to envision five years together and hear you are inching ever closer to 10. I'm curious, how your relationships with one another evolved over the years. Assuming you've always been tight. Would you say being in a long-term band relationship is more or less like being in a marriage? Weird question, I know.

Jan: I personally refer to a band relationship as being very much like a marriage, so not a weird question at all. Jean and I have been together 15 years, have been in this band for about a decade now and have been playing with Davin for a little over two years. Personalities, creative interests, sense of humor, compromise, communication, similar goals -- all among the many things that need to jive in order to make a relationship work. If any of these aspects don’t mesh or there’s no connection it’s very difficult to come together creatively. Writing is very much an intimate experience whereas performing can easily be compared to letting it all hang out so to speak. When shit works, it just does.

What do you all do when you're not creating and performing music?

Jan: Jean is a graphic designer by day and works on commissioned artwork by night. She also runs her cassette label, Primitive Violence. She’s worked on some really killer releases including our limited edition cassette packages for Strike the Sun. Davin is a skilled sushi chef and can also whip up a mean hot sauce. He’s a video game enthusiast and is really good with horses. I’m a full-time photographer, animal lover, dabble in incense-making, and a B-movie buff. I enjoy collecting shitty movies and forcing friends to watch them.

This is your second full-length in 6 years. How is it different for you putting out an LP versus and EP? Does it basically just come down to the number of songs you have on hand? What's special about this LP for you?

Davin: Wasn't here for the whole six, but it's pretty much just that. There's definitely an urge to make the songs on an LP flow better together, while an EP can be presented as a “grab bag” of songs. Aside from being my first longer release with the band, what makes this one special for me is how Jan and Jean pretty much let me do things my way (the dumb, hard way) on the recording front. It was a crazy learning experience, and I’m grateful for the opportunity to have put us all through hell and back.

The sound on 'Strike The Sun' is exquisite. I feel surrounded by fuzz, so thick you could slice it with a knife and gobble it whole! Take us inside the studio and share, if you will, what it took to capture just the right tone and tenor you wanted. For instance, what gear did you/do you find essential to get the sound you want?

Davin: Thank ya! We captured the raw DI signals for guitar and bass in the comfort of our respective homes, and took those dry tracks with us to HiFive Audio in Deland, Florida to be re-amped through the gals’ rigs. This allowed the boys at HiFive to really dial in a great tone without worrying about the strength of our performances. As far as gear goes, Jean’s sound hinges largely on the Black Forest, Pharaoh, and Quantum Mystic pedals, all by Black Arts Toneworks, running full-stack out of a Verellen Skyhammer and Matamp GT 120. Jan also sports a Black Forest alongside the Revelation Superbass, all out of a Fender Super Bassman. Vocals were done at home with me in a similar fashion to the guitar ‘n bass, with drum tracking also taking place at HiFive. All lovingly mixed by Sanford Parker!

Did anything change between the practice room and the recording studio in regard to the songs to more fully realize your creative vision?

Davin: Small things like licks and fills. In a more substantial way, vocal parts got a little more detailed, and a couple songs got the synth treatment. I think the mantra was to not add anything engaging enough to the point where it's absence in a live setting would be noticeable.

You've worked with various producers over the years, but seem to have found your sweet spot with doing the recording yourself. Tell us about the difference it makes having Davin Sosa in the engineer's seat.

Jean: Having someone who is in the band handle the engineering and recording is great for us, because it assures that we have someone who really cares about and will go the extra mile on what they’re working on. He has an exceptional attention to detail, knows the songs from all angles, and he really loves the process of recording; I think that shows in everything we’ve put out since he’s joined us and I feel very fortunate in that respect.

Ok, let's get to the fun stuff. Take us through 'Strike The Sun' and guide us into this landscape of fire, flesh, dreams, and disaster. Is there an interlocking character to the songs we're hearing? Perhaps you can walk us track-by-track through the album, if you like.

Jean: Fire, flesh, dreams and disaster is a perfect summary! There are many references to not being of one flesh or skin, creating a certain sense of unstoppable will power, death, destruction and the lot. So let’s go on that track-by-track stroll:

Smokeless Fire