#indie artists are the backbone of artistic progress

[mossmx]

i've started reading the ace sci-fi nerd webcomic and the vibes are perfect, the art is amazing and I feel so validated that non-mainstream art is always pushing 🔥🔥🔥🔥

[upalldown]

SZA - SOS

Second album of r&b pop from the Solána Imani Rowe with guest appearances from Phoebe Bridgers, Ol' Dirty Bastard, Travis Scott, and Don Toliver

7/13

Emerging more than five years after her debut album Ctrl (and three years later than it was first announced) it’s been a long, odd wait for SZA’s second album SOS – to the point that over the past couple of years SZA seemed to even have a vague public spat online with Top Dawg record label boss Punch about getting it out there.

That’s a bad sign, right? Within forty-five seconds my first thought about this excellent album is the same as my concluding thought will be, an hour later: Solána Imani Rowe is a world class talent – one of the very best – and she’s not getting good enough service. Quite apart from all the horrible exes and bad shags and treacherous frenemies strewn across the songs, in real life SZA’s not being protected well enough by the business folks around her. And maybe the insecurity of that corporate failure is starting to poke through the surface of some otherwise phenomenal music.

It’s not like SZA vanished into the gap between albums. She’s not the Stone Roses. She has an Oscar nomination for her Kendrick Lamar collab ‘All The Stars’, from Black Panther. She’s guested on a pile of hits and kept the big singles coming, over the years. She’s done all the necessary social media teaser nonsense and fully embraced the hyperreal, ultra-branded expectations placed upon a modern pop superstar.

Then a month ago we got the blood-soaked body-swap psychodrama video for ‘Shirt’, co-starring LaKeith Stanfield. The song’s slow groove and aching, upswung melody belied the pace and high fantasy violence of the visuals. Even ‘Shirt’ had been long teased – fans got snippets of it online way back in 2021.

Now the album finally lands and it’s enormous. SOS is twenty-three tracks long and sonically it sprawls all over the hood. From low to high, clipped to soaring, SZA’s vocals are icily superb and her overwrought writing is vivid throughout. These progressive, ambitious melodies act like stitching to hold together the patchwork of an exceptionally diverse approach to genre and production. SOS hops around like mad. And in that context, with such an open-minded attitude to style and form, SZA deliberately – aggressively, even – forces herself into the chaotic centre, to become one of those backbone artists, whereby the music will pay service to her vision, not the other way around. It bodes well, because clearly she could sing just about anything.

Apart from slow grooves, electronic pop, and hip hop structures, there’s also a loose-limbed indie acoustic sensibility brought to quite a few of the songs. On a lot of R&B pop records those attempts at a token four-chord indie strum are the awful weak points (Lizzo’s lame-ass ‘Coldplay’ definitely shouldn’t have made the cut on her album, for example). By contrast SZA’s performances and lyric writing in that boring genre easily stand firm. It’s like she knows how to use (and abuse) white boy floppiness so effectively, it gives the harder, deeper stuff even more power.

Last week she told Billboard that because she grew up around white people, in musical terms, she accessed that kind of sound earlier. She’s having to consciously shift direction towards embracing artifice, from where she considers the ‘natural energy’ of her roots. SZA says “I wanted to be, like, crass. I’ve created the person I wanted to see in the world.”

So how does she pull it all together, especially over so many tracks, without SOS becoming bland mainstream mush? Aside from vocal variety, she does it with some truly exhausting emotional content. However dazzling it can be, SOS is often a murderously miserable record: broken-hearted, emotionally chaotic, confused and traumatised. It’s a record about desperately, unwisely, clinging onto some of the worst shit ever. A record about still having the horn for men who long proved they’re disgusting. SZA navigates such power juggling, the stupidity of fame, her broader self-knowledge, with the vicious aplomb of a daytime reality TV show, where the ratings spike when there’s a fight.

‘Blind’ for example, could be the lightest of finger-picked acoustic meanderings, except her staccato lyric slices it up.

Hey, my past can’t escape me My pussy precedes me My, my, how the times change I’m still playing the victim And you still playing the ‘pick-me’

You still talkin’ ‘bout babies And I’m still taking the Plan B

There was this one moment in that violent ‘Shirt’ video where, after abandoning her partner-in-crime (or alter-ego) to get cut to pieces by white-coated paranoia avatars, SZA’s character, now alone, suddenly turns and shoots round after round into an empty alley wall. Then you realise she’s murdering her own shadow, which detaches and drops dead onto the ground. The moment is gone in a flash – it’s a small detail. But listening to SOS (trying to get my head around all the hard dirt being uncovered), I think how apt and emotionally indicative that short scene was.

SZA represents herself shockingly often as a kind of shadow of herself in moments of death and of liberation, both at once. In the slightly Eminem-ish ‘Kill Bill’ her narrator briefly pretends to herself she’s okay with her ex and his new girl, while also pondering killing him. A therapist may try to distract her (impotently) with the notion of other guys, but no, by the final chorus she’s inevitably done the job and offed them both.

‘Nobody Gets Me’ is another heartwrekt indie ballad that comes off like a spikier Lana Del Rey, with a similar use of edgy post-millennial language to undercut what could otherwise be a soul ballad. The sentiment may boil down to “nobody gets me but you,” but the first verse has this ace summary line –

You were balls-deep, now we beefin’

That’s SOS in a nutshell. Like the shot-dead shadow, SZA liberates and destroys herself easily as blinking. She repeatedly sums up the whole in neat, seedy phrases. There are so many beefs here, it almost gets silly. The problem isn’t that the sheer scale of harshness and loneliness with exes, new partners, business acquaintances, whoever, is draining (though it is). The problem is that she skitters around all those feelings so quickly. One senses – and hopes on her behalf – that it’s not real.

‘Special’ splices flavours of Alicia Keys’ ‘New York State Of Mind’ to the self-loathing of Radiohead’s ‘Creep’. The craft is showing, so is she making it too obvious? I don’t actually enjoy this much apparent self-loathing over the course of a long record, so if there are clues that it is song-craft, rather than self-excavation, then I’m heartened. In conversation, SZA is acute about distinctions between reality and persona, which gives a reassuring clue that at least some of it is performative.

This is how I start to wonder if outside forces have, for a while, tried to manipulate her public character to present as ‘troubled’, or an antihero, while SZA herself is pushing in another direction, at least for now.

Talking to Billboard again: “That’s like my biggest goal right now, is to learn to enjoy myself and be happy.” She says, “I know that I’m blessed and I have a lot of opportunities, but I don’t know, am I building myself, like chasing after superstardom? I don’t know if that’s sustainable for me, or for anybody. It’s all so scary. I hate being on camera. I hate talking because I put my foot in my mouth a lot. It’s not like the album pressure, it’s just like life is fucking hard and to be expected to do anything at a high level while life is life-ing is fucking crazy. And then you’re supposed to be a nice person on top of that!”

Artists fretting publicly about putting their foot in their mouth is another red flag.

Meanwhile, before even listening to ‘Ghost In The Machine’ I’m annoyed that Phoebe Bridgers shows up on SOS at all. Bridgers is becoming so incredibly ubiquitous on other folks’ records, it’s starting to have the opposite effect than intended. I love her music and some of her own collabs and cover versions (she nailed Bo Burnham’s ‘That Funny Feeling’ for example) but right now she brings a kind of magic indie countercultural ‘good for business’ aura that everyone covets a piece of, regardless genre or artistic vision. I accept this is my British snobbery: the Americans simply don’t think like we do, when it comes to having a celebrity pal on an (ultra-hip, genre bending R&B electro pop) album, who was already a guest on five other records this autumn, including the solo album of the singer out of fucking Mumford & Sons. That’s on me, though.

Then suddenly ‘F2F’ (which Lizzo has a writing credit on) spins another sonic one-eighty, taking a similar horny-sad theme but sounding so much like a basic alt-pop jam (complete with fuzzy guitar stop-starts) that it could be Olivia Rodrigo, or even Maisie Peters. Miley Cyrus would slay this tune. It may be the album’s most plain upbeat moment, though the chorus is “I fuck him cos I miss you.”

It’s true for many artists but especially true here: if you dig SZA’s dextrous voice and don’t mind a load of misery, you may easily (and rightly) fall in love with SOS. I’m adoring her instrument and all the heady iconoclasm. She makes tough singing sound so easy, one can miss the tumbling journey of it all, and fail to notice the heights she’s reached along the way. And of course, it’s only because of that vocal talent and these lyrics, that the audio production can throw itself all around the park.

Also, because SZA can spit too, I think she gets bracketed too closely to the hip hop universe, when her actual vibe is so much broader, and leans nearer to the psychedelic adventures of FKA Twigs, alongside the minimalist, nihilist pinup tendencies of Del Rey. Nihilism is key. It’s starting to do my head in how much nihilism and vengefulness are centred in this modern pop, presented as though that’s somehow a more truthful part of our emotional experience than, say, the simpler ups and downs of lust and loss. A question I can’t figure is: is it self-disempowering that she embraces the tropes, or the opposite?

