#i used to prefer their vocal heavy songs but lately i like their older stuff without vocals way more

[spidersunny]

ooooh okay i just got the chance to listen to the new machine girl song and i like it yaaayyy

[waugh-bao]

I know you don’t really like Mick’s solo output, but what do you think about Keith’s?

I have mixed feelings about it. If I were to rank all of the Stones solo musical ventures, it would definitely be Charlie > Keith > Ronnie > Mick. Which, naturally, was also Keith’s opinion on the matter:

I’ve never been a fan of the Stones covers he did with the Winos, the tempos are always a mess and they drag.

As for the stuff that’s solely his, I think it’s a mixed bag. He’s genuinely very talented as a lyricist and I like the subject matter he tends to focus on, because it’s a lot about complicated and long term/older relationships, which isn’t necessarily a mainstay of mainstream rock. And I also enjoy his voice, he’s not Pavarotti or anything but he knows how to write for his own range and vocal quality.

That said, I feel like the music/band itself tends to be very hit or miss, and I actually tend to prefer the songs where it’s Charley Drayton playing drums instead of Steve, he’s got a lighter touch that suits Keith’s style better. I was at performance the Winos did at the Beacon Theater 2 years ago as part of Love Rocks NYC and for unexplained reasons (what I heard on the grapevine is that Steve and Charley had some kind of falling out related to Charley’s late wife) Charley wasn’t there. The choice of songs for the set kind of sucked and the replacement bass player was no good, but I don’t think that performance is probably representative of what they were like in their heyday in the late ‘80s/mid ‘90s. Still not thrilled with how much money I spent on a ticket for such a mediocre performance. Hozier and Mavis Staples were great, though.

His collaborations with Levon Helm and Tom Waits are both gorgeous and there’s some beautiful covers by him of Mingus and other artists floating around out there. It’s not *really* solo Keith, but for my money his best stuff in that realm will always be the songs he sings solo on the Stones records, particularly “Little T&A” from Tattoo You, “How Can I Stop” from Bridges to Babylon, “Thru and Thru” + “The Worst” from Voodoo Lounge, and “Slipping Away” from Steel Wheels. Also “Alteration Boogie”, even though nobody was ever kind enough to give us an official release.

Ironically, I listen to him most often when I’m exercising, especially running or doing boxing drills with a heavy bag. I will say that I have a special place in my heart for “Hate It When You Leave.” The lyrics are so him, of course, but it used to be a song that was perpetually on my playlist for nighttime runs in London, and I have many fond memories of listening to it while flying through the shittier parts of Shoreditch and Camden Town.

[aforrestofstuff]

Okay! I have a burning question for you, my dude. Music is my life, and I wanna know what kind of music the OPM casts listen to. Thanks, my guy!

I had a feeling this would be inevitable lol. I don’t really know a whole lot about music or genres or anything like that so I’m just gonna give you a rundown of each character individually and some song recs along with that just to smooth things out a little. Thanks for your ask, by the way! ❤️ Now my playlists will be put to good use.

A Brief Rundown of the Major OPM Characters’ Music Tastes:

Blast: hc that he doesn’t even have ears since he never fucking LISTENS

Terrible Tornado: Stuff that makes her feel powerful. Loud vocals and good instrumentals. Also, she’s a little angsty since she’s saltier than the gotdamn Pacific almost all of the time. (Recs: Florence and the Machine - How Big, How Blue, How Beautiful, Susanne Sundfør - Delirious, Florence and the Machine - What Kind of Man, Kali Uchis - Dead to Me, Let’s Eat Grandma - Falling Into Me)

Fubuki: some of that real classy shit. Slow songs that are nice to just have a cup of tea with. Nothing too meaty or fast-paced, she enjoys taking a moment to breathe every once and a while since life gets pretty hectic when you’re managing a gang of some 30 hooligans. (Recs: Wes - Midnight Low, any song from Lana Del Rey’s entire discography lol, Florence and the Machine - Grace, The Marìas - I Don’t Know You, Yellow House - Ain’t Gonna Call, Feng Suave - Toking, Dozing)

Silverfang: Stuff from his time. I hc that he was a bit of a party animal back in his prime so he’s gotta have those grooves. Disco to the extremo. Also, another hc: Garou absolutely hates his music. He would play it during training and Garou would contemplate homicide. (Recs: Frankie Valli - Grease, The Edgar Winter Group - Free Ride, KC and the Sunshine Band - I’m Your Boogie Man, Matthew Wilder - Break My Stride, The Main Ingredient - Everybody Plays the Fool, Andrea True Connection - More, More, More)

Bomb: save as Silverfang, although I hc that Bomb was a little more of a nerd growing up. Still, he never missed out on a good party. (Additional Recs: KC and the Sunshine Band - Get Down Tonight, The Trammps - Disco Inferno, Tierra - Together, Cornelius Bros and Sister Rose - Too Late to Turn Back Now)

Atomic Samurai: Old shit. Shit older than Silverfang. He’s really not that old, but his soul is fucking ancient and he’s got that classic “grrr music these days sucks” kind of shithead attitude. (Recs: Jim Croce - Time in a Bottle, Dion - Runaround Sue, The Carpenters - The End of the World, The Band - The Weight)

Child Emperor: Upbeat synth. Stuff to listen to while he’s working on his machines and whatnot. Probably has meaty beats to keep him in tune with what he’s doing, like working around a clock. Probably some groovy citypop in there too. (Recs: Taeko Ohnuki - 4:00 AM, Junko Ohashi - Telephone Number, Tatsuro Yamashita - Magic Ways, Hiroyuki Sawano - NEXUS, Superfly - Kakusei, Mariya Takeuchi - Plastic Love)

Metal Knight: Intrumentals that Disney villains listen to. Deep, dark shit that makes you feel sad. He probably feeds off of negative emotion. What a toolbag. (Recs: Lucas King - Sociopath, Abel Korzeniowski- Table for Two, Max Richter - Never Goodbye, Max Richter - She Remembers, Evelyn Stein - Quiet Resource, Mac Quayle - Adagio in G Minor)

King: video game soundtracks, obviously. Might be some electro funk in there too, as a treat. (Recs: Metal Gear Solid 3 OST - Snake Eater, Mick Gordon - Rip and Tear, Xenoblade Chronicles OST - Main Theme, Persona 5 OST - Last Surprise, Daft Punk - Verdis Quo, Toby Fox - Hopes and Dreams, Disasterpeace - Prologue, iamthekidyouknowwhatimean - Run, Darren Korb - Old Friends)

Zombieman: Dad Music. Old rock that makes you wanna rail some lines of white thunder and dance on top of a car. He’d be reluctant to try out new stuff but does so nevertheless. Just a little bit of weird alternative here and there. (Recs: Poison - Unskinny Bop, Mötley Crüe - Dr. Feelgood, Black Sabbath - War Pigs, Def Leppard - Animal, CRX - Walls, MGMT - Little Dark Age, Pink Floyd - Money, Queens of the Stone Age - Villains of Circumstance)

Drive Knight: Dark synth, obviously. Need I say more? (Recs: El Tigr3 - She Swallowed Burning Coals, Trevor Something - Enjoy the Silence, Greg Drombrowski - Devour, GUNSHIP - Woken Furies, GUNSHIP - Thrasher, Carpenter Brut - Invasion A.D., Kavinsky - Nightcall)

Pig God: this guy probably just listens to ASMR of people eating food lol.

Superalloy Darkshine: Upbeat stuff that’s good for exercise; loving those new jams along with some of the old. He’s got a pretty groovy style. (Diane Ross - Ain’t No Mountain High Enough, Saint Motel - Puzzle Pieces, CRUISR - All Over, Barry White - Never, Never Gonna Give Ya Up, Sade - Kiss of Life)

Watchdog Man: 10 hour loop of wolves howling on a summer night.

Flashy Flash: classical. Some nice instrumentals to listen to while training. Stuff that preferably doesn’t have any or very little lyrics so it’s not too busy on his ears while he’s fantasizing about killing someone. (Recs: Vaughn Williams - The Lark Ascending, Debussy - Rêverie, Grieg - Peace of the Woods, André Laplante - Une Barque sur L’Ocean)

Metal Bat: Modern alternative. A little bit harder than say, Mumen and Kama, but not as hard as Zombieman or Death Gatling. He’s that middle ground where he’s still got some real bangers, but Zenko can listen as well. He’ll play this stuff loudly as he’s doing chores and working out, no headphones ever. It gets pretty annoying. (Recs: Foals - Exits, The Blue Stones - Black Holes, Solid Ground, CRX - Broken Bones, Jungle - Happy Man, The Strokes - Reptilia, We Are Trees - Girlfriend)

Genos: synth. But not just any synth, some heavy, fast-paced synth that’s just like him: speedy, relentless, and powerful. He listens to shit that’ll make you wanna get up and start killing Terminators. Probably. There’s some other synths in the mix too because we love a three-dimensional king. (Recs: Carpenter Brut - Division Ruine, The Protomen - I Still Believe, Carpenter Brut - Leather Teeth, Gunship - Tech Noir, TWRP - Phantom Racer, Le Castle Vania - Red Circle)

Tanktop Master: Dad music but the type of dad music that makes you think your dad was a sappy nerd back in the day. Long tracks that are good for workouts. (Tears for Fears - Woman in Chains, Pink Floyd - Us and Them, Duran Duran - Ordinary World, Billy Idol - Eyes without a Face, A Flock of Seagulls - I Ran, The Alan Parsons Project - Eye in the Sky, Tears for Fears - Sowing the Seeds of Love)

