#intro set the tone beautifully

[inksandpensblog]

Waaa everyone did such a good job on this!!!

"There's a room where the light won't find you, Holding hands while the walls come tumblin' down, When you do I'll be right behind you

So glad we've almost made it, So sad they had to fade it,

Everybody Wants to Rule the World~"

-Everybody Wants to Rule the World by Tears for Fears

And here it is! The long awaited AvA "Everybody Wants to Rule the World" MAP is complete!

I can't believe it's out for everyone to watch. It was such a delight to work with everyone on this project and I can't even begin to imagine how excited everyone is to finally see the results of all their hard work!

40 parts with 35 participants! And you know what? Everyone absolutely kicked it out of the park

Please take the time you check out everyone's credits below and give them your support!

In a separate post I'll share the MAP Call image, the Thumbnail, and the Credits image without their words because I think they make great backgrounds!

And I hope you enjoy this crowning MAP!

Credits (Check out the Video Description for Full Credit Links!):

Intro & Part 23: Sammy8D257 (yours truly)

Part 1: Pegg @sticksfight

Part 2 & 20: Mary @mary-games-and-arts

Part 3 & 13: NivousNiv @nzn43

Part 4: Rubtix @rubtix-a-betz

Part 5: zkylearnstherope @zkylearnstherope

Part 6: AveryBug [Youtube]

Part 7: Whirld @whirld-of-color

Part 8: Sticky @sticks-without-stones

Part 9 & 25: Vita1/Galactic Bastard [Youtube]

Part 10: Wildcrest [Youtube]

Part 11: Eclipnet @eclipnet

Part 12: Urantum [Youtube]

Part 14: Danrishy @danrishy-ava

Part 15: Marsh @marshmallowart

Part 16: Lara Prisma @lara-prisma-avm-ask-blog

Part 17: Jack What-Stasis @what-stasis

Part 18: KikoQueenoftheRats @kikoqueenofrats

Part 19: dazeyyt [Youtube]

Part 21 & 33: Maechery @maechery

Part 22: Ghosty [Youtube]

Part 24: Reptilia @reptilia0freptiles

Part 26: FireflyFlareNight @fireflyflarenight

Part 27: Ella @ellathebirb

Part 28: Celentinel [Youtube]

Part 29: Ravienski [Youtube]

Part 30: Wxlfy @wolfydoesstuff

Part 31: Oaks @veryoaki

Part 32: Sabre @sabretoothedhorse @ohhhsosleepy

Part 34: Flanik @flanik

Part 35: Theo/Purple @cindersnows

Part 36: Yumesz [carrd]

Part 37: Jadeactuallysucks @jadeactuallysucks

Part 38: Storge @storgicdealer

Outro: Allu @allunary (w/ bkgs help from NivousNiv)

Thumbnail Credits:

Victim: NivousNiv

Purple: Maechery

King: Lara Prisma

Dark: FireflyFlareNight

Background: Sammy8D257

[milgram-tournament]

MILGRAM Best Song Tournament, Round 2, Match 1 WEAKNESS vs. THE PURGE MARCH

Propaganda for both options under the cut!

Propaganda for WEAKNESS:

"This is definitely more of a personal anecdote. However, I’m neurodivergent (like Haruka) and struggle with knowing it causes quite a bit of disappointment for my mother. I cry about it a lot. But I find that putting on Weakness is soothing for me. Knowing that there’s a character out there with the same issues…. I don’t know. Just my experience."

---

"why weakness should win over umbilical: - THE SINGING THE HIGH NOTES - this song set the tone to what to expect for the trial songs to come (or what we expected) - the part where the song gets all slow paced and then picks up louder at the end it just done beautifully - it's haruka. - the singing sounds like a mix between of course singing and crying. the 'AHahA' sounds like manic laughing until the end when he's crying and it almost feels like he's sobbing while laughing. - the guitar and the drums complement his soft/sad-ish voice perfectly, especially at the beginning - very emotional, even if you didn't see the music video you can tell he's crying and mentally unwell I'm bad a propaganda, but vote for WEAKNESS!!!!"

Propaganda for THE PURGE MARCH:

"Despite the shorter length, the Purge March has several distinct sections in its structure.

It starts with a rolloff, and then… they don’t follow it. Amane isn’t here to follow the beat.

There’s the spoken-word intro and the upbeat first verse listing the tenets. The prechorus (“dou shiyou mo nai…”) has an amen break. The most-sampled four-bar drum beat. Well, there’s half of it. Is it supposed to mean something? Can I get an amen?

The chorus is so, so cheerful… unless you’re actually listening to the lyrics (“I’ll crush your throat too”) or watching the video. And it’s super catchy. 