If there’s a failure in SOS it’s how monumentally hard it tries, as if the non-creative people around the artist are still demanding more, or demanding different, or trying to control the creative output, to a point that risks slaughtering confidence and maybe results in the desperate scattergun shooting of one’s own shadow.

A brilliant, clever, broken junkyard of an album, often compositionally and melodically so gaspingly good, I’ve completely fallen for large chunks of it. Yet at times (too many times) SOS risks coming off like self-exposing fan service for the lowest common denominator of the TikTok succubus mob. It’s too long. It may be two great albums. I might have a go at dividing the tracks myself. And this is an odd conclusion to draw from listening to a record and doing a bit of casual online reading about an artist – but I’ve ended up where I started, with a snowballing worry that SZA has enough greatness to be still higher up the food chain, and what she needs and deserves is better service from the business plods around her. So they tell her less and listen to her more. So they help her stop worrying about herself and better trust the value of what she already contributes, which is both bloody and golden.

https://thequietus.com/articles/32478-sza-sos-review

[music-industry-updates]

Breaking Through: Common Mistakes Indie Artists Make and How to Fix Them

Breaking through in the music industry is challenging, especially for indie artists. The journey is fraught with obstacles that can derail even the most talented individuals. However, by identifying and addressing common mistakes, indie artists can enhance their chances of success. This article highlights common mistakes that can hinder progress and provides actionable advice to overcome them, helping indie artists navigate the complex world of music.

Body

1. Not Defining Your Unique Sound

Mistake: Blending in with the crowd by not developing a unique sound. Many artists mimic popular trends without adding their own twist, making it difficult for them to stand out.

Advice:

Experiment with Different Styles: Don’t be afraid to explore various genres and sounds until you find what resonates with you. This experimentation can lead to discovering your unique voice.

Stay Authentic: Authenticity is crucial. Your music should reflect your personality and experiences, making it more relatable and memorable for listeners.

Seek Feedback: Share your music with trusted peers and mentors who can provide constructive feedback. This can help you refine your sound and ensure it’s distinct.

2. Neglecting Visual Content

Mistake: Overlooking the importance of music videos and visual branding. In today’s digital age, visual content is just as important as audio.

Advice:

Invest in High-Quality Visuals: Whether it’s album artwork, promotional photos, or music videos, ensure your visuals are professional and align with your brand.

Create Engaging Music Videos: A well-produced music video can significantly boost your song’s appeal and reach. Collaborate with talented videographers to bring your music to life visually.

Consistent Branding: Maintain a consistent visual style across all platforms, including social media, websites, and promotional materials. This helps build a recognizable brand.

3. Ignoring Industry Trends

Mistake: Failing to stay updated with the latest industry trends can make your approach outdated. The music industry is constantly evolving, and staying current is essential.

Advice:

Continuous Learning: Regularly read industry blogs, attend webinars, and follow industry news to stay informed about the latest trends and technologies.

Adapt to Changes: Be willing to adapt your strategies based on current trends. For example, if a new social media platform is gaining popularity, consider establishing a presence there.

Innovate: While it’s important to stay current, don’t just follow trends. Innovate within your style and genre to create something new and exciting.

4. Lack of Networking

Mistake: Underestimating the power of networking in the music industry. Building relationships with other musicians, producers, and industry professionals is crucial for growth.

Advice:

Attend Industry Events: Participate in music conferences, workshops, and festivals. These events are excellent opportunities to meet and connect with industry professionals.

Join Online Communities: Engage with online forums, social media groups, and other digital communities where musicians and industry professionals interact.

Be Proactive: Don’t wait for opportunities to come to you. Reach out to potential collaborators, mentors, and industry contacts. Building a strong network can open doors to new opportunities.

5. Overlooking Fanbase Building

Mistake: Focusing solely on gaining new fans while neglecting existing ones. Loyal fans are the backbone of any successful music career.

Advice:

Engage with Your Fans: Regularly interact with your audience through social media, live streams, and email newsletters. Show appreciation for their support and make them feel valued.

Exclusive Content: Offer exclusive content, such as behind-the-scenes footage, early access to new releases, and special merchandise, to your loyal fans.

Fan Involvement: Involve your fans in your creative process by asking for their input on song ideas, artwork, and other aspects of your music. This creates a sense of community and investment.

6. Poor Time Management

Mistake: Failing to manage time effectively can lead to missed deadlines and opportunities. Balancing music creation, promotion, performances, and personal life requires good time management skills.

Advice:

Create a Schedule: Plan your activities and set realistic deadlines. Use tools like calendars, planners, and project management apps to stay organized.

Prioritize Tasks: Focus on high-priority tasks that have the most significant impact on your career. Learn to say no to distractions and non-essential activities.

Delegate: Don’t try to do everything yourself. Delegate tasks to team members or hire professionals to handle specific aspects of your career.

7. Inconsistent Release Schedule

Mistake: Inconsistent activity can lead to a loss of interest from the audience. Regular releases keep fans engaged and maintain momentum.

Advice:

Plan Your Releases: Create a content calendar that includes release dates for singles, albums, music videos, and other content. Stick to your schedule to maintain consistency.

Batch Content Creation: Whenever possible, create content in batches. This ensures you have a steady stream of material ready for release, reducing the stress of last-minute preparations.

Communicate with Fans: Keep your audience informed about upcoming releases and projects. Tease new music, share behind-the-scenes content, and build anticipation for your releases.

Conclusion

Avoiding these mistakes can significantly impact your music career. Focus on defining your sound, creating visual content, staying updated with trends, networking, and building a loyal fanbase to enhance your chances of success. The journey may be challenging, but with dedication and strategic planning, indie artists can navigate the music industry effectively and achieve their goals.

[dorematrix1]

The Art and Science of Game Creation: Crafting Digital Worlds

In an era where digital entertainment dominates our leisure time, the art of game creation stands as a remarkable intersection of creativity, technology, and storytelling. From sprawling open-world adventures to minimalist indie gems, the process of bringing a game to life is a complex, multifaceted endeavor that captivates millions around the globe.

The Genesis of a Game

The journey of game creation often begins with a spark of inspiration—a concept, a story, or a gameplay mechanic that promises something unique. Game designers then expand this initial idea into a comprehensive design document that outlines the game’s narrative, objectives, characters, and gameplay mechanics. This blueprint serves as a roadmap, guiding the development team through the intricacies of production.

Building the Framework

Once the concept is solidified, the real work begins. Programmers, artists, and designers collaborate to construct the game's framework. Programmers are responsible for coding the game’s mechanics, ensuring that every action a player takes is seamlessly integrated into the game’s logic. They utilize game engines like Unity or Unreal Engine, which provide a suite of tools and pre-built functionalities to streamline development.

Crafting the Visuals

Parallel to the programming efforts, artists work tirelessly to create the game’s visual elements. From character models to environmental textures, every asset must align with the game's artistic vision. Concept artists sketch out initial designs, which are then brought to life by 3D modelers and texture artists. Animators inject movement into these models, ensuring characters and environments feel vibrant and dynamic.

Sound and Music: The Emotional Backbone

Sound designers and composers play a crucial role in enhancing the gaming experience. They craft sound effects that make actions feel real and immediate, and compose musical scores that underscore the emotional beats of the game’s narrative. High-quality audio can elevate a game from a simple pastime to an immersive experience that resonates deeply with players.

Playtesting and Iteration

As development progresses, the game enters the playtesting phase. This critical step involves real players interacting with the game to identify bugs, balance issues, and areas of improvement. Feedback from playtesting sessions informs iterative refinements, ensuring that the final product is polished and enjoyable.

The Launch and Beyond

Once development is complete, the game is launched to the public. However, the work doesn't stop there. Developers continue to support their games post-launch with updates, patches, and downloadable content (DLC). This ongoing support helps maintain a vibrant player community and ensures the game remains relevant in a rapidly evolving market.

The Future of Game Creation

The landscape of game creation is ever-evolving, driven by advancements in technology and shifts in player expectations. Virtual reality (VR) and augmented reality (AR) are pushing the boundaries of immersive gameplay, while artificial intelligence (AI) is enabling more sophisticated game behaviors and procedural content generation. As these technologies mature, the potential for innovative and groundbreaking game experiences grows exponentially.

Conclusion

Game creation is a dynamic and intricate process that blends artistry, technical skill, and narrative craft. It requires a diverse team of dedicated professionals, each contributing their expertise to build engaging digital worlds. As technology continues to advance, the possibilities for game creation are virtually limitless, promising even more captivating experiences for players in the years to come. Whether you're a developer, artist, or gamer, the world of game creation offers a fascinating glimpse into the future of interactive entertainment.

[thebandcampdiaries]

Fear Of Falling introducing a brand new release: "Hands On Me"

Fear Of Falling is a band with a focus on creating music that seamlessly explores a huge range of styles, including indie rock, dream-pop, and more. They recorded 3 albums and toured internationally in the 1990s. Today, they’re back after 20 years on a hiatus, as ready as ever with exciting new music.