Puri-Puri Prisoner: Pop. Dance music. He doesn’t really get to listen to a lot of music in prison, so he holds on to whatever he can and savors every second of it. (Coldplay - Talk, Bruno Mars - Runaway Baby, Lady Gaga - Bad Romance, Flo Milli - Beef Flomix, Doja Cat - Say So)

Mumen Rider: Hes a lighthearted, soft boy. Likes some fluffy indie tunes. It helps to motivate him when working out or doing hero stuff. He might need to cry every once in a while though, so there’s some sad songs in the mix too. (Recs: Varsity - The Dogs Only Listen to Him, The The - This is the Day, Amarante - Don’t Look Back, Alvvays - Saved by a Waif, The Monkees - As We Go Along, Acid Ghost - Hide my Face, Mogwai - Take Me Somewhere Nice)

Sonic: same as Flash. He’s a little more hip with the times however, so he’s got some more groovy, electronic instrumentals to listen to in addition to some elegant stuff and isn’t opposed to having a little bit of lyrics sprinkled in there as well. In fact, he’s not opposed to uppity pop either. He thinks dancing is frivolous but he secretly does it when he thinks nobody is looking. (Additional Recs: Odesza - Bloom, Pretty Lights - One Day They’ll Know [Odesza Remix], BØRNS - Electric Love, Hembree - Culture, The Cinematic Orchestra - Arrival of the Birds)

Garou: same as Metal Bat. Bang let him have a little MP3 player during his time at the dojo and has since collected a few songs on there. They’re very near and dear to his heart since it’s one of the few good things that came from his absolute disaster of a childhood. (Additional Recs: Foals - Inhaler, CRX - Slow Down, Deep Sea Arcade - Close to Me, Gorillaz - Empire Ants, The Fratellis - Chelsea Dagger, Glass Animals - Take A Slice)

Death Gatling: Shit your old Vietnam-vet grandpa would blast on the back of his F150. He gives me self-righteous asshole vibes, if I’m honest. Like, don’t get me wrong, I like Death Gatling, but he seems like the type of trailer park-dwelling sewer rat to carry a revolver into a Walmart for “self defense” and that’s probably the type of music he listens to, too. (Recs: Megadeth - Trust, Megadeth - Angry Again, Creedence Clearwater Revival - Fortunate Son, Glen Campbell - Southern Nights, Mötley Crüe - Kickstart My Heart, Quiet Riot - Cum on Feel the Noize)

One-Shotter: I hard hc that he had an emo phase he never quite grew out of. He doesn’t quite listen to emo anymore but he’s still into that alternative shit. Homeboy also likes some slow tunes every once and a while because he’s an emotional dude who’s not afraid of a good cry. (Recs: Anything from Blink-182, Arctic Monkeys - Do I Wanna Know?, MGMT - When You Die, Mazzy Star - Fade Into You, Cigarettes After Sex - Dreaming of You, Yon Ort - Other Matter)

Lightning Max: Same as Genos but without the terminator-killing. Fast-paced stuff because he’s a fast lightning dude. A little more upbeat because he’s not as much as an edgelord as Genos, however. (Additional Recs: Carpenter Brut - Hang’em All, The Flaming Lips - Do You Realize, Worn Tin - Sensitivity, B.E.R. - The Night Begins to Shine, Martin Hall - Different Kind of Love)

Stinger: he’s all about that FUNK! Stuff that gets him moving! Stuff that makes him wanna dance! (Recs: Daft Punk - Doin’ it Right, TWRP - Body Image, Wild Cherry - Play that Funky Music, Chemise - She Can’t Love You, Saga - Wind Him Up, Saga - On the Loose, TWRP - All Night Forever)

Okamaitachi: they give me electro vibes! New, modern shit that’s good to dance to or to just sit down and have a listen! Also, some shit that’ll probably play in a coming-of-age teen movie or something. They don’t really vibe with heavy music and that’s alright, babey! Keeping it light and bouncy. (Recs: Tei Shi - Bassically, Varsity - Must Be Nice, Class Actress - Weekend, CHVRCHES - Richard Pryor, Alvvays - Marry Me, Archie, Sobs - Telltale Signs, Goth Babe - Sometimes, ALASKALASKA - Meateater)

Iaian: Nice, low tunes that are good for meditation and to be used for background noise during training sessions. He never really sits down to listen to music, it’s always in the background of something else he’s doing so he prefers to have some soft beats that don’t really interfere with his senses. Tunes so quiet, he sometimes uses them as lullabies; especially since the trauma of losing his arm has since made it hard to sleep. (Recs: Boy Scouts - Saddest Boy, Susanne Sundfør - Mantra, Vashiti Bunyan - If I Were the Same but Different, Starman Jr. - Blue Fairy, Patrick Watson - Je te Laisserai des Mots, Sibylle Baier - I Lost Something in the Hills)

Bushidrill: same as Atomic Samurai just without the shitty attitude. He’s happy to listen to some newer stuff, he just doesn’t like it and that’s okay, baby! Probably some classy shit your wise old grandpa would listen to. (Recs: Dean Martin - Volare, Dion - The Wanderer, Peppino Gagliardi - Che Vuole Questra Musica Stasera, anything from Luis Miguel lol, Franco Micalizzi - Sadness Theme)

Amai Mask: probably just listens to his own music like a putz. If not, he’s listening to the sound equivalent of glittering diamonds. He’s probably got this shit playing at the end of a long day while he’s chilling in a hot bath or something. (Recs: Fergie - Glamorous, Rita Ora - Hot Right Now, Lana Del Rey - Freak, Lana Del Rey - Art Deco, Tame Impala - Feels Like We Only Go Backwards)

Saitama: He doesn’t listen to music much anymore, sadly. He did, however, have a killer motivational mix to get him through his vigorous training prior to becoming a hero. (Recs: Paul Engemann - Push it to the Limit, Journey - Don’t Stop Believin’, College & Electric Youth - A Real Hero, Joe Esposito - You’re the Best Around, Survivor - Eye of the Tiger, The Bee Gees - Nights on Broadway)

Here’s the playlist with all of these songs in order (mostly):

It’s on YouTube because I’m allergic to Spotify. I’ve got a doctor’s note. Also, all of my other playlists are on my little profile thingy so if you want to listen to my pile then go right ahead.

Thanks for your ask, my dude! ❤️ this took up ALL of my energy lol but it was fun.

[soflsms]

   ( sorry  I'm  late  to  the  party  im  in  pst  so  i  was  at  work  til  now  sdkfjl )  ANYWHO  hi  pals  what  the  h*ck  is  up  !!  im  chloe  ,  im  21  ,  i  use  she / her  pronouns  &  im  a  broke  a$$  geography  major  !!   i  am  SO  excited  to  be  her  &  get  to  rp  with  all  y’all  bc  judging  by  your  apps  skdflj  i  fuck  with  u  all  .  anywho  ill  stop  my  rambling  ,  below  the  readmore  is  stuff  about  sofie  &  some  wcs !!  

trigger  warning  !!  sex  work  ,  deportation  ,  neglect  ,  bad  writing  ,  alcoholism  &  substance  abuse

HAILEY BALDWIN  /  SHE/HER  /  TWENTY TWO  /  BILLIE EILISH VC

welcome to los angeles , sofie almeda ! the glitterati has been watching you . rumour has it you made your first mark in the industry two years ago & that your net worth currently stands at  8m . it seems as though you’re enjoying being a  singer since relocating from  harlem , new york city . some might say you’d be a good fit for the glitterati due to your hollywood ranking being a solid  #3, & it helps that fans speak so highly of your  individualistic & assiduous ways . unfortunately , our sources cite that those closest to you aren’t particularly impressed with your  self-destructive & choleric tendencies .

stats

name  :   sofie sydney almeda

nicknames  :   sof

age  :  twenty - two  .

birthday  :  december  eleventh  .

zodiac  :  sagittarius  .

gender  :  cisfemale  (  though  doesn’t  vibe  with  the  idea  of  being  STRICTLY  a  WoMaN  ,  she  finds  labels  restrictive  )  .

pronouns  :  she    &    her  .

height  :  5 ′ 6 ″  .

hometown  :    recife  ,  brazil  &  harlem  ,  new  york  city  .

nationality  :  american  ,  brazilian  .

ethnicity  :  english  ,  portuguese   .

label(s)  :  the  venereal  ,  the  bellwether  ,  the  opulent  ,   the  anaxiphile   .

occupation  :  singer  (  vc  billie  eilish  )  .  

quirks  :  fidgeting  ,  allergic  to  shellfish  ,  walks  quickly  ,  cracks  knuckles  ,  always  wears  her  lucky  ‘  st  christopher  ’  necklace  from  her  grandmother  ,  has  a  weird  ability  to  talk  herself  out  of  trouble  ,  can  tie  a  cherry  stem  in  her  mouth  ,  messy  emotionally  but  on - point  physically  ,  vvv  bad  driver  ,  loves  a  good  theme  party  ,  can’t  get  through  the  day  without  multiple  cups  of  coffee  ,  refuses  to  wear  glasses  in  public  even  though  she’s  quite  far - sighted  ,  always  carries  hand  sanitizer ,  prefers  rain  over  sunshine  .