The group’s most recent song, “Hands On Me,” stands out as a perfect example of the varied and one-of-a-kind formula that animates the composition. The rhythm section, with Bruce DiBisceglie on bass and Rob Savoy on drums, is extremely effective. The track begins with a soothing drone and some jangly electric guitars, setting the mood as the drums slowly creep in. The soft swing of the hi-hat pedal leads us into the groove, with a sparse yet driven beat that adds some backbone to the track without disrupting its atmosphere. Guitarist/Producer Kimon Katafigiotis was also instrumental in bringing this song to fruition, helping it reach its full potential.

After a quick instrumental break, the vocals by the gifted singer Steve Lanni are left to face the crowd alone. This is a bold choice, and a particularly powerful one: the vocals alone almost feel solemn, reminiscent of the iconic take on indie popularized by artists such as Arcade Fire or The Killers, among others. In addition, “Hands On Me” also features subtle hints of shoegaze and new-wave, with beautiful female-male vocal layers (with guest vocalist Holdn) in the vein of artists like Slowdive, Tears For Fears or Dead Rituals, only to mention a few.

Each member of the band has its own sonic space in the mix, and "Hands On Me" feels like a perfect opportunity to push the boundaries of the band’s vision and sound.

Clocking in at 3 minutes and 51 seconds, the track progressively reaches an even more grandiose and ambitious scope, with stunning orchestral elements and expressive vocals that prompt comparisons with legends such as David Bowie or David Byrne. What makes "Hands On Me" special is definitely the fact that it showcases the band’s diverse stylistic references and signals their ability to blur the lines between various influences.

Find out more and stream:

We also had the opportunity to ask the band a few questions: keep reading to learn more!

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

Answer: Typically, the band will work a rhythm on the fly, or someone will bring in an idea as a starting point. Everyone adds their own flavors while the melody emerges. Sometimes, we'll have lyrical ideas, but even if we do have pre-conceived lyrics, they grow as the rhythm and melody take shape. When there is a thematic element, we'll try to align everything without forcing the issue.

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

Answer: That's a great question. Yes, Fear Of Falling has performed at nearly 400 concerts, so live shows come naturally to the band. Audience reaction is a huge part of the show, and our audiences make it very easy for us to be as comfortable as possible. In the studio, that live reaction isn't there, and everything gets microscoped during playbacks.

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

Answer: That's always been difficult to figure out. It's like asking a family who their favorite child is. The truth is that each of us has a short list of songs that best represent us, and depending on who you ask, you'll get a different reply. While we do have a distinct sound, the songs range from rock to stripped-down, from full-blown wall-of-sound to even industrial. We polled our fans, and "King Of America" was the favorite, but a good first impression would be the most recent singles, "Looking Out For Number One," "Keanu Reeves," and the new one, "Hands On Me."

What does it take to be "innovative" in music? 

Answer: Now, that's easy. While it is cliché to say, simply stay true to the music. Songs have a mind of their own and know where they want to go. If we allow that to happen, then anything is fair game. It doesn't matter if you're 16 or 60; keeping an open mind to new ideas will guarantee innovation.

Any upcoming release or tour your way?

Answer: We do have the third single, "Hands On Me," being released next week on Quark's record label, and then there will be live shows to go along with that. We've done that for years: release and support. That's what's gotten us to tour North America and Europe. We do have an EP in the works for spring, and a full-blown album should show itself by the end of the year, if not earlier.

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

Answer: If people are looking to try out new music, see new videos, and deep dive into Fear Of Falling, they can find it all here: https://linktr.ee/fof.usa

[pika2482]

AOTD 1/18/2024 - Live from Your Stereo (Warpstar) [forgot to post this when I wrote it lol my bad]

[All Albums are rated subjectively based off my own enjoyment] 6.5/10

From start to finish, Live from Your Stereo by Warpstar delivers 14 tracks full of compositions that I strive to write. Scarcely did a melody miss, a guitar riff not click, or a dynamic range fall flat. In some of these tracks I reached the type of Highs that I struggle to create myself, and the type of dynamic range that is sorely missing from more well known music and artists. It is absolutely Criminal that Warpstar gets such few monthly listeners, sitting at 112 at time of writing. Everybody reading this needs to listen to this album ri-

Is what I would be saying, in a different, slightly brighter timeline. Most of what I said above is true, I loved what these songs are made of. The melodies, the riffs, the range, it's all the green flags I listen for in every composition. But this album was… Frustrating, for me, and I know the exact reason why:

The Mixing

It sounds like this album was mixed in Garage Band. Now I'd say it's on the upper quality of what you can achieve with that software, but it had that distinct… almost Mushiness to it, which manifested mainly in The Drums. For an Indie Rock album, this is not acceptable . They really prevented me from getting into any of these songs, and more energetic songs like Superman, Hidden Friend, Low, Drown Happy, Marceline,, and Winter Clothes need that Punchiness to really thrive. I would have been handing out some more frequent 8's and the occasional 9 or 9.5, but I just wasn't able to do more than appreciate the insanely strong backbone these songs have. The songs still scored reasonably well, but major points were deducted for this fatal flaw.

Looking past where these songs could have been, my favorite of this album is Winter Clothes, Summer Clothes, one of the rare 10 minute tracks (It's 8:37 but it's outro is mostly empty) that was able to hold my attention all the way through. Especially with the sub-par mixing quality, this is an INCREDIBLE feat to pull off. As it's super long, I don't really have the space to dissect it here, but it's progression, build, and overall structure are fucking Perfect. FUCK I wish the drums were better! This song could have EASILY hit a 10 if a professional studio was able to handle it, but it just falls… frustratingly short.

My least favorite of the album was Marceline, pretty much the only song I Disliked. It gets off to a strong start but when it gets into its verse the instrumentals end up feeling loose and flaccid. The Vocal melody works decently well, and the structure and overall idea are good, it just flopped on the execution.

Overall, this album left me with an initial taste of super high promise, potential, and passion, but left behind an aftertaste of frustration for what could have been. If any of my favorites end up getting a remaster I'll be First in line, but as it stands it's hard to playlist any of these songs.

Favorite Songs: Hidden Friend, Low, Drown Happy, Adastra, Winter Clothes Least Favorite Songs: Marceline, Lucid Dream

We Are Warpstar - 6/10 Tall, Dark & Superman - 6.5/10 Derby Girl - 7.5/10 Hidden Friend - 8/10 Fall Forever - 7/10 Low - 7.5/10 Drown Happy - 8/10 Long Overdue - 6.5/10 Marceline - 4/10 Two Moons - 6/10 Lucid Dream - 5.5/10 What a Dreamer - 7/10 Adastra - 7/10 Winter Clothes, Summer Clothes - 8.5/10

[musicarenagh]

“Mind Running Wild”: Indie Rock That Heals with Chloe & the Brainwaves Diving into Chloe & the Brainwaves' latest single, "Mind Running Wild," is a bit like stumbling into an enchanted forest at the height of spring—it's dark, yes, with its twisted roots and thick shadows mirroring a child's trauma endured in silence—but look closer and you'll see flecks of light dappling through. It's this juxtaposition that Chloe harnesses in her haunting voyage through heartache towards healing. https://open.spotify.com/track/2bbCFxWXrMRoE3QEbG0GHr The indie rock backbone gives us that familiar comfort—a rhythm that has our feet tapping almost instinctively—while those silky female vocals thread through your soul like silver needles pulling along glinting threads of hope. Those catchphrases we all toss around—'super catchy,' 'earworm material'—they're justified here more than ever as Chloe twists hooks into artful sculptures, making choruses you’ll hum long after the song ends. Yet it’s not just about melodic pleasure; there’s poetry threaded within those notes. Each chord progression carries weight—the heaviness of past pains coupled with the lightness of newfound strength—and let me tell you, few artists can walk that line without tumbling into cliché pits or overwrought melodrama. [caption id="attachment_52726" align="alignnone" width="1152"] “Mind Running Wild”: Indie Rock That Heals with Chloe & the Brainwaves[/caption] As for production? Spot on! With pristine clarity playing tag with raw edges enough to remind us this isn't just studio polish but real human emotion poured out, spilled over six strings and microphone mesh. "Mind Running Wild” might well be a diary page ripped out and set to music for others festering similar wounds—that emptiness and shame—to find solace within its sound waves. And in doing so it becomes less about what made us broken but rather what makes us defiantly dance amidst our ghosts. So go ahead: play it loud and let their spirits sway too because this track by Chloe & her gang is bound to resonate deep within any wild-running mind seeking some semblance of peace amidst life's dissonant chords. Follow Chloe & the Brainwaves on Facebook, Twitter, YouTube, Instagram and TikTok. Supported by Musosoup #SustainableCurator

[sincerelyrachelr]

Get to Know Me Tag

Thank you for tagging me @writerjuliannaf

MUSIC

Favorite genre(s)?

Movie soundtracks, classical, acoustic/folk, hymns, some 60s.

Favorite song(s)?

For the Beauty of the Earth, Photograph and A Little More by Cody Fry, South by Sleeping at Last, Look At the World by John Rutter, the Overture to the Sound of Music, Winter from the Four Seasons by Vivaldi, anything by Chopin, currently Ballade No. 1.