background

         her  mother  ,  marcia  almeda  ,  was  a  recent  graduate  from  secondary  school  who  packed  a  backpack  and  went  traveling !! before  long  tho  she  ended  up  knocked  up  by  another  backpacker  ,  this  one  american  ,  while  they  were  having  a  fling  in  sydney  (  hence  sofie’s  middle  name  lmao  @  her  mom’s  humor  )  .  she  flew  back  home  when  she  found  out  &  never  told  sofie’s  father  oops !! so  marcia  had  sofie  at  home  in  recife  just  before  her  nineteenth  birthday  ,  and  marcia  was  enthralled  w  little  sofie  .  ofc  she  inherited  her  mother’s  beauty  (  i  hc  marcia  looks  like  alessandra  ambrosio  bc  hello !  )  &  little  sofie  lived  a  happy  early  childhood  life  in  her  grandparents’  home  in  recife.

         brazil  isn’t  the  safest  of  countries  &  marcia  didn’t  want  the  same  dangers  she  experienced  growing  up  for  her  young  daughter  ,  so  around  sofie’s  eighth  birthday  ,  her  &  her  mother  packed  up  and  went  on  a  ‘ trip  ’  to  new  york  city  .  joke’s  on  sofie  ,  though  -  it  wasn’t  actually  a  trip  ,  but  rly  they  were  trying  to  move  there  to  find  sofie’s  father  to  confirm  his  paternity  and  get  sofie  american  citizenship  .  it  was  proving  more  difficult  than  she  thought  ,  &  marcia  was  quickly  running  out  of  money  .  with  a  face  like  hers  ,  though  ,  making  money  wasn’t  too  difficult  ,  but  it  was  time  consuming  .  marcia  found  herself  escorting  older  men  in  order  to  pay  the  bills  ,  all  the  while  leaving  little  sofie  to  fend  for  herself  .  some  of  her  earliest  memories  are  of  strange  men  in  their  tiny  apartment  &  sofie  trying  to  block  out  their  conversations  with  her  lil  cassette  player  hiding  in  the  corner  of  her  room  .  eventually  ,  marcia  was  able  to  contact  the  father  &  they  set  up  a  meeting  .  sofie  had  gotten  her  hopes  up  that  she  would  finally  have  a  dad  (  she  got  dressed  up  in  her  sunday  best  &  everything  bc  reuniting  her  dad  was  a  BIG  deal  ) ,  but  the  meeting  ended  up  being  a  quick  exchange  of  words  ,  a  mouth  swab  and  a  couple  signatures  .  sofie  never  even  learned  his  name  ,  & this  queued  up  a  lifetime  of  daddy  issues  &  distrust  of  men  !!

        while  marcia  was  able  to  stay  in  america  much  longer  than  she  was  legally  supposed  to  ,  eventually  she  was  facing  deportation  ,  which  meant  lil  sofie  ,  with  her  citizenship  finally  confirmed  ,  was  put  into  the  hands  of  her  father  who  sent  off  to  an  american  boarding  school  in  new  york  without  even  contacting  her  .  she  would  spend  the  summers  in  brazil  with  her  mother  or  ,  as  she  got  older  ,  couch - surfing  with  different  friends  throughout  the  months  .  she  started  growing  apart  from  her  mother  as  she  aged  since  she  wasn’t  going  home  every  summer  since  she  didn’t  rly  feel  any  connection  to  brazil  .  her  grandfather  had  passed  away  &  she  only  has  faint  memories  grandmother  ,  plus  the  city  wasn’t  at  all  familiar  to  her  &  she  wasn’t  practicing  her  portuguese  after  her  mother  returned  to  brazil  .

         through  it  all  ,  music  was  proving  to  be  the  one  constant  in  her  life  she  could  use  to  escape  from  reality  .  she  had  never  done  any  training  or  classes  ,  but  she  just  liked  singing  along  to  whatever  was  on  the  radio  & practicing  on  her  own  .  she  also  found  a  passion  for  writing  poetry  which  she  later  would  realize  was  compatible  with  music  .  she  would  spend  HOURS  in  the  school  library  working  on  garage  band  lmfao  bc  she  couldn’t  afford  her  own  laptop  to  produce  music  &  her  dad  sent  just  enough  money  as  he  was  legally  supposed  to  .  but  she  worked  her  lil  tushy  off  &  applied  to  a  music  academy  in  nyc  &  was  rejected  the  first  year  (  DEVASTATING  when  mixed  with  her  impostor  syndrome  &  daddy  issues ) but  she  practiced  more  &  more  &  edned  up  getting  accepted  the  next  year  .  here  ,  she  worked  on  her  vocal  skills  &  music  production  ,  &  started  accumulating  her  own  music  &  selling  songs  to  music  producers  on  the  side  for  some  ca$h  money  .  

          by  the  time  she  was  16  the  state  decided  she  was  old  /  mature  enough  to  live  on  her  own  so  she  got  a  TINY  lil  studio  apartment  in  harlem  where  she’d  grown  up  with  her  mum  &  she  had  friends  who  she’d  grown  up  with  .  while  it  wasn’t  the  safest  neighbourhood  statistically  sofie  felt  safe  &  just  like  one  of  the  neighbourhood  kids  .  it  was  the  first  time  she  genuinely  felt  like  she  belonged .

        she  was  accepted  on  full  scholarship  to  nyu  & majored  in  music  composition  &  vocal  performance  where  she  started  finally  feeling  secure  in  herself  &  released  her  own  music  on  soundcloud  ,  quickly  amassing  a  following  &  becoming  an  ‘ up  &  coming ‘  artist  !!  she  was  contacted  by  a  scooter  braun  type  guy  who  was  interested  in  taking  her  on  under  his  management  so  she  dropped  out  of  uni  in  her  2nd  year  (  bc  tbh  her  grades  in  anything  other  than  her  music  classes  were  v  subpar  )  .  soon  enough  producers  wanted  to  work  with  her  &  she  was  making  enough  that  she  didn’t  have  to  sell  her  songs  which  she  hated  doing  but  had  to  pay  the  bills  u  know  .  oh  &  her  vc  is  billie  eilish  bc  ofc  shes  my  queen  go  stream  when  we  all  fall  asleep  where  do  we  go  on  spotify  u  won’t  be  disappointed  

        she  also  started  getting  into  the  partying  scene  here  yikes  !! it  was  a  method  for  her  to  numb  all  her  pain  from  her  past  &  impostor  syndrome  &  drown  all  that  out  in  pills  or  tequila  .  it  rly  wasn’t  healthy  bc  of  how  she  would  binge  for  a  weekend  then  try  to  stay  sober  throughout  the  week  but  failing  by  about  wednesday when  she  started  to  feel  hollow  .  she  wasn’t  gonna  be  a  one  hit  wonder  &  her  mom  sure   as  hell  didn’t  go  through  all  that  trouble  just  for  sofie  to  be  a  nobody  addict  !! so  she  kept  it  together  enough  to  start  making big  bucks  & well  …….  here  she  is  :~)

personality

        sofie  blames  it  on  her  brazilian  heritage  but  this  bitch  loves  a  party  !!  like  shes  the  one  who  gets  happy drunk  at  the  pre  then  is  the  first  on  the  dance  floor  then  later  falls  out  of  the  club  &  into  some  rando’s  bed !!  in  the  back  of  her  mind  she  knows  her  drug  &  alcohol  use  is  self - destructive  but  she  figures  shes  allowed  to  let  loose  sometimes (  even  if  that  ends  up  being  most  nights  )  ;  rly  she’s  just  in  denial  bc  she  doesn’t  want  to  change  her  ways  &  lose  her  identity  !!

        doesn’t  put  labels  on  her  gender  identity  or  sexual orientation  .  she  finds  them  restrictive  &  useless  for  herself  ,  labels  would  only  be  to  satisfy  others  .  she  doesn’t  see  herself  as  110%  female  either  like  she’s  all about  gender  being  a  social  construct  /  a  spectrum  ;  some  days  she’ll  get  dolled  up  &  wear  heavy  makeup  &  six  inch  heels  ,  some  days  she’ll  walk  around  in  a  bun  &  tracksuit  &  trainers  .  anyone  who  asks  abt  it  will  swiftly  get  2  middle  fingers  in  their  face  !! shes  uncontrollable  i  swear

         puts  up  a  tough  bad - ass  front  like  billie  does aksjdh  like  nah  nothing  can  hurt  me  im  bulletproof  !!  but  is  rly  just  kinda  broken  underneath  .  she  doesn’t  even  let  her  closest  friends  know  how  hurting  she  is  bc  she  doesn’t  wanna  burden  them  .  she  rly  uses  mmusic  as  an  outlet  tho  so  she’ll  act  totally  tough  then   go  to  the  studio  &  record  all  about  her  heartache  .  will  NEVER  let  someone  see  her  cry  no  matter  how  close  she  is  with  them  .  she  rly  sees  it  as  a  sign  of  weakness  &  shes  in  a  much  better  place  than  she  was  5  years  ago  so  she  figures  she’s  not  ALLOWED  to  feel  anything  but  grateful  .  

         this  bitch  overthinks  everything  !! half  the  time  she  isn’t  rly  listenning  to  whoever  bc  she’s  thinking  about  what  they  just  said  &  if  they’re  mad  with  her  .  she’s  that  friend  who  will  ask  u  to  come  over  to  formulate  the  perfect  text  response  &   fuss  over  it  for  hours  .  that  being  said  ,  if  someone  talks  shit  abt  anyone  shes  tight  with  ,  they’re  gonna  get  it  the  next  time   she  sees  them  .  she  isn’t  about  violence  &  would  never  get  into  a  physical  fight  ,  but  she’d  work  behind  the  scenes  to  ruin  their  life  .  but  then  she  pretends  like  she  rly  doesn’t  care  though  its  obvious  to  those  close  to  her  that  she  cares  way  too  much

has  a  very  hard  time  expressing  love  bc  she  didn’t  have  much  practice  w  it  growing  up  .  she  was  on  her  own  most  of  her  young  life  so  even  if  her  mom  would  tell  her   te  amo  she  would  be  like  uh  huh  gtg  bye !!  