Most listened song recently?

'Non So Piu' from the Marriage of Figaro, sung by Cecilia Bartoli - but that's for studying! Other than that, Sunflower by Glen Cambell.

Song currently stuck in your head?

Handel's Water Music, Suite No. 2 in D Major, II. Alla Hornpipe. Because I'm currently listening to it and studying it.

5 favorite lyrics?

"Still, still with Thee, when purple morning breaketh, When the bird waketh, and the shadows flee; Fairer than morning, lovelier than daylight, Dawns the sweet consciousness I am with Thee." Harriet Beecher Stowe - Still, Still With Thee

"If I could see through anger, would I discover people that are broken, or hurting? Oh, I think that that would change my whole view, and probably change yours too." Cody Fry - A Little More

"Some truths, over time, can learn to play nice Some truths are sharper than knives Some truths we only see in the corners of our eyes Some truths we wish we could hide Some truths can save us, some take our lives Some truths are fire and some truths are ice." Sleeping At Last - South

"Think of the spring, Think of the warmth of summer Bringing the harvest before the winters cold Everything grows, everything has a season Til' it is gathered to the Father's fold" John Rutter - Look at the World

"If i had my way time would just stand still wait for me until I find some magic film to take a photograph and live inside" Cody Fry - Photograph

Pick!

radio or your own playlist | solo artists or bands | pop or indie | loud or silent volume (quiet) I slow or fast songs | music video or lyrics video | speakers or headset | riding a bus in silence or while listening to music | driving in silence or with music playing

BOOKS

Favorite book series?

'Hands of Time' by Ashley Nikole.

Comfort book(s)?

'The Princess Bride' by William Goldman and anything by James Herriot. 'The Little Women Letters' by Gabrielle Donnelly is one that is highly underrated and I want someone to discuss it with!

Favorite book(s)?

'The Pilgrim's Progress', 'Little Women', 'The Princess Bride', 'The Little Women Letters' by Gabrielle Donnelly.

Perfect book(s) to read on a rainy day?

'The Enchanted April' by Elizabeth von Arnim seems like a good choice, especially for a rainy April day. Or, 'To Live & To Breathe' by Katelyn Buxton.

Favorite character(s)?

Ellie Daniels & Tom Holt from the 'Hands of Time' series, Jo March, Marmee, Professor Bhaer, Westley, Fezzik, Buttercup, James Herriot, Christian, Christiana and Mercy.

5 favorite quotes from your favorite books?

“History is alive. Who are those of the future to say the past is silent? Let history speak for itself, and may those who have ears, listen. For many hear, but few listen. Even fewer still are those who understand.” Ashley Nikole - Present History

“I am your Prince and you will marry me," Humperdinck said. Buttercup whispered, "I am your servant and I refuse." "I am you Prince and you cannot refuse." "I am your loyal servant and I just did." "Refusal means death." "Kill me then.” William Goldman - The Princess Bride

^ There are so many good ones, but this one highlights Buttercup's actually having a backbone. ^

"A man there was, though some did count him mad, the more he cast away the more he had." - John Bunyan - Pilgrim's Progress

"the wilderness of books, in which she could wander, where she liked, made the library a region of bliss to her.” Louisa May Alcott - Little Women

“I think most places can be interesting to live in if you find a way to make them so.” Gabrielle Donnelly - The Little Women Letters

Pick!

hardcover or paperback | buy or rent | standalone novels or book series | ebook or physical copy | reading at night or during the day | reading at home or in nature | listening to music while reading or reading in silence | reading in order or reading the ending first | reliable or unreliable narrator | realism or fantasy | one or multiple POVS | judging by the covers or by the summary | rereading or reading just once

TV AND MOVIES

Favorite tv/movie genre(s)?

Historical Drama, Drama, and also offbeat clean comedies.

Comfort movie(s)?

'Cold Comfort Farm' 1995, 'The Princess Bride', 'Harvey' 1950, 'The Grand Seduction'.

Movie you watch every year?

'The Princess Bride'

Favorite movie?

'Little Women' 1995, 'The Sound of Music', 'The Princess Bride', 'Amazing Grace' 2006,

Favorite tv show(s)?

'All Creatures Great & Small' 1978-, 'Get Smart' 1965-

Comfort tv show?

Definitely 'All Creatures Great & Small'.

Most rewatched tv show?

Probably 'Little House on the Prairie.'

5 Favorite tv/movie characters?

Jo March, Caroline Ingalls, Helen Herriot, Westley, and then I'm going offbeat to say Siegfried from Get Smart - because he makes me laugh. There are so many more!

Pick!

tv shows or movie | short seasons (8-13 episodes) or full seasons (22 episodes or more) | one episode a week or binging | one season or multiple seasons | one part or saga | half hour or one hour long episodes | subtitles on or off | rewatching or watching just once | downloads or watches online.

I tag: @lettersfromavonlea @lauricia and anyone else who wants to join in on the fun

[abovebelowameliesatriawan]

Edmund McMillen

Being one of the most famous indie game developers, Edmund McMillen is a very successful artist. He works in Adobe Flash, which helped develop his style and aesthetic in each and every game he has created.  He works in a cartoony style, the proportion of his characters and anatomy are very alien, since his style is incredibly unique and sort of weird. I like the aspect of uniqueness and how he proportioned his little odd characters, albeit in a cartoon style it is definitely separated when it comes to children cartoons, since his style is somewhat disturbing and have elements of grotesqueness and have an uncomfortable premise about it. Personally I do not like his style, although I like the simplicity aspect of it and how he makes it look good, his use of colouring and how the characters are shaped are weird and just look too out of place for me. However I do like his art processes and how well he is able to create interesting sketches with details that give the 2D drawing a 3D aspect to it.

It may be a bit messy and chaotic, however that is how people usually come up with ideas when it comes to any media. The beginning of games, movies, anything to do with media including adverts and Tv shows are all based around concepts and rough sketches. This is what helps create a solid plan and project, it is the backbone of art. The way he sketches and comes up with ideas throughout his sketches is something that I definitely enjoy looking at, mostly because although it is messy, you can really see how he develops his ideas and how he is able to process his characters and different designs. I think it’s really clever, and I definitely want to do this as well, showing off how the beginning concept looks and how it is when I have the finalised initial idea, comparing the two and seeing how far I’ve come throughout this project. 

It’s pretty cool as well how you see the way he plans to animate the keyframes of the idle/attack animations for the enemy characters. It is very important when it comes to the actual animation progress and everything, etc. 

Similar to his round, sketched proportioned style, his complete renders of these characters are of familiarity. Some of these characters are somewhat cute and actually work well with his style whilst his more grotesque and disturbing characters are terrifying to behold. I definitely will use how he sketches and storyboards his characters/ideas into my own work to develop my own possibilities when we work more on our very own project. My ideas are somewhat familiar to McMillen’s, a cutesy style with a dark and cleverly intertwined twist into the cute front of the characters. Hopefully looking more at his sketches and work will help me with my own plan, and I think that I am capable of creating concepts the same as his.

[rubixq]

Story Telling In Games

At the core of it, every art form is a medium for storytelling. Games aren’t an exception at any level. A good video game has a story at its heart that hooks us right into its world and makes us play it again and again. The narrative in it can be linear or nonlinear, overt or underlying, but the crux of remains the same and is the backbone of the game that maintains its structure. To be precise, the whole game is defined by a narrative and the events in it are goals, plans and emotions for players to psychologically invest in it. The industry is evolving by the day by focusing on the core storytelling and creativity while outsourcing the rest of the game development to game solution companies like RUBIXQ, where they create distinct worlds, engaging stories and interesting character design.

Unfortunately, most of the current independent games aren’t realizing the importance of a strong narrative in a video game. As the number of indie games being produced has skyrocketed in recent years, they are just relying on the visual appeal of a game and the instantly gratifying elements like thrills and violence sometimes. This may grab the players attention for a moment but it won’t involve them and make them intrigued to play any further.  

Let’s see the what, why and how of the integration of a story in a video game works.

According to Aristotle, every story should have a beginning to introduce the characters and the world they live in, a middle to show their struggle and aim, and an end where they overcome their struggles and accomplish their goals. In a traditional video game, we might not be able to invest a lot of time for the beginning, so, the introduction of the characters and the world can be crisp yet memorable enough for gamers to etch the same in their minds.

There are different ways to achieve it.

A linear narrative with a straightforward progression from one stage to another in a series of steps where the story progresses from one event to another. In these kinds of games, there’s always little to no interaction with the story as players don’t get to make choices to change the direction of how the story plays out. Irrespective of the character design, it can just be completed in one way, the way a designer decides it.

Eg: “The last of us” on PlayStation, where an empathetic father has to save his surrogate daughter in a tense post-apocalyptic atmosphere amidst zombies.

Next is the string of pearls model, where the narrative is linear but the player gets to make his own choices like attire, weapons, vehicles and the key decisions to progress the game in a specific direction that can change the final outcome of the game. These games are made up of separate sequences in the form of missions or quests. Players can explore the world, influence the character design and have the freedom to participate in side quests. These types of narratives are usually found in role-playing games.

Eg: Raji, an epic adventure game based on Indian Mythology, where Raji’s objective is to rescue her younger brother and defeat the demon lord Mahabalasura.

The third one is the best of all, a highly thought out and well-built story, where every character in the game plays a major role in that world. Their character design and arc develop over time and their tasks hold greater importance in every stage of the game. Mostly these games are either made of a movie or adapted into movies later.

Nintendo’s Donkey Kong, for example, is a reputed game that had a story where players could see it unfold while they play it. Released in 1981, it changed the way industry looks at game development. They made sure that the whole story is simple enough to be told on screen and at the same time instantly grasped by players. This game uses scenes at the beginning to show how the ape escapes. Smaller animations and pop up texts are used to convey the plot of games, such as the ‘help’ speech bubble.

To sum it all up, the role of the narrative design in video games has changed. It’s time the developers provide context with story-based games, to give players a goal to achieve and a reason to play, instead of making games for the sake of swift revenue. Even indie games can be experimental in their game development without being afraid to try storytelling techniques as the players have gone from seeing a bit of story in the games to playing it for the stories and feel inclusive. To stand out among the rest and hook the audience, a game has to be an amalgamation of aesthetic, artistic and personal motivation. Maybe the recent success of Raji can bring a shift in the mindsets of game developers and the objectives of games.  

[evergreenreviews]

Top 20 Songs of 2017

Spotify Playlist

Long post under the cut

20. ‘Laps Around A Picture Frame’ - Broadside

In my AOTY post, and throughout this year, I commended Broadside on their ability to write fun, upbeat songs, so it surprised me that ‘Laps Around A Picture Frame’, one of the album’s darker tracks, ended up making this list. This song is more interesting - both musically and lyrically - than a lot of Broadside’s other work, and it still really stands out to me as a fantastic piece of songwriting.

19. ‘There’s Nothing Holdin’ Me Back’ - Shawn Mendes

If I had any sort of shame whatsoever, Shawn Mendes would be my guilty pleasure. As it stands, I unabashedly love his music, particularly this song. It’s considerably less depressing than pretty much everything else he’s ever written, and it’s an unbelievably fun and catchy song. I dare you to listen to ‘There’s Nothing Holdin’ Me Back’ without at least tapping your foot.

18. ‘Guilty Melody’ - ROAM

ROAM has got to be one of my favourite current pop punk bands, and I remained loyal to them despite the disaster that was Backbone. That loyalty paid off because their second LP, Great Heights and Nosedives, is full to the brim with great jams, none more so than ‘Guilty Melody’. Although the two singles that came out before this one were also really good, this track was the one that restored my faith in ROAM. It’s pretty much a perfect pop punk song, with an unerringly catchy tune, solid lyricism, and a vast improvement in singing ability from both vocalists.

17. ‘The Line’ - Foo Fighters

Although Concrete and Gold was generally a disappointment, ‘The Line’ is an absolutely fantastic soft rock song. It’s super laidback and chill, the melody is simple, which to me (as someone who knows nothing about rock instrumentation) seems to complement the slightly more intricate instrumental parts, and it sounds more like Foo Fighters than anything else off this record.

16. ‘The Last Of The Real Ones’ - Fall Out Boy

While I will readily admit that I’m not the biggest fan of Fall Out Boy’s new sound, this song is brilliant. It’s a great electro-rock anthem while remaining a recognisably Fall Out Boy song. The keyboard part works perfectly under the melody, which is simultaneously very simple but also quite interesting. I also love the contrast between the anthemic chorus and comparatively relaxed verses.

15. ‘One Foot’ - Walk The Moon

After being absent for a year or so, Walk The Moon returned in September with this indie pop bop. ‘One Foot’ has all the hallmarks of a classic WTM song - it’s super upbeat and very catchy with a solid melody and instrumental and synth parts that work perfectly underneath the vocal line. While it may not be the next ‘Shut Up And Dance’, it’s a fantastic pop song and the perfect tune for Walk The Moon to return with.

14. ‘All My Friends (feat. State Champs)’ - Hoodie Allen

It may surprise you to see a hip-hop song on this list - I feel the same way - but this song is just too good not to include. While ‘All My Friends’ may not be Hoodie’s best song, the way he and State Champs manage to blend their very different sounds is incredible and works surprisingly well. From the hip-hop beat during the verses to the almost breakdown in the bridge and the build-up to the explosive last chorus, every aspect of this song ties in wonderfully with the others and creates a very interesting and very fun song.

13. ‘Scatter My Ashes Along The Coast Or Don’t’ - Seaway 

While I’d be hard pressed to pick a favourite song off Vacation, ‘Scatter My Ashes...’ would definitely be in the top three. It’s a ridiculously fun song, with some not so fun lyrics hidden under the upbeat melody and catchy riffs. It also features Caleb Shomo of Beartooth on a fantastic guest vocals spot. His voice works so well on this song and complements the Seaway boys’ perfectly, and it really just gives the track that extra boost.

12. ‘The Man’ - The Killers

I’ve never really listened to The Killers that much, and I think I only listened to this song in the first place because of Brandon Flower’s bicep in the thumbnail for the music video on YouTube. But thank god for that because ‘The Man’ very rapidly became one of my favourite songs. It’s got a lyrical theme that I’ve never seen before, as the band explores what it means to be a “man”, and it’s all laid over a funky 70s-esque disco beat with a fantastic melody.

11. ‘Hearts Don’t Break Around Here’ - Ed Sheeran 

This may be a slightly sappy choice, but I’ll admit that I love a good romantic ballad, and by God if ‘Hearts Don’t Break Around Here’ isn’t exactly that. I feel like this song didn’t get the credit it deserved and was kind of brushed aside in favour of ‘Perfect’ but from day one this was my favourite track off Divide. It’s a perfect relaxed, stripped back, typical Ed Sheeran love song with very simple instrumentation and a gorgeous vocal melody that I can’t help but sing along to.

10. ‘Bad Behavior’ - The Maine

Lovely Little Lonely is made up of wall to wall jams, and none more so than lead single ‘Bad Behavior’. It’s an irresistibly fun song, that you can’t help but dance along to, and it’s impossible not to smile when you’re listening to it. It’s an incredible pop rock song, with that alternative edge that The Maine do so well. You might worry that after 10 years they would’ve stagnated, but this song is proof that The Maine are better than they’ve ever been.

9. ‘On My Own’ - Niall Horan

On an album full of beautiful ballads and acoustic slow jams, ‘On My Own’ stands out as the most upbeat song of the lot. It’s an Irish folk influenced anthem for the happily single, about having fun by yourself when you’re young. It may not be Niall’s strongest vocal performance on Flicker, but it shows the diversity in his writing and provides a welcome interlude from all the slower songs on the album. It’s another song that you just can’t help but nod along to, and perfectly blends the style of pop rock on One Direction’s later albums and the folk and country influences of Niall’s solo work.

8. ‘Soap’ - As It Is 

This is arguably one of the most musically diverse and interesting pop punk songs of the decade. ‘Soap’ is a spooky, sinister, slightly aggressive track which is totally unexpected of As It Is. It probably wouldn’t sound out of place on a gothic horror movie soundtrack and is a fascinating take on the genre. The vocal performances from both singers are fantastic, with Patty effortlessly transitioning from the subdued verses to the almost screamed choruses. The guitars in the intro perfectly set the tone for the rest of the song, and the rumbling bass sounds incredible under everything else. ‘Soap’ is, without a doubt, the standout track from January’s okay. and possibly As It Is’ discography in general.

7. ‘Drowned In Gold’ - Boston Manor

This is a very late addition to this list, seeing as it only came out earlier this month, but in the space of 24 hours it had already pushed its way up to this position. I reviewed ‘Drowned In Gold’ when it was released, and all of the sentiments in that post still ring true today. The “choose life” lyrical structure of the verses is still one of the most interesting writing techniques I’ve heard in a while and I really can’t get over the creepy sound Boston Manor manages to create with the instruments in this track, and the musical progress they’ve made in the past year.

6. ‘Hurt’ - Trophy Eyes

This is probably the most depressing song on this list, and easily one of the most emotionally evocative. ‘Hurt’ is Trophy Eyes’ first release since their album Chemical Miracle last year, and you can tell they’ve put that year to good use with immense improvements across the board. The most noticeable improvement is John’s vocals. As far as I can remember (correct me if I’m wrong), this is the first song on which he’s only done clean vocals, and he sounds better than I ever imagined he could. ‘Hurt’ almost has a kind of stadium rock type vibe to it, and I, for one, love it.

5. ‘Praying’ - Kesha

‘Praying’ is the eagerly anticipated comeback track from beleaguered pop icon Kesha, and the perfect song to show not only how she’s progressed as an artist, but also the struggles she’s faced the past few years. The song alludes to her legal battle with her producer, but it is mostly a song about personal growth and overcoming your struggles. It’s a beautiful stripped back, piano-laden ballad which really lets Kesha’s immense vocal talent take the spotlight. ‘Praying’ is an incredibly powerful song, which has the ability to draw a huge amount of emotion from its listeners - if you haven’t cried listening to this song, you’re probably not human.