tldr ;  poor  bitch  w  abandonment  issues  who  was  able  to  get  out  of  it  by  channeling  her  energy  into  music  &  numbing  the  stress  with  pills  or  alcohol  which  she  def  still overuses  but  she  doesn’t  think its  a  problem  !! yikeroony  !!  loves  partying  & having  a  good  time  ,  puts  up  a  tough  front  but  is  rly  soft  underneath  .

wanted (* = mw)

friends  from  high  school  !! -  people  sof  stayed  with  in  the  summer  bc  she  wasn’t  going  home  to  brazil  .  

friends  from  music  school  !!  -  she  def  felt  like  an  outsider  among  the  music  prodigies  at  this  school  ,  &  maybe  this  person  was  one  of  the  ppl  she  actually  connected  with  . 

come  out  &  play  !!  this  person  acts  as  a  good  influence  to  sofie  .  they’re  level - headed  &  very  grounding  ,  &  sofie  doesn’t  let  it  show  but  they’re  really  important  to  her  .  this  is  the  Softest  billie  song  (  prob  bc  it  was  for  an  ad skdj )  &  they  inspired  it  bc  it’s  how  she  feels  when  shes with  them  .  they  encourage  her  to  be  all  that  she  can  be  &  they  believe  in  her  ,  &  they’re  prob  the  one  person  sofie  trusts  the  most  which  is  SAYING  something  !!

*exes  on  bad  terms  !!  -   ok  this  would  basically  be  based  on  all  the  songs  billie  has  about  a  failed  relationship  /  heartbreak  !! shes  got  a  bunch  .  im  thnking  maybe  she  was  actually  rly  into  them  but  had  a  hard  time  expressing  it  bc  she’s never  been  good  with  emotional  expression  ,  &  it  led  to  the  relationship  feeling ?? unfaithful  /  disconnected  ??  idk  but  she  rly  loved  them  &  is  still  nursing  that  heartbreak  .  (  x  ,  x  ,  x  )

the  paris  to  her  nicole  !!  -  ok  i  f*cking  hate  that  i  said  this  but  she’s  nicole  richie  its  true  !! she  needs  a  messy  gal  pal  exactly  like  how  paris  &  nicole  are  i  stan  them  (  x  ,  x  ,  x  )

roommate  !!  -  bc  of  her  abandonment  issues  she  rly  doesn’t  like  living  alone  so  prob  is  the  roomie  who  will  sleep  in  their  bed  from  time  to  time  bc  she  doesn’t  like  being  totally  alone  .  

*when  the  party’s  over  !!  - these  two have  been  hooking  up  for  a  while  no  strings  attached  but  recently  feelings  have  been  caught  !! &  now  they  still  hook  up  quite  often  but  sofie’s  kinda  harboring  feelings &  pretending  all  is  well  but  she  rly  hopes  they’ll  just  stay  the  night  from  time  to  time  ,  &  gets  secretly  heartbroken  when  she  sees  them  flirting  or  leaving  with  someone  else  . they  can  also  have  feelings  if  u  want  that  angst :~)

fwb  !!  -  sofie  is  pretty  transparent  when  it  comes  to  what  she  wants  &  she’s  got  a  bad  habit  of  replacing  dealing  with  problems  with  getting  laid  !! like  u  know  in  movies  when  the  man  opens  his  wallet  and  a  row  of  like  20  pictures  of  different  women  fall  out  ??  that’s  sof’s  aesthetic  .  she’s  got  a  bunch  of  fwb  of  all  genders  so  bring  me  some  pls

***mutual  dislike  /  copycat  !!  self - explanatory  ,  sofie  thinks  this  person  is  copying  her  in  everything  she  does  &  thinks  its  annoying  af  so  she  wrote  a  song  abt  it  &  hopes  they  indirectly  get  the  message  even  if  she  drops  not  so  subtle  hints  .  skfldjh  itd  be  messy  pls !!

party  buddies  !!  -  someone  who  encourages  sofies  wild  ways  .  when  the  two  get  together  its  usually  to  get  drunk  or  high  &  thats  the  way  they  like  it  .  sofie  doesn’t  feel  judged  by  them  as  she  does  by  others  who  don’t  get  obliterated  at  every  social  event  (  what  an  idea  !!  )  so  she  rly  values  them  ,  even  if  she  doesn’t  express  it

 ** 8 !! - someone  who  kinda  reluctantly  got  into  a  relationship  with  sofie  out  of  maybe  a  desire  to  save  her  from  herself  ??  like  u  know  that  good  girl  bad  boy  trope  where  the  girl  tries  to  save  the  boy  from  whatever  he’s  struggling  with  ?  that’s  them  but  the  roles  are  just  reversed  -  good  guy  ,  bad  girl  .  it  was  kinda  just  filled  w  her  being  self - destructive  &  confiding  in  him  but  not  rly  reciprocating  the  care  so  he  became  kinda  distant  bc  of  it  .  tbh  she  prob  knew  he  was  too  good  for  her  but  had  a sliver  of  hope  he  wouldn’t  leave  her  even  tho  eventually  she  became  too  much  for  him  .  (  lyrics : you said, "don't treat me badly", but you said it so sadly, so I did the best I could, not thinkin' you would have left me gladly. i know you're not sorry, why should you be? 'cause who am I to be in love, when your love never is for me?” )

good influence  !! this  person  can  tell  that  her  beahvior  is  unhealthy  &  are  trying  to  gently  nudge  her  abt  it  .  she  can  tell  what  they’re  doing  but  her  addict  brain  is  telling  her  its  invasive  &  threatening  so  shes  not  the  fondest  of  this  person  ,  but  deep  down  she  really  appreciates  them

music buddies !! these  two  are  both  in  the  music  industry  &  rather  than  it  being  competitive  ,  they’ve  developed  a  friendship  from  it  & enjoy  working  together  .  

* someone  sofie  ghostwrites  for  !! for  whatever  reason  ,  this  muse  doesn’t  write  their  own  songs  & instead  pays  sofie  to  write  them  for  them  .  she  doesn’t  love  it  but  its  a  way  to  make  money  &  give  away  songs  she  doesn’t  feel  attached  to  but  are  worth  something  .  maybe  its  tense  bc  they  claim  the  songs  as  their  own  &  sofie  doesn’t  like  it  ,  this  could  be  ~escandolo~  later  !!

*** my boy ( high school bf ) !! - ok  tea  this  song  is  the  one  that  broke  her  into  the  industry  .  she  produced  it  all  herself  &  just  relased  it  to  her  soundcloud  thinking  it  wouldn’t  rly  go  anyway  but  !!  joke’s  on  yung sofie  .  essentially  he  thought  the  relationship  was  going  well  ,  she’d  met  his  family  &  they  rly  liked  her  but  !! sof  was  feeling  kinda  smothered  &  told  herself  he  was  lying &  cheating  on  her  n  shit  so  she  wrote  a  song  about  it  !! &  once  it  was  starting  to  get  attention  he  was  like  ….. uhhh  what  the  fuck  & she  was  like  haha  sorry  !! so  they  broke  up  &  ever  since  its  been  animosity ,  but  she  realizes  she  fucked  up  but  it  launched  her  career  so  she  doesn’t  know  whether  to  keep  up  the  idgaf  i  hurt  you  or  apologize  .  

* ex - friends  !!  ok  pls  i  have  this  hc  where  sofie  got  way  too  high  one  night  &  slept  with  this  person’s  dad  or  sibling  or  smth !!  u  know  that  line  in  ‘ bad guy ’  where  she  goes  ‘ might  seduce  your  dad  type  ? ’  ya  that’s  got  sofie  written  ALL  over  it  !!   &  now  they’re  not  friends  bc  sofie  can’t  keep  it  in  her  pants  but  both  sides  kinda  misses  the  other  but  are  too  stubborn  to  say  anything  :~(

exes from college / high school  !!  - ok honestly i just love all the exes plots . gimme someone who like maybe they were hooking up & decided to give it a shot dating & it worked for a while but ultimately fell apart bc of sof’s inability to open up. maybe theres still tension or maybe theyre friends now !!

* lovely  !!  -  i  need  a  male  voice  for  khalid’s  part  in  lovely  bc  i  need  this  song  in  my  life  bc  its  a  whole  ass   sofie  mood  ok  .  

i’ve  also  got  a  wanted  connections  tag  linked  HERE  dksfj there's  not  much  in  it  yet  but  feel  free  to  check  it  out  .  ok  i  love  y'all  

[lorena1956983584-blog]

How Many Completely different Genres Of Popular Music Are There? No. You are Flawed.

Genres in music are like branches of a tree. This can be a superb thing, culturally talking. The national music scene has never been this diverse. Too typically, particularly in rock's heyday, http://www.audio-transcoder.com/ it was dominated by acts that made their bones from taking nonwhite music and sanitizing it for white audiences. That custom undoubtedly lives on, in musicians like Justin Bieber, but the pop charts and critics' notebooks precisely replicate the American mosaic in a manner that they actually haven't earlier than. We could also be in the midst of a big leap backward as a rustic, but at least the music is good. Even the country charts are fairly woke.

Music Genre Classification is without doubt one of the many branches of Music Information Retrieval From here you can carry out different duties on musical data like beat monitoring, music generation, recommender methods, track separation and instrument recognition etc. Music evaluation is a various discipline and also an attention-grabbing one. A music session someway represents a second for the person. Discovering these moments and describing them is an interesting challenge within the subject of Information Science. Every technology seems to offer the subsequent one crap for its music. (See what I did there?) I teased my dad and mom about their disco till at some point all my Green Day and Good Charlotte sounded dated in my headphones. Previous people" used to inform us children that our songs have been a mirrored image of our disintegrating values, that music was worse than it was once. Positive, they missed their Elvis and their Bee Gees, however they also missed the days once we appreciated good morals. The lyrics we mouthed, the artists we worshipped, the genres we bumped were all proof of society sliding into the sewer.

Maybe unsurprisingly, Kenny finds that accidents - including car crashes and drug overdoses - are a huge reason for premature death for musicians, accounting for nearly 20 percent of all deaths throughout genres. But accidents are much more likely to kill rock, metal and punk musicians. Punk and metal musicians additionally appear prone to suicide, whereas gospel musicians had the lowest suicide charge of all genres. Homicide accounted for 6 % of deaths, however was the reason for dying for an unimaginable half of rap and hip hop musicians in Kenny's pattern. Overall, I think this project was an effective way for me to department out of the musical genres I most resonate with, and to teach myself on the history of different musical genres. In hindsight, I would have loved to include a bit and even dedicate a complete undertaking in direction of discovering the extent to which sexually explicit or violent content inside songs affect a person. This thought occurred to me once I finished a class on the College of Rhode Island which lined intercourse and violence within the media. It will have been interesting to compare the lyrics of recent songs the lyrics of older genres and see in the event that they correlate. I additionally wished to reflect on the part in my poster that includes responses to the query: what impression does music have on society". There wasn't one participant who had anything adverse to say about music, which helped me to appreciate simply how vital it has and will at all times be. Let's return to the question of Ambient vs. New Age music. In their lighter", commercialized form, well known for the reason that '80s, these may be some gently flowing, predictable pieces of music, typically utilizing just a few fundamental chords, inspiring melodies and easy, most likely synth - based instrumentation, with frequent use of piano and strings (or string-like synth pads), maybe some arpeggiated synth elements. However, in the late '60s, pioneers of digital music were already engaged on a compositionally and aesthetically a lot deeper degree to create Ambient items (and New Age music later within the '70s). The 2 albums generally credited with laying down the style's sonic and conceptual framework have been Chuck Individual's 2010 LP Eccojams Vol. 1 (a Daniel Lopatin , aka Oneohtrix Point By no means, facet project) and Far Side Virtual (2011) by James Ferraro. Whereas Lopatin sampled from Eighties pop songs and fused them with the 1992 online game Ecco the Dolphin, Ferraro aimed for ringtone music" by sampling issues like the Skype log-in sound and being inspired by Brian Eno-composed Home windows ninety five tone, although his music usually may sound like Philip Glass or even the experimental digital music of Laurie Anderson. Whereas its day has come and gone, these two Vaporwave artists and others like Vektroid—whose album Flortal Shoppe beneath the Macintosh Plus moniker is perhaps the genre's defining document—are still making and releasing new music. This compendium of differences between the cultures of jazz and classical musicians is a supply of ever-rising fascination to me. I used to feel pissed off when a violinist couldn't play a groove, or when a jazz pianist froze up in front of a written passage. However actually these are simply manifestations of variations in brain structure, variations in coaching, and finally differences in culture. When you incorporate individuals with such variations into your music in an adroit manner, you may—as a substitute of shedding one thing—augment your sources to create an art that's tremendously multifaceted and rich, that celebrates and even thrives on difference. Mr. SINNETT: With jazz? You understand, it is fascinating as a result of I used to be a musician, truly, once I first heard jazz, and once I first heard jazz - I wasn't enjoying jazz, I used to be playing traditional soul music and rock and funk and those sort of things, however after I first heard jazz, I actually did not get it because it was the whole antithesis of every thing I used to be playing at that second. In different words, you had - I was coping with music that you just had quite simple, repetitive rhythmic devises in the music. It was primarily based on a groove, a specific sort groove. The concord we had been coping with was at a much decrease level in terms of complexity and it was primarily vocal.

For these of you who assume that heavy metallic consists of the singer screaming as loud as they can, the guitarist playing the guitar as quick as they will, and the drummer banging on the drums as loud as they will, just take a moment to suppose: would it not ACTUALLY be that widespread if it was simply so simple as that? Strive listening to any heavy metal song. You may be pleasantly shocked, I promise you. The lyrics have a much deeper meaning than virtually every other style of music, and don't let the way some bands current themselves off the stage put you off. I do not prefer it when bands gown up in all-black and wear black make-up and all that stuff both, but attempt to just think about the music. There's much more to it than you suppose there is.

[voodoochili]

My Favorite Songs of 2019

2019 was a fantastic year for music, but then again every year is. We as listeners have been blessed with abundance, and tasked with the delightful work of sifting through freshwater to find gold. This year, the most reliably golden genres were West African pop and West Coast Rap. Go figure.

The following represents my favorite 100 songs of the year. My only rules: 1) one song per lead artist (a lucky few earned multiple placements through the “featured artist” loophole).

Below are the write-ups (everyone’s favorite part) and stay tuned for my albums list, coming next week. Don’t forget to scroll all the way down for a Spotify playlist of the full list!

25. Desperate Journalist - “Satellite” - A sweeping, emotional rock song by a veteran rock band that can uncork one of these in their sleep. What makes this one special? The dynamic changes in the pre-chorus, the soaring guitar solo, and the passionate performance from lead singer Jo Bevan.

24. Jacques Greene - “Stars” - A brilliant bit of ambient techno that evokes the seminal electronic classic “Little Fluffy Clouds,” by The Orb. Instead of desert clouds, the anonymous female narrator describes a pastoral dream about the night skies of her youth. A transporting piece of music that should’ve been twice as long--five minutes is a cruelly short lifespan for this kind of bliss.

23. Rosalía - “Con Altura” ft. J Balvin - After the brilliant and singular El Mal Querer demonstrated Rosalía’s singular talent, “Con Altura” announced her intentions for worldwide domination. Created with frequent Rosalía collaborator El Guincho and chameleonic superstar J Balvin, “Con Altura” contains two of the year’s most insidious hooks--the soft-spoken call-and-response chorus, and Rosalía’s snake-charming bridge, the strongest indication yet that global stardom won’t stop the Catalonian chanteuse from pushing music forward.

22. Faye Webster - “Room Temperature” – 2019’s answer to “Swingin’ Party,” the Replacements’ great anthem for introverts, the introductory track on Webster’s Atlanta Millionaire’s Club album drifts along with Hawaiian-flavored pedal steel and a palpable sense of regret, as the 21-year-old singer longs to escape her perfectly comfortable surroundings. 21. Yhung T.O. - “Lately” ft. Lil Sheik - Easy, breezy, beautiful Bay Area rap, carried by T.O.’s dulcet tones and Sheik’s unrepentant dirtbaggery. The beat by Armani Depaul is one of my favorite retro-facing rap beats in a while, complete with smooth digital strings and security-pad synths. 20. The New Pornographers - “You’ll Need a New Backseat Driver” - Every five years or so, A.C. Newman writes a melody so strong that it requires Neko Case’s ultra-powerful alto to properly do it justice. This year, that song is “You’ll Need a New Backseat Driver,” which strives for, and nearly approaches, the heights of previous Pornos stunners like “The Laws Have Changed” and “Champions of Red Wine.” 

19. Floating Points - “LesAlpx” - Surrounded by outré synth experiments and beatless soundscapes on Crush, the first Floating Points album since 2015, “LesAlpx” is Sam Shepherd’s gift to club-goers everywhere. It’s a lean and mean house track, foregrounding propulsive percussion and rubbery bass, but it’s also deeply cerebral, creating a sense of foreboding urgency with detuned synths and ambient sine waves. 18. Daphni - “Sizzling” ft. Paradise - Built around a sample of Paradise’s seminal single “Sizzlin’ Hot,” Dan Snaith’s “Sizzling” extends the best moments of the classic post-disco smash to create five minutes of pure euphoria. The song starts in media res, with the groove in full form, and peaks at the end, when Snaith finally allows Paradise’s June Ventzos to finish her thought atop jubilant trumpets. 17. J Hus - “Must Be” - The latest genre-blending collaboration between J Hus and genius producer JAE5 proves that no man is safe from Hus’s dazzling logic, as he stacks syllogism after syllogism over an irresistible, afropop-flavored groove: “If it walk like an opp/Talk like an opp/Smell like an opp/Then it must be.” 16. Vampire Weekend - “Jerusalem, New York, Berlin” - Ever indulging his literary ambitions, Ezra Koenig uses the final track on Father Of The Bride to examine his Jewish identity, and to reckon with a world that hasn’t made sense since World War I. The prettiest melody on an album dripping with pretty melodies, “Jerusalem, New York, Berlin” packs enough symbolism into three minutes to inspire a seminar at Koenig’s Ivy League alma mater. Supported by yearning, spritely piano, Koenig ends the song with a poignant plea for peace, within reason: “So let them win the battle/But don't let them restart/That genocidal feeling/That beats in every heart.” 15. Great Grandpa - “Bloom” - The highlight from Great Grandpa’s outstanding Four Of Arrows album, “Bloom” is two songs in one. Part one brings punchy acoustic guitar that recalls ‘90s adult alternative (think Matchbox 20) and prime-era Saddle Creek (think Rilo Kiley) in equal measure. The second par tcompletes the song’s emotional arc, slowing down for a hypnotic wordless chorus, backed by weeping violins,. The key line here: “Please say I’m young enough to change.” 14. Spellling - “Real Fun” – Gleefully dramatic and overflowing with evil-sounding synths, “Real Fun” synthesizes Neneh Cherry, Bauhaus, and Cabaret into something that sounds like a villain’s theme in an animated musical that hasn’t been written yet.   13. Earthgang - “Proud Of U” ft. Young Thug – There’s no straight man to ground this ATL trio, as all three emcees lean into their vocal eccentricities while expressing their thanks to the women in their lives atop a mutating, guitar-driven beat. 12. Stella Donnelly - “Tricks” – In which the young heroine attempts to rid herself of a particularly toxic ex, who isn’t just misogynist, but a potential white supremacist sympathizer (her subject’s “Southern Cross Tattoo” is like an Aussie version of the MAGA hat). Heavy stuff, but Donnelly delivers everything with a grin, as if she’s wondering in real time why the hell she ever bothered with this jamoke. 11. Jenny Lewis - “On The Line” - The title track and emotional climax of Jenny Lewis’ latest album, “On The Line” boasts one of the finest vocal performances in her long career, sweetly assassinating her cheating ex-lover with a lilting melody and wry smile.