4. ‘Gone’ - Knuckle Puck 

I don’t think it’s any secret that I love Knuckle Puck, but if you’ve been following this blog for a while and read my review of Shapeshifter, it’s also no secret that I wasn’t its biggest fan. However, I absolutely adore ‘Gone’. It may just be because it was the first thing to follow the hugely disappointing Calendar Days/Indecisive release earlier this year, or it may be because it’s a brilliant song. It has attitude and a certain aggressiveness that I love. It’s got the lyricism we’ve come to know and love from KP, and it’s unbelievably catchy. The duel vocalism works amazingly on this track and the slightly dotted rhythm in the guitar riff provides another interesting layer to the instrumentation.

3. ‘Atlantic’ - Grayscale 

I can honestly say that this song has been the soundtrack to my 2017. Grayscale very quickly became one of my favourite bands this year, and their album Adornment was even my Album of the Year. ‘Atlantic’ is definitely what one could refer to as an anthem, with a powerful chorus that contrasts perfectly with the relatively chill verses and bridge. It’s a very mature sounding song, showcasing a writing ability far beyond what one would expect of such a young band, although there are a couple of very minor issues in the vocal line. But overall, this song is a brilliant piece of writing that I can imagine aging very well.

2. ‘Out Of It’ - The Story So Far

The excitement that I felt when this song dropped truly cannot be expressed in words. I still feel the same excitement every time 'Out Of It’ comes on, and I don’t think I’ve skipped it once since adding it to my playlist. It doesn’t stray too far from the classic TSSF sound, and probably wouldn’t sound out of place on The Story So Far. I love the change in rhythm between the verses and choruses, which isn’t something I’ve really seen that much in this type of music, and the punchy tune is just perfect for the attitude of the song. It’s just a shame Parker Cannon still can’t annunciate his words properly.

1. ‘In Bloom’ - Neck Deep

From the day ‘In Bloom’ was released I knew it would be in competition for my favourite song of this year. After listening to it maybe 4 or 5 times in a row, it was promptly named my favourite Neck Deep song and I stand by that decision. It’s the most musically interesting song they have released, and it’s so unique from the rest of their work. It showcases so well the improvement Ben has made in his vocal performance over the past couple of years - did anyone see that high note coming? - as well as the progress that the band has made as a whole in terms of their songwriting ability.

[sinceileftyoublog]

Live Picks: 2/14-2/18

Opeth

BY JORDAN MAINZER

Ridiculous metal and ridiculously-stacked folk! All-star level hip hop!

2/14: The Exile Follies, Old Town School of Folk Music

The name “The Exile Follies” refers to the touring combination of three artists experiencing self-imposed exile from the band they became known for, way back in 2002: Grant-Lee Phillips (from Grant Lee Buffalo), John Doe (from X), and Kristin Hersh (from Throwing Muses). Eighteen years later, the trio is reuniting for a tour, with a solo set from each, some collaborations, a lot of banter, and perhaps new songs.

2/14: Opeth, Riviera

The most recent album from the Swedish progressive metal band, September’s In Cauda Venenum, was released in both English and Swedish. There’s not much difference between the two versions. “Garden of Earthly Delights” contains a synthy hum with the band’s trademark prog instrumentation, as does “Heart in Hand” and the loud-quiet-loud “Next of Kin”. “Lovelorn Crime” is a slow burn. “The Garroter”, a song about inequality and apathy under a dictatorship, starts with flamenco guitar and piano, turning into a dark, jazzy ditty. In general, the band is as usual great at composing instrumentals that mirror the song’s subject matter. “Continuum”, for instance, is about the loneliness felt after the dissolution of a relationship; the echoing hi hats are emptiness, manifested. Yet, “Universal Truth”’s title translated into Swedish is “no truth is universal,” a cheeky move from a smart band who sings about the things that divide us politically and socially, not to be cynical but recognizing of the oppression that plagues many across the world.

Swedish hard rockers Graveyard open.

2/15: Machine Head, Metro

We previewed Machine Head’s set at Concord Music Hall two years ago:

“Oakland thrashers Machine Head enjoyed somewhat of a critical renaissance towards the beginning of the decade. While their early material was as authentically heavy as can be, their late 90′s and early 2000′s albums unfortunately delved into the realm of Limp Bizkit-like rap/nu metal. On 2011′s Unto the Locust, thankfully, they rediscovered their hard and experimental edge, as did they on the sweeping 2014 epic Bloodstone & Diamonds (the first with new bassist Jared MacEachern).

Unfortunately, the record they released earlier this year, Catharsis, falls back into the same rap trap as 1999′s The Burning Red and 2001′s Supercharger, the worst stereotypical metalcore swinging riffs with overzealous delivery from lead singer Robb Flynn. One can only hope that these songs are more tolerable live. Either way, thankfully, judging from the band’s recent set lists, it seems they know that their best music was the one-two-three punch of the Grammy-nominated 2007 album The Blackening, Locust, and Bloodstone.”

Since then, they’ve released two non-album singles, “Do Or Die” and “Circle The Drain”, the latter released today. This tour celebrates the 25th anniversary of their seminal debut Burn My Eyes, which they’ll play in full at some point during the night.

Wolf Parade; Photo by Pamela Evelyn & Joseph Yarmush

2/16: Chance the Rapper & Common, United Center

The two team captains for tonight’s All-Star Celebrity Game will also be part of the main festivities. Common will introduce the players before tip-off, while Chance is set to perform at halftime, unfortunately including material from his latest and lamest, The Big Day.

Common is also performing at Offshore, a rooftop on Navy Pier after the Slam Dunk and 3 Point Contest, with DJs Aktive and Dummy.

2/16: 2 Chainz, PRYSM

Known originally for the strength of his undeniably goofy singles, over the past few years, 2 Chainz has proved he can release some truly great albums. 2017′s Pretty Girls Like Trap Music did what Migos’ Culture thought it was doing, presenting buoyant lyrical flow over trap beats, while last year’s Rap Or Go To The League was a look inward at the man himself while still offering plenty of turn-ups. He’s stayed busy in 2020, too, dropping a new track with Future (2-minute banger “Dead Man Walking”) and curating a compilation of artists signed to The Real University (T.R.U.), his imprint, entitled No Face, No Case. He features on 6 tracks, including the unexpectedly soulful state pride anthem “Georgia”.

2/16: Wolf Parade, Thalia Hall

At one time a dynamic five-piece, the Wolf Parade that made Thin Mind, released last month, is a trio, after multi-instrumentalist Dante DeCaro amicably left the band last year. The combination of the aesthetic whittled down to guitar, keyboards/synthesizers, and drums and the idea behind the record--exploring technology and what it’s done to our minds--makes Thin Mind the first Wolf Parade record that feels like it’s been done before. 

Lyrically, there are constant references to glass, a cover that allows us to immerse ourselves in screen, a mirror by which to reflect, but not a symbolism that ascends above the aforementioned oft-explored dichotomy. “They pull you one way / They push you back again, I know / To sow division / Poisoning minds,” sings Dan Boeckner. He’s right! But the point at which he sings, “Nobody knows what they want anymore,” it goes from an astute observation to one generated from the type of person to refer to social media as “The Twitter.” Other times, Thin Mind is on-the-nose political. “The Static Age” is inspired by a collection of short stories about a leader out of touch with his populace, as if the band is trying to say, “Sound familiar?” Instrumentally, even a funny song like “Julia Take Your Man Home”, a self-aware dirge about toxic masculinity, is hobbled by a plodding groove.

Still, Thin Mind is a Wolf Parade record, which means it’s undoubtedly got some great songs. Drummer Arlen Thompson’s work stands out, his electronic drums providing the backbone to the zooming “Forest Green”, his synth and drum fills lending a quintessentially spooky quality to the theatrical “Against the Day”. And when the band talks about the isolating nature of technology not as it relates to some generic conception of humanity, but themselves, it comes across as personal and true. “Tuning into static and my mind is frayed / I could’ve been asleep by now,” Boeckner sings on the catchy “Wandering Son”, a song about the ebbs and flows of a touring musician’s closeness to his family. Perhaps the most genuine sentiment on the whole record comes courtesy of Spencer Krug. “Be as kind as you can,” he sings on the emotional centerpiece. Unlike much of Thin Mind, it’s a far-from-novel idea that never gets old.

Bedroom rockers Jo Passed open.

2/16-2/18: Shakey Graves, SPACE

We previewed Shakey Graves’ set at the Riviera in 2018:

“If you first heard Shakey Graves through his overblown single 'Dearly Departed', you were probably as skeptical as I was to hear that his new album Can’t Wake Up was supposed to be a revelation. Well, it’s not album of the year, but it’s a very impressive transformation from earnest folk singer to indie rock curator for Alejandro Rose-Garcia. Using a choir of voices on many songs to convey his mental monologues, Garcia creates a world where he’s 17, and then 27, having existential crises and feeling invincible at the same time. Tracks are breezy ('Kids These Days', 'Backseat Driver') and dreamy ('Counting Sheep', 'Dining Alone'), and the wide array of instruments on the record, including lo-fi synthesizers, like on the drum-machine-addled ‘My Neighbor' and 'Big Bad Wolf' and buzzing 'Foot Of Your Bed', add to the chaos that makes the record so ultimately effective.”