10. Lucinda Chua - “Whatever It Takes” – Lucinda Chua makes languid art pop in the tradition of fka twigs, but I prefer her understated longing to twigs herself. Her main instrument is the cello, but this track foregoes that sound almost entirely, opting instead for resonant Wurlitzer keys and multi-layered vocal harmonies, and shunting traditional song structure aside in favor of one enigmatic verse, repeating at odd intervals throughout: “Wait/The demons I carry are fake/I will fight our fire, too late.” 9. ShooterGang Kony - “Charlie” – The year’s most cold-blooded mob banger starts with the line “fuck the police and your mama if you ask me” and only escalates from there. Rhyming without affect over hiccuping bass, Kony mercilessly ethers cops, R&B singers, and women named Ashley before threatening to shoot you with a gun that sounds like Fozzy Bear. 8. KEY! - “Miami Too Much” – My favorite Atlanta rap song of the year gets its power from its hilariously specific central conceit, with KEY’s impassioned vocal selling the bit: “If you seen that ass, you'd make a song too.” How often must someone visit Dade County before it becomes an irreconcilable difference in an otherwise healthy relationship? 7. Raphael Saadiq - “Something Keeps Calling” ft. Rob Bacon - Named after his older brother, Raphael Saddiq’s towering Jimmy Lee album examines the personal cost of the crack epidemic, and the outsized role addiction plays in the lives of the destitute. “Something Keeps Calling” is the album’s crushing centerpiece, painting substances as at once a seductive lover and a heavy burden, one that overrides all common sense and decency: “My friends say I can never pull it together/Well they might be right, at least tonight/My kids say I'll never come home again/And I know they're right, at least tonight.” The song climaxes with Rob Bacon’s wailing guitar solo, which tries in vain to reach out to those beyond hope. 6. Bad Bunny & J Balvin - “La Canción” - Nestled in the middle of Balvin and Bunny’s summer smash OASIS, “La Canción” takes a break from the party to dwell on the inherent emptiness of their hedonistic lifestyle, as a mournful trumpet echoes the Reggaetoneros’ longing for meaningful connection amidst their chaotic lives. 5. Polo G - “Pop Out” ft. Lil TJay – Only Polo G would interrupt his own robbery to examine the sociological causes of his behavior: “We come from poverty, man, we ain't have a thing.” But on the rest of “Pop Out,” Polo leans into the dark side of his persona, before 2019’s most unlikely guest verse assassin Lil TJay brings the pathos: “If I showed you all my charges, you won't look at me the same.” In contrast to how effortless the two rappers sound atop the dramatic piano loop, listening to Lil Baby and Gunna wheeze through the remix hammers home the high degree of difficulty of such nimble melodics. It’s a testament to how fast rap music moves these days that Polo and TJay can make last year’s It Duo sound like geezers. 4. Octo Octa - “I Need You” – It starts as an intoxicatingly minimal expression of dancefloor lust, but halfway through, “I Need You” morphs into a sincere and moving tribute to everybody who helped Octo Octa become the woman she is today. It’s a moving moment tucked within an epic club track that works equally well as build-up or comedown.

3. Purple Mountains - “All My Happiness Is Gone” - It’s hard to find the words for this one, a matter-of-fact documentation of a man slowly losing his will to live--which became heartbreakingly clear when David Berman committed suicide in August. But because it’s Berman, “All My Happiness Is Gone” is packed with genius-level wordplay and devastating observations, and enough gallows humor to truly emphasize the gravity of his situation: “Friends are warmer than gold when you're old/And keeping them is harder than you might suppose//Lately, I tend to make strangers wherever I go/Some of them were once people I was happy to know.” I’ll keep going: “Ten thousand afternoons ago/All my happiness just overflowed/That was life at first and goal to go.” And one more: “Where nothing's wrong and no one's asking/But the fear's so strong it leaves you gasping/No way to last out here like this for long.”

2. Big Thief - “Not” - A torrid, slow-burning rocker, “Not” showcases lead singer-songwriter Adrienne Lenker’s skill with oblique imagery and wild-eyed intensity. Lenker rattles off a long list of poetic observations, trying to get to the heart of something (everything?) without ever finding a satisfactory answer, as the music morphs from a controlled simmer to a cacophonous freakout. “Not” climaxes with a riotous guitar solo from Lenker herself, one that reaches towards the cosmos and echoes her frayed vocal. As always with Big Thief, though, the song soars in the smallest moments, like when guitarist Buck Meek enters with plainspoken backing vocals, and at the beginning of the second verse when the guitars drop out and Lenker’s voice stands alone.

1. Burna Boy - “Anybody” - Sometimes the best song of the year is the one that makes you feel the best, and no song this year made me feel better than “Anybody.” “Anybody” is both inviting and aloof, urgent and relaxing. Riding an irresistible groove defined by syncopated keys, driving percussion, and an eager-to-please saxophone, Burna Boy slides between Pidgin English and Yoruba chasing a feeling that resonates beyond the capabilities of language. It’s a song about demanding and receiving respect, dripping with the contagious confidence of an African Giant. And for three minutes, you’ll feel like a giant too.

THE REST: 26. DaBaby - “Intro” 27. Perfume Genius - “Eye On The Wall” 28. Yves Jarvis - “To Say That Is Easy” 29. Doja Cat - “Cyber Sex” 30. Mannequin Pussy - “Drunk II” 31. Better Oblivion Community Center - “Dylan Thomas” 32. Shoreline Mafia - “Wings” 33. Kehlani - “Footsteps” ft. Musiq Soulchild 34. Obangjayar - “Frens” 35. Ariana Grande - “NASA” 36. Mustard ft. Roddy Ricch - “Ballin” 37. Baby Keem - “ORANGE SODA” 38. Jessie Ware - “Adore You” 39. 03 Greedo x Kenny Beats - “Disco Shit” ft. Freddie Gibbs 40. Martha - “Love Keeps Kicking” 41. Lucki - “More Than Ever” 42. Park Hye-Jin - “Call Me” 43. DaVido - “Disturbance” ft. Peruzzi 44. The Japanese House - “Worms” 45. Spencer Radcliffe - “Here Comes The Snow” 46. Dawn Richard - “Dreams And Converse” 47. ALLBLACK & Offset Jim - “Fees” ft. Capolow 48. David Kilgour - “Smoke You Right Out Of Here” 49. Sandro Perri - “Wrong About The Rain” 50. Nilüfer Yanya - “In Your Head” 51. Julia Jacklin - “Don’t Know How To Keep Loving You” 52. Miraa May - “Angles” ft. JME 53. (Sandy) Alex G - “Gretel” 54. Kelsey Lu - “Due West” 55. glass beach - “classic j dies and goes to hell, pt. 1” 56. Peggy Gou - “Starry Night” 57. Cate Le Bon - “Home To You” 58. Busy Signal - “Balloon” 59. NLE Choppa - “Shotta Flow” 60. Dee Watkins - “Hell Raiser” 61. Ari Lennox - “I Been” 62. The National - “Not In Kansas” 63. Shordie Shordie - “Both Sides” ft. Shoreline Mafia 64. Alex Lahey - “Don’t Be So Hard On Yourself” 65. Angel Olsen - “New Love Cassette” 66. Young Dolph - “Tric Or Treat” 67. Koffee - “Throne” 68. Freddie Gibbs & Madlib - “Half Manne, Half Cocaine” 69. Noname - “Song 32” 70. Anthony Naples - “A.I.R.” 71. Samthing Soweto - “Omama Bomthandazo (feat Makhafula Vilakazi)” 72. KAYTRANADA - “10%” ft. Kali Uchis 73. Moodymann - “Got Me Coming Back Right Now” 74. Drakeo The Ruler - “Let’s Go” ft. 03 Greedo 75. Teejayx6 - “Dark Web” 76. Cass McCombs - “I Followed The River South to What” 77. Gunna - “Idk Why” 78. Sharon Van Etten - “You Shadow” 79. Tresor - “Sondela” ft. Msaki 80. E-40 - “Chase The Money” ft. Quavo, Roddy Ricch, ScHoolboy Q & A$AP Ferg 81. Spielbergs - “Running All The Way Home” 82. 24kGoldn - “Valentino” 83. Quelle Chris - “Box of Wheaties” 84. Emily King - “Go Back” 85. AzChike - “Yadda Mean” ft. Keak Da Sneak 86. Club Night - “Path” 87. Zeelooperz - “Easter Sunday” ft. Earl Sweatshirt 88. Kim Gordon - “Murdered Out” 89. YS - “Bompton” (Remix) ft. 1TakeJay & OhGeesy 90. Future - “Never Stop” 91. Lowly - “baglaens” 92. SAULT - “Masterpiece” 93. Earl Sweatshirt - “TISK TISK/COOKIES” 94. Fireboy DML - “Energy” 95. Rio Da Young OG & Lil E - “Buy The Block” 96. Sacred Paws - “Write This Down” 97. Wilco - “Everyone Hides” 98. Black Belt Eagle Scout - “Real Lovin” 99. Sleepy Hallow - “Breakin Bad (Okay)” ft. Sheff G 100. Aimee Leigh & Baby Billy - “Misbehavin’ (1989)”