Since then, he’s released a cover of Roger Miller’s “A World So Full Of Love”, but he’s been playing new songs at his shows. Expect to hear some of them during his three-night stint at SPACE for his For The Record acoustic tour.

[popcultureadventures]

Comics Critique: Thor: God of Thunder 1-11

There is a lack of in-depth comic criticism going around, isn’t there? I understand why: just between Marvel, DC and Image there is far too much content to review on a monthly basis considering what I assume would be a very small readership. But still, I can’t help but be disappointed with the lack of smart, critical writing going around about contemporary “pop” comics. Expect to see a few think pieces pop up around the launch of a new #1 from a current indie darling, or a progressive super hero book, but expect even more to see that media attention immediately vanish.  Talk about self defeating. If no one can be bothered to put real thought into critiquing these books, then why should the writers and artists and editors ever put any effort into making sure they can stand up to real thought? Anyway, why sit around feeling bad when you could be providing a good example? I’m going to try and write at least a few words about each comic I read. And what I read and when will be all over the place and with no real rhyme or reason :)

Anyway, let’s get on with it and cross the Rainbow Bridge to Asgardia, shall we?

Thor: God of Thunder is the starting point for the current Thor run, written by Jason Aaron and here pencilled by Esad Ribic. You’ve probably seen it in the news as the origin of the “female Thor” that caused the usual boring arguments that we should have worked through in the 90s. But that’s all I’ll say about that. This book I’m actually reviewing comes well before female Thor, and stars regular dick and Mjölnir wielding Thor in a fairly classical adventure. Actually, it stars three Thor’s with dicks, but only two with Mjölnir. But I digress. There are two main ideas Aaron is playing with here: The first is that of a new villain, the God Butcher, who is a seriously powerful and ambitious entity dead set on killing every “God” in the universe, whether they be from Earth’s pantheon or others. The second is the way Aaron splits his story between three different iterations of Thor, the past, present, and future, in the first arc before bringing them together in the second arc for a multi Thor beat down.

Unfortunately, I think Aaron seriously missed a trick or two in his execution of both these concepts. When you’re sure a story is going to go one way and it instead veers off into another well developed direction it can be a nice surprise. What’s more disappointing is when, after developing an interesting idea, the story abandons it and doesn’t find anything of substance to replace it. These issues suffer from just such disappointment. The direction of Aaron’s set up seems fairly clear. Past Thor is arrogant, and prone to making stupid mistakes. In 893 A.D. his initial encounter with the God Butcher is going to go horribly wrong, and instead of owning up to his mistakes he will hide them, so as to protect his pride. Present Thor has to pay for his previous incarnation’s hubris, proving again his moral compass has evolved since Odin banished him to Earth. Meanwhile future Thor, now king of a destroyed Asgard, is going to foreshadow future stories and be a snarky bad ass. This is what I had pegged from about issue 2, and indeed, this is kind of what happens. But it’s all very muddled. Let’s examine the text in detail.

In this page we see one of Gorr’s victims explain to present Thor that “Everything he’s doing now, it’s all because of this cave and what you did to him there.” Keep in mind this is before we find out what past Thor did.

Later, we see past Thor captured by Gorr and seemingly about to give in to torture. He’s rescued in the next panel, and so Aaron sustains the question of "What Thor did in the cave”.

Here’s are the pages crossing between past Thor’s showdown with Gorr post rescue, and present Thor putting up with Gorr’s evil plan exposition dump. The explanation provided doesn’t really explain why we should blame Thor for Gorr’s current actions. It just adds up to “I was killing a lot of God’s, but then Thor almost stopped me, so I realised I had to kill even more and also create a crazy evil master plan”. So we’re meant to blame past Thor for, what, not checking for a body? Can we really expect a viking in 893 A.D. to be genre savvy? It seems Aaron is building up to past Thor having committed some kind of shocking “Original Sin” (haha), but all that foreshadowing doesn’t amount to anything. Except...

And so we finally see Thor’s infamous pride surface. He demands that “we will never speak of this day again.” At first this confused me, due to the lack of direct explanation for what exactly he wished to keep secret. But I guess he just doesn’t want word getting out that he was defeated and held prisoner?

Now, it’s always tricky when you get the feeling that your preconceived notions of a text have influenced your reaction, positive or negative. In this case, I know that nu Thor is coming. I know that original flavour Thor is going to be deemed unworthy and lose Mjölnir. The specifics, I have no idea of. But I was expecting Aaron to begin seeding this development with some hints as to Thor’s flaws, flaws which could easily be consistent with many prior characterisations. And he really does’t. Even when past Thor appears next to Thors 2 and 3 in the second arc through timey wimey machinations, he isn’t characterised as stupid or arrogant as he has been by other writers. He’s just a little more rash, and his no holds barred heroics even come off kind of cool?

I mean, space shark!

Unfortunately, I think that by not following through on his setup for past Thor Aaron severely limits the potential for Gorr the God Butcher, who could have been a great new villain in an era where such creations are in short supply. Villains are almost always more effective when their point of view has a twisted (or even perfectly sensible) logic to it. If past Thor had done something actually heinous than Gorr might have a decent reason for wanting all God’s extinct. I hate to sound like too much of a backseat writer when I should be discussing what’s on the page instead of what’s not. There just seems to be a lot of missed potential here.

Gorr’s grand motivations provide the main thematic backbone of the text. He hails from a barren, perhaps post apocalyptic planet where he and his tribe struggle to survive. He loses his mother to predators, his partner dies while pregnant with one of his children, and he struggles to provide for his remaining children. All the while, his culture demands complete fealty to their pantheon. The fact that Gorr’s people often sacrifice what little resources they have as offerings to these God’s angers him, when no matter how much anyone prays the call never seems to be answered. Eventually Gorr is abandoned by his tribe for being a heretic, and just as he resigns himself to death he encounters cosmic beings locked in combat. After stealing the power of one of these beings he takes to the stars  and goes about killing Gods, convinced that they do the universe more harm than good.

It’s certainly interesting that during issue 1 the reader is introduced to present Thor in a sequence that reverses this story. On a similarly barren planet, albeit one where the resident culture is without belief God, a thirsty child prays to any God’s out there in the universe to bring rain. Thor, hearing the prayer, provides amply in an heroic act. This alien species also provides a striking resemblance to Gorr’s. 

So, two conflicting stories with conflicting morals. Gorr’s story will jive well with an atheist outlook, while Thor’s story will seem ridiculous. But Thor is a comic about God’s, and thus it’s going to be about faith, and every comic that truly works with the character is going to be directly addressing this issue and either asking the reader to believe or question. Here, Aaron seems to be asking us to believe, if not in an ultimate God, then in Thor the comic character. Thor, who even in his supposedly most flawed incarnation is heroic and fair. Thor, who answers a child’s prayer from across the universe. Thor, who will fight for Asgard until the end of time.

Gorr’s story ends when it becomes clear that, by destroying all God’s, he has become a de facto God himself. Ever in denial, the only way he can admit this obvious fact is through a family created from his powers, seemingly built from different aspects of his psyche. Aaron telegraphs Gorr’s fate as the “God of Hypocrisy” early on, and while the reveal might have been a cute twist in a 2 or 3 issue story, as the conclusion to 11 chapters of build up it feels too convenient as a way to quickly justify Gorr’s defeat.

So, rather then providing a deconstruction of the Thor character, these issues of God of Thunder seem to instead be a celebration of the character in a few of his different configurations. The fact that Aaron consistently rejects or fails to address criticisms of the character, after decades of post Watchmen comics deconstructing iconic heroes, could almost be said to be a fresh subversion in itself. And yet it can’t help but feel slight, because it’s a story missing a serious dramatic arc for its hero. I’m still excited to see what Aaron does with Thor next, but I hope he does get around to properly testing his protagonist.

[music-industry-updates]

Skills Indie Artists Should Focus On

As an independent artist, it’s vital to master a diverse set of skills to thrive in the competitive music industry. While raw talent and creativity are indispensable, honing specific abilities can set you apart and ensure a sustainable career. This comprehensive guide will explore essential skills every indie artist must master, ranging from music production and songwriting to marketing and networking.

Music Production

Understanding the Basics: Music production is the backbone of any artist’s career. Indie artists need to be proficient in using digital audio workstations (DAWs) like Ableton Live, Logic Pro, or FL Studio. Understanding the basics of recording, mixing, and mastering can significantly improve the quality of your music.

Setting Up a Home Studio: Setting up a home studio is essential for indie artists on a budget. You don’t need to break the bank to create professional-sounding tracks. Invest in essential equipment like a good-quality microphone, audio interface, studio monitors, and headphones. Acoustic treatment for your room can also make a big difference in your recordings.