Here’s a Spotify playlist of the full list: 

[screemagazine]

The Saddest Joy

On the release of Viktor’s Joy “I used to be clean”, a few words about the album, and a few more words with guitarist and songwriter Kaarel Malken… Having been tipped off by a musician friend from Herefordshire, I went to see Viktor’s Joy play in a pop up bar in some nondescript corner of Berlin when I was there last year.  The walls were scoured and mottled with patches of paint over bare plaster, the lighting dim.  Viktor’s Joy are led by Kaarel Malken (guitar, vocals).  He played fingerpicked guitar with a gentle but technical drummer (Jim Good) on a stripped down kit.  As we waited for them to come on music from Leonard Cohen’s first album set up the ambience, an obvious precedent.  I think it is probably lazy journalism to write soundbites like “Viktor’s Joy are Estonia’s answer to Leonard Cohen”, but the restraint of the music and depth of the lyrics encourage such behaviour.  Another comparison is Elliott Smith, particularly evident on the poetic and wearily lilting Parade Song #2, which even the title appears to be a conscious nod to the dear, departed American singer, sounding reminiscent of something off Either/or. The gig was beautiful, and swept us away.  At the end of the gig I spoke to Kaarel about his music, and he was kind enough to give me a pre-release of the album in a handmade cover for review in SCree.  I looked forward to playing it at home, and have played it sporadically since.  The album is out now, and I recommend you hear it, particularly if you are keen on melancholy folky singer songwriter stuff as I am.  Some music you hear seems to pose with miserable depth as a kind of sad expression forced to convince of profundity.  This music speaks of genuine experience, and seems to talk of growing up in Estonia and life experiences that transcend the specifics of their birth.  All the Promises Ever Made talk of the perils of addiction and how easily we fall into smoking, drinking, drugging.  There is a nostalgia to it as well as regret.  The refrain “never again” speaks of our brief determination to avoid destructive behaviour that is so easily forgotten.  The music sits in a rolling groove that has something of the Velvet Underground in the swooping electric guitar part.  There is variety on this record as well as coherence, in the instrumentation as in the arrangements.  The following track The Taste I remember, She Became a Ghost, is woven through with fast picking and tells a story effectively and evocatively.  It is haunting, ethereal and worn with a weary strength.  The guitar playing is almost Spanish classical style, particularly in the interludes.  He makes use of repetition to effectively show the tide of passing time.   Even more Spanish is the virtuosic opening lick to Lake Ontario, which is a short flourish before the cyclical picking comes in.  Again, there is an anecdotal narrative to it which is poetic and evocative.  Characters are introduced alongside the places they live.  Glacial vocals echo between verses.  The production is reverb-heavy and deep.  It sounds like it was recorded in an empty building.  The closing track Sisters ends on a slightly different note.  There is a warmth in the recording that offsets the wistfulness.  Like the bittersweet end to an eventful journey.  

A few questions: When did you first pick up the guitar? Growing up in a small town, surrounded by nothing but Soviet block houses, derelict playgrounds and seemingly endless  fields of peat, there were really not that many options. Either you take to kicking around a ball  or you take to kicking around other kids, most seemed to prefer the latter. Luckily my sisters, being ten years older than me,  saw the last of MTV and VH1 . By the time I got there the funeral procession was over  and the burial was about to end - the music industry, wearing shorts, was filming the open grave for a new reality TV show. I was the social experiment, the kid brother, the one who had to wear  "Guns n’ Roses" T-shirts and grow his hair long - during a time of shaved heads and garbage disco music. In the late nineties my father got offered a job, in Moscow, as a warehouse keeper. A few times a year he’d  return with a trunk full of  shovels, power drills, hammers, saws  and other tools he had managed to steal from the warehouse. Everything  spray painted red to fool the Russian customs into believing they were used. There had been a snowstorm the night before my dad arrived. An endless carpet of pure white. I was leaning over the sill, looking out from the kitchen window. My eyes were watery from the cold, but my excitement got the best of me. He parked his Lada and from the backseat he would lift out a large cardboard box, with the words “Dolby Surround” printed on its side. Little did I know that the content of that very box would affect my day to day existence to an almost unhealthy degree. During the following  years our collection of pirated cassette tapes and compact discs grew with  albums from Nirvana, Offspring, Dire Straits, Korn, Kino etc. Anything the shopkeeper in Moscow could copy on a CD-R and send to my sisters. Perhaps it was the sub-woofer that ignited my obsession to become a drummer, perhaps not, but by the time I turned ten I had begun taking lessons in the  local music school. My teacher was a middle aged marching band percussionist with a serious boozing problem. The four years under his tyranny taught me more about the side effects of binge drinking rather than drums. “For Christ sake boy, you keep missing the  f*ing beat train!” : something I’ll remember for the rest of my life. I called it quits after failing to perform  to a handful of  Sunday afternoon pensioners, my mother and my teacher,  in the city hall. Years  later, on my way to university, I walked past a plate glass window of a small music shop. The sign said : “20% off all instruments!!!” in big bright letters. With the little  I had saved,  working night shifts as a receptionist in a hotel,  and with the help of my parents, I scraped together enough to buy a blue XS plywood guitar. I composed my first song three days later. A two chord, short lived disaster. Last time I saw the guitar, hung by its neck, behind a plate glass window of a pawn shop - once more, discounted. What have you been doing up until now? Do you have any other interests beyond music? I’ve worked as a dishwasher, pastry chef, phone agent, engineer, as an extra in low budget German TV-movies. In other words, you name it - I’ve done it. Right now I’m sitting in a cafeteria a few blocks down the street from my house. I’ve been coming here for years to read and write. The bohemian life…. you know.  These days the place is full of prams and crying toddlers. One of them is drooling on my pants sleeve, as we speak. I find this drone of life calming. How did you find recording the album? Although the process started off in a proper studio, under the  guidance of a fantastic sound engineer, Martin Fiedler, I decided to continue by myself in the comfort of my bedroom - for the larger part. I suppose I felt intimidated by the expensive Neumann’s and the professional approach, deeming myself unworthy. In the long run, the positives outweighed the negatives and I learned how to use the equipment I had bought or borrowed from my friends ( mainly from my good buddy and band member Jim Good), during the years I’ve lived in Berlin. I guess the hardest part was recording the drums.  I used an old Russian Oktava that Jim brought back from Estonia a few summers ago - the only one that seemed to yield results. Jim is a subtle player , not a 4/4 rock drummer, and getting the sound I was looking for wasn’t as easy as I expected. It all worked out thanks to Jim’s infinite patience. Along the way Michael Brinkworth came to my aid with his beautiful 70’s Fender (I’m sorry if it wasn’t a Fender, Michael) and his ideas. Always a few hours late and out of breath - always passionate. He’s the most prolific  songwriter I  know and his input was more than welcomed. Some of my guitar tracks and vocal takes were done in a rehearsal room that used to belong to  Nina Hagen (something the locals seemed to take a lot of pride in). A damp basement full of old carpets and stale air. I spent a few weeks locked behind that massive metal door singing the same lines, over and over again. It was the following Autumn when I met Mauno Meesit from Grainy Records.  He was in the midst of recording his own album and was in need of a classical guitar. Our  mutual friend, who knew I had one,  got him to come to one of my shows. We barely spoke after the gig but in a couple of days I received an E-mail and from there on we got to speaking. Turned out he liked the show and was enthusiastic about the album I had been recording.  Soon enough he proposed me to join his label and I accepted without hesitation. I saw how serious he was about his own music and my mind was made up even before he asked. I’m not the easiest person to work with but Mauno’s, Buddha like, calmness bridged our way. The result is on my table, boxes full of it. Who could have imagined… What was the inspiration for the songs? I consider “I used to be clean”  a concept album. A retroperspective glimpse into my  childhood and how it was to grow up in the East during a time of despair and poverty as well as unity and love. I’m sure these themes will carry on into the future of my lyrics. Inspiration is an entity. Some sort of an astral being that enters and exits one’s body whenever and wherever. During these times I’m nothing but a medium in a state of unconscious effortlessness. Many of my songs are not born out of inspiration. These are the ones I’m never fully satisfied with, the conscious ones, the ones I labor over. The beauty of these songs lies in their ability to grow and change as I do. I’m learning how to work without inspiration yet remain open to it - it’s not that easy. How do you go about writing? My day kick-starts in the afternoon after a few cups of coffee. I try to write something in my diary every day. Sometimes it’s a poem or a short story, but mostly it amounts to nothing more but  everyday uneventfulness. It takes me weeks, months,  at times even years, to finish a song. Lately I feel as If I’m in  dire need of a break. Someplace quiet, outside this metropolitan cesspool. Someplace small where people go to sleep when the sun sets. Someplace where people talk about ordinary things, sit by a card table, eat canned sausages and drink clear spirits. Any place  considered “culturally inactive” according to metropolitan standards. Where can we hear it? www.bandcamp.com/viktorsjoy  or www.grainyrecords.com Where can we hear you play? The album release show, in Berlin,  will take place in Neue Nachbarn on the 5th of April. https://www.facebook.com/events/1879058472306213/1879252808953446/?notif_t=like&notif_id=1490094469947888 What are your plans for the future? Organize a couple of shows in Estonia and focus on writing and recording new tracks.