Learning Resources: There are numerous online resources to help you learn music production. Platforms like YouTube, Coursera, and Udemy offer tutorials ranging from beginner to advanced levels. Additionally, joining online communities and forums can provide valuable insights and support from fellow musicians.

Songwriting

Crafting Compelling Lyrics and Melodies: Songwriting is an art that requires creativity and technical skill. Focus on crafting lyrics that resonate with your audience and melodies that are memorable. Experiment with different songwriting techniques, such as starting with a melody or a chord progression, and see what works best for you.

Overcoming Writer’s Block: Writer’s block is a common challenge for many artists. To overcome it, try changing your environment, collaborating with other songwriters, or using songwriting prompts. Keeping a journal of ideas and revisiting old drafts can also spark new inspiration.

Staying Inspired: Inspiration can come from various sources, including personal experiences, books, movies, and nature. Make it a habit to consume diverse forms of art and stay curious about the world around you. Regularly setting aside time for creativity can help you stay inspired and productive.

Marketing and Branding

Building a Personal Brand: Creating a strong personal brand is crucial for standing out in the music industry. Your brand should reflect your personality, values, and the unique aspects of your music. Consistency in your visual and verbal messaging across all platforms is key.

Social Media Strategies: Social media is a powerful tool for promoting your music and connecting with fans. Develop a content strategy that includes regular posts, engaging with your audience, and using features like Instagram Stories, Twitter polls, and Facebook Live. Tools like Hootsuite and Buffer can help you schedule posts and manage multiple accounts.

Content Creation: In addition to music, create diverse content that showcases your personality and engages your audience. This can include behind-the-scenes videos, tutorials, vlogs, and live streams. Collaborate with other artists and influencers to expand your reach.

Networking

Building Connections: Networking is essential for indie artists to gain exposure and opportunities. Attend music industry events, workshops, and conferences to meet professionals and fellow artists. Building genuine relationships can lead to collaborations, gigs, and valuable advice.

Online Networking: Utilize online platforms like LinkedIn, SoundCloud, and Reddit to connect with industry professionals and other musicians. Participate in discussions, join relevant groups, and share your music and achievements.

Maintaining Professional Relationships: Once you’ve made connections, it’s important to maintain and nurture these relationships. Follow up after meetings, express gratitude, and stay in touch with regular updates. Building a strong network takes time and effort but can significantly benefit your career.

Financial Management

Budgeting and Financial Planning: Managing your finances effectively is crucial for sustaining your music career. Create a budget that accounts for all your expenses, including recording costs, marketing, and equipment. Track your income and expenses meticulously and plan for both short-term and long-term financial goals.

Diversifying Income Streams: As an indie artist, it’s important to have multiple income streams. Besides music sales and streaming royalties, consider merchandise sales, live performances, and licensing your music for commercials and films. Teaching music or offering production services can also provide additional income.

Saving and Investing: Set aside a portion of your income for savings and emergencies. Consider investing in your career by upgrading your equipment, attending workshops, and hiring professional services like PR or management when needed.

Tax Management: Understanding your tax obligations as an independent artist is vital. Keep accurate records of all your income and expenses, and consider consulting a tax professional to ensure you’re compliant with tax laws and maximizing your deductions.

Developing these essential skills will not only enhance your artistry but also empower you to navigate the complexities of the music industry independently. By investing time and effort into mastering music production, songwriting, marketing, networking, and financial management, you can build a sustainable and successful career as an indie artist.

Share your experiences and tips for mastering these skills in the comments below! Ready to take your music career to the next level? Follow us for more tips and resources tailored for indie artists.

[dorematrix1]

The Evolution and Future of 3D Game Development

The world of video games has experienced monumental shifts since its inception, and one of the most significant advancements has been the advent of 3D game development. This technology has transformed not only how games are made but also how they are played and perceived. From the early days of polygonal graphics to today's hyper-realistic environments, 3D game development has continuously pushed the boundaries of what is possible in interactive entertainment.

A Brief History of 3D Game Development

The journey of 3D game development began in the late 20th century with pioneering titles like "Wolfenstein 3D" and "Doom". These games introduced players to the concept of navigating a virtual space with depth, a stark contrast to the flat 2D environments that dominated earlier titles. As technology progressed, so did the complexity and fidelity of 3D graphics.

The late 1990s and early 2000s saw significant advancements with games like "Super Mario 64" and "The Legend of Zelda: Ocarina of Time" on the Nintendo 64, and "Tomb Raider" on the PlayStation. These games featured more sophisticated 3D worlds and characters, offering players an unprecedented level of immersion.

The Core Components of 3D Game Development

Creating a 3D game involves several critical components, each requiring a blend of artistry and technical expertise:

Modeling: This is the process of creating the 3D objects and characters that populate the game world. Tools like Blender, Maya, and 3ds Max are commonly used for modeling, enabling artists to craft detailed and complex shapes.

Texturing: Once models are created, they need to be textured to give them color and detail. Texturing involves applying 2D images to 3D models to create the appearance of surfaces like wood, metal, or skin.

Animation: Bringing models to life requires animation. This can range from simple movements to complex sequences involving facial expressions and body mechanics. Animation tools like Autodesk MotionBuilder and Spine help developers create lifelike actions and reactions.

Rendering: Rendering is the process of generating the final visual output from the 3D models, textures, and animations. Real-time rendering, crucial for games, is handled by game engines such as Unreal Engine and Unity, which are capable of producing stunning graphics in real-time.

The Role of Game Engines

Game engines are the backbone of 3D game development. They provide developers with the tools and resources needed to create and manage the various components of a game. Leading engines like Unreal Engine, Unity, and CryEngine offer powerful features including advanced graphics rendering, physics simulation, and scripting capabilities.

Unreal Engine, for example, is renowned for its high-fidelity graphics and is widely used in AAA game development. Unity, on the other hand, is favored for its versatility and ease of use, making it a popular choice among indie developers and for mobile game development.

Emerging Trends and Future Directions

The future of 3D game development is bright, with several exciting trends on the horizon:

Virtual Reality (VR) and Augmented Reality (AR): These technologies are set to revolutionize 3D gaming by providing even deeper levels of immersion. VR headsets like the Oculus Rift and AR platforms like Microsoft's HoloLens are already changing how players interact with virtual environments.

Procedural Generation: This technique involves using algorithms to create game content on the fly, resulting in vast, diverse, and dynamic worlds. Games like "No Man's Sky" have demonstrated the potential of procedural generation to offer unique experiences for each player.

Artificial Intelligence (AI): AI continues to evolve, enhancing NPC behavior, procedural content creation, and player interaction. Advanced AI can create more lifelike and responsive characters, adding depth and realism to games.

Photorealistic Graphics: With the advancement of ray tracing and other rendering technologies, games are approaching cinematic levels of realism. This trend will likely continue as hardware becomes more powerful and accessible.

Conclusion

3D game development has come a long way from its early days of basic polygons and simple textures. Today, it encompasses a rich blend of art, technology, and innovation, creating immersive and visually stunning experiences. As we look to the future, emerging technologies like VR, procedural generation, and advanced AI promise to further expand the horizons of what is possible in 3D gaming. For developers and players alike, these are exciting times, full of potential and endless possibilities.

[thebandcampdiaries]

Daniel Charles Cook introducing a new studio single: Kicking & Screaming.

February 2022 - Daniel Charles Cook is a singer and songwriter with a penchant for melodic, yet earnest indie-folk songs. His most recent single release, “Kicking & Screaming,” is a perfect introduction to his signature blend of songwriting. The song begins with a beautifully mellow acoustic guitar arpeggio, giving the track a very heartwarming vibe. The album cover, featuring a mother and her child, adds more to the warm sense of family and belonging that fuel this release. The minimalistic approach to production is also what makes the song feel all the more authentic and spontaneous. This song is as pure as it gets: an artist singing his heart out, accompanied by his trusty acoustic guitar. Fans of artists such as Damien Rice, Dave Matthews, Elliott Smith and Sparklehorse are definitely going to be able to connect with Daniel Charles Cook and his music. Daniel has been making music ever since September 2019, when he decided to home-record some of his compositions. He hasn’t slowed down since, recording dozens of songs and progressively releasing them to the audience. His backbone, and refreshingly intimate sound is quite of a trademark for him, since he loves to keep things simple and build songs based on guitar and vocals, allowing the true essence of the music to come through in the most honest and beautiful possible way.

When not busy writing, recording and releasing his own music, Daniel also stays active as a playlist curator on Spotify, focusing on giving a platform and shining a light on some of the best indie-folk and acoustic songwriters out there. This open and creatively pleasing attitude represents a change of pace in the music community, as it is always awesome to see artists supporting each other and building each other up through awesome playlists and sharing music with the world! Daniel’s refreshingly authentic approach to music is a perfect example of that.

Find out more about Daniel Charles, and listen to “Kicking & Screaming.” This release is currently available on Spotify, as well as many other major digital music streaming services.

https://twitter.com/DanielC68749467?s=09

https://open.spotify.com/album/00kukwVZHmSbNByGUbbOqK?si=jxfvYoYPTGSKMsQaa-YNxg&utm_source=copy-link