[gravityzine]

The Saddest Joy

On the release of Viktor’s Joy “I used to be clean”, a few words about the album, and a few more words with song writer Kaarel Malken...

Having been tipped off by a musician friend from Herefordshire, I went to see Viktor's Joy play in a pop up bar in some nondescript corner of Berlin when I was there last year.  The walls were scoured and mottled with patches of paint over bare plaster, the lighting dim.  Viktor's Joy are led by Kaarel Malken (guitar, vocals).  He played fingerpicked guitar with a gentle but technical drummer (Jim Good) on a stripped down kit.  As we waited for them to come on music from Leonard Cohen's first album set up the ambience, an obvious precedent.  I think it is probably lazy journalism to write soundbites like “Viktor's Joy are Estonia's answer to Leonard Cohen”, but the restraint of the music and depth of the lyrics encourage such behaviour.  Another comparison is Elliott Smith, particularly evident on the poetic and wearily lilting Parade Song #2, which even the title appears to be a conscious nod to the dear, departed American singer, sounding reminiscent of something off Either/or. The gig was beautiful, and swept us away.  At the end of the gig I spoke to Kaarel about his music, and he was kind enough to give me a pre-release of the album in a handmade cover for review in SCree.  I looked forward to playing it at home, and have played it sporadically since.  The album is out now, and I recommend you hear it, particularly if you are keen on melancholy folky singer songwriter stuff as I am.  Some music you hear seems to pose with miserable depth as a kind of sad expression forced to convince of profundity.  This music speaks of genuine experience, and seems to talk of growing up in Estonia and life experiences that transcend the specifics of their birth.  All the Promises Ever Made talk of the perils of addiction and how easily we fall into smoking, drinking, drugging.  There is a nostalgia to it as well as regret.  The refrain “never again” speaks of our brief determination to avoid destructive behaviour that is so easily forgotten.  The music sits in a rolling groove that has something of the Velvet Underground in the swooping electric guitar part.  There is variety on this record as well as coherence, in the instrumentation as in the arrangements.  The following track The Taste I remember, She Became a Ghost, is woven through with fast picking and tells a story effectively and evocatively.  It is haunting, ethereal and worn with a weary strength.  The guitar playing is almost Spanish classical style, particularly in the interludes.  He makes use of repetition to effectively show the tide of passing time.   Even more Spanish is the virtuosic opening lick to Lake Ontario, which is a short flourish before the cyclical picking comes in.  Again, there is an anecdotal narrative to it which is poetic and evocative.  Characters are introduced alongside the places they live.  Glacial vocals echo between verses.  The production is reverb-heavy and deep.  It sounds like it was recorded in an empty building.  The closing track Sisters ends on a slightly different note.  There is a warmth in the recording that offsets the wistfulness.  Like the bittersweet end to an eventful journey.  

A few questions:

When did you first pick up the guitar?

Growing up in a small town, surrounded by nothing but Soviet block houses, derelict playgrounds and a seemingly endless  fields of peat, there were really not that many options. Either you take to kicking around a ball  or you take to kicking around other kids, most seemed to prefer the latter. Luckily my sisters, being ten years older than me,  saw the last of MTV and VH1 . By the time I got there the funeral procession was over  and the burial was about to end - the music industry, wearing shorts, was filming the open grave for a new reality TV show. I was the social experiment, the kid brother, the one who had to wear  "Guns n' Roses" T-shirts and grow his hair long - during a time of shaved heads and garbage disco music. In the late nineties my father got offered a job, in Moscow, as a warehouse keeper. A few times a year he'd  return with a trunk full of  shovels, power drills, hammers, saws  and other tools he had managed to steal from the warehouse. Everything  spray painted red to fool the Russian customs into believing they were used. There had been a snowstorm the night before my dad arrived. An endless carpet of pure white. I was leaning over the sill, looking out from the kitchen window. My eyes were watery from the cold, but my excitement got the best of me. He parked his Lada and from the backseat he would lift out a large cardboard box, with the words "Dolby Surround" printed on its side. Little did I know that the content of that very box would affect my day to day existence to an almost unhealthy degree. During the following  years our collection of pirated cassette tapes and compact discs grew with  albums from Nirvana, Offspring, Dire Straits, Korn, Kino etc. Anything the shopkeeper in Moscow could copy on a CD-R and send to my sisters. Perhaps it was the sub-woofer that ignited my obsession to become a drummer, perhaps not, but by the time I turned ten I had begun taking lessons in the  local music school. My teacher was a middle aged marching band percussionist with a serious boozing problem. The four years under his tyranny taught me more about the side effects of binge drinking rather than drums. "For Christ sake boy, you keep missing the  f*ing beat train!" : something I'll remember for the rest of my life. I called it quits after failing to perform  to a handful of  Sunday afternoon pensioners, my mother and my teacher,  in the city hall. Years  later, on my way to university, I walked past a plate glass window of a small music shop. The sign said : "20% off all instruments!!!" in big bright letters. With the little  I had saved,  working night shifts as a receptionist in a hotel,  and with the help of my parents, I scraped together enough to buy a blue XS plywood guitar. I composed my first song three days later. A two chord, short lived disaster. Last time I saw the guitar, hung by its neck, behind a plate glass window of a pawn shop - once more, discounted.

What have you been doing up until now? Do you have any other interests beyond music?

I've worked as a dishwasher, pastry chef, phone agent, engineer, as an extra in low budget German TV-movies. In other words, you name it - I've done it. Right now I'm sitting in a cafeteria a few blocks down the street from my house. I've been coming here for years to read and write. The bohemian life.... you know.  These days the place is full of prams and crying toddlers. One of them is drooling on my pants sleeve, as we speak. I find this drone of life calming.

How did you find recording the album?

Although the process started off in a proper studio, under the  guidance of a fantastic sound engineer, Martin Fiedler, I decided to continue by myself in the comfort of my bedroom - for the larger part. I suppose I felt intimidated by the expensive Neumann's and the professional approach, deeming myself unworthy. In the long run, the positives outweighed the negatives and I learned how to use the equipment I had bought or borrowed from my friends ( mainly from my good buddy and band member Jim Good), during the years I've lived in Berlin. I guess the hardest part was recording the drums.  I used an old Russian Oktava that Jim brought back from Estonia a few summers ago - the only one that seemed to yield results. Jim is a subtle player , not a 4/4 rock drummer, and getting the sound I was looking for wasn't as easy as I expected. It all worked out thanks to Jim's infinite patience. Along the way Michael Brinkworth came to my aid with his beautiful 70's Fender (I'm sorry if it wasn't a Fender, Michael) and his ideas. Always a few hours late and out of breath - always passionate. He's the most prolific  songwriter I  know and his input was more than welcomed. Some of my guitar tracks and vocal takes were done in a rehearsal room that used to belong to  Nina Hagen (something the locals seemed to take a lot of pride in). A damp basement full of old carpets and stale air. I spent a few weeks locked behind that massive metal door singing the same lines, over and over again. It was the following Autumn when I met Mauno Meesit from Grainy Records.  He was in the midst of recording his own album and was in need of a classical guitar. Our  mutual friend, who knew I had one,  got him to come to one of my shows. We barely spoke after the gig but in a couple of days I received an E-mail and from there on we got to speaking. Turned out he liked the show and was enthusiastic about the album I had been recording.  Soon enough he proposed me to join his label and I accepted without hesitation. I saw how serious he was about his own music and my mind was made up even before he asked. I'm not the easiest person to work with but Mauno's, Buddha like, calmness bridged our way. The result is on my table, boxes full of it. Who could have imagined...

What was the inspiration for the songs? I consider "I used to be clean"  a concept album. A retroperspective glimpse into my  childhood and how it was to grow up in the East during a time of despair and poverty as well as unity and love. I'm sure these themes will carry on into the future of my lyrics. Inspiration is an entity. Some sort of an astral being that enters and exits one's body whenever and wherever. During these times I'm nothing but a medium in a state of unconscious effortlessness. Many of my songs are not born out of inspiration. These are the ones I'm never fully satisfied with, the conscious ones, the ones I labor over. The beauty of these songs lies in their ability to grow and change as I do. I'm learning how to work without inspiration yet remain open to it - it's not that easy.

How do you go about writing?

My day kick-starts in the afternoon after a few cups of coffee. I try to write something in my diary every day. Sometimes it's a poem or a short story, but mostly it surmounts to nothing more but  everyday uneventfulness. It takes me weeks, months,  at times even years, to finish a song.

Lately I feel as If I'm in  dire need of a break. Someplace quiet, outside this metropolitan cesspool. Someplace small where people go to sleep when the sun sets. Someplace where people talk about ordinary things, sit by a card table, eat canned sausages and drink clear spirits. Any place  considered "culturally inactive" according to metropolitan standards.

Where can we hear it? www.bandcamp.com/viktorsjoy  or www.grainyrecords.com

Where can we hear you play?

The album release show, in Berlin,  will take place in Neue Nachbarn on the 5th of April. https://www.facebook.com/events/1879058472306213/1879252808953446/?notif_t=like&notif_id=1490094469947888

What are your plans for the future?

Organize a couple of shows in Estonia and focus on writing and recording new tracks.