The second part of the verse dials things back. Now we’re in reality. This is how Amane breaks her tenets. All the while, those tenets are spoken into both ears over the singing. Get some good headphones. She sounds different in each ear.

The music picks up again with the amen break as Amane happily strolls back home, and then-

Oh.

The somber second chorus, with Amane’s lower singing voice and mournful spoken words, leads into the final chorus, with new lyrics and a more forceful tone. The once-meaningless chanting now has real words. “You’re sorry? I don’t care! Please go ahead and die already.” You can hear Amane’s anger despite the cheerful melody. She harmonizes in the final phrase, as if to say “we’re in this together, me and my little color guard troop.” And finally, it’s just her. Speaking. "Oboetemasuka?" Accompanied by only a single drum.

She is both Amane Momose and not. She upholds the doctrines that she was raised with, but she can’t."

---

"Purge March is geniunaly one of my favorite pieces of fiction both in and out of the context of trauma. Its fantastically directed and composed. The batton twirling is spetacular and energetic, the set and character design of Amane conveys a lot about the world she’s in and the story she’s telling. Purge March contextulizes a lot of Magic in both expected and unexpected ways (insert the entire cat symbolism thesis here) Purge March casts Amane in the role of a scary child. The glowing eyes, the framing of Amane as Above the viewer, the brutality and catharsis of it all. It seems tailored made to make you Scared of her. It’s a continuation of the cycle of abuse that we the audience repeated in T1 when we gave her that verdict. A red flashing warning sign about the Inhumanity and Monsterous qualities of Amane Momose. But Amane as a monster is fufilling and freeing. Again, its deeply cathartic. I would write more if I wasnt so sleepy at the moment but its just some Fantastic work overall. Purge March is also just fantasitic vocally and also hids electricity sounds in the instrumental which I think is evil and awesome."

---

-Amane’s vocals and how they slowly get more and more off the deep end is both really sad and cool to watch.

-The symbolism of the marching band and the flags. Ifykyk

-The beginning where it sounds like a propaganda TV show… really shows just how far Amane’s thinking is rooted in her cult and how that’s shaped her perception.

-The LYRICS. They work so well but it’s also creepy AF considering it’s a child who’s singing it.

-“So there is no second time, I’ll give back the judgment that you gave to me!”

-The overlapping part… gives me chills everytime.

-Building off the last point, the last “I’ll crush your throat too.” Ouch.

-“Remember MY cries, MY repents, MY words of “I’m sorry” that I said to you?”

-The song also does a great job of showing how much the guilty verdict messed with her.

[wavesoutbeingtossed]

ohmygod fortnight does feel like those movie prologues, its so eerie, beautifully sets the tone and even how post's vocals are processed its a depiction of a real life scenario, her being haunted by this male presence. guilty as sin even though its a bop is so icky, has this sticky weather energy, when you get out of the shower but its so hot you feel dirty right away. I could go on, ttpd the record you are. its so picturesque to me that im surprised she hasn't done a full visual album

It’s very “Two households, both alike in dignity, in fair Verona, where we lay our scene…”

I totally get you on Guilty As Sin feeling like a hot summer night too! So Long London feels like a damp rainy night. But Daddy feels like a bright summer day etc.

Her music is so evocative and I know I’ve written many times about how cinematic it is, and how TTPD is in particular. So many songs feel like they could be movies in their own right.

(I love how the deserted road visuals from the Fortnight video are echoed in the TTPD set intro on tour)

[ihaveatheoryonthat]

A small handful of songs I associate with A Glint, a Spark. (Spoilers for both that fic and Memory, Heavy in My Heart.)

Arms Outstretched - Griffin McElroy

As I alluded to in the MHIMH playlist, Arms Outstretched was the song I had all but set AGAS to, for the animatic in my head. The progression of it from being kind of downtrodden, to this moment of hope, and then a happy epilogue was pretty perfect, both for the idea I actually went with, and the one I may still write.

Chapters 1 & 2

Place to Start - Mike Shinoda

Do I even have a decision? Feeling like I'm living in a story already written. Am I part of a vision made by somebody else? / Am I out of conviction with no wind in the sail, too focused on the end and simply ready to fail?

Cause I'm tired of feeling like I can't control this; tired of feeling like every next step's hopeless. Tired of feeling like what I build might break apart, I don't want to know the end, all I want is a place to start.

I don't have a ton to elaborate on with the lyrics. The first part just meshes really nicely with the theme of being unable to influence events that have already happened, and having to take them as they come. The second part resonates particularly well with the first chapter, in my opinion. I also like having a song from the same artist in both halves of the main story, and the contrasting tones.

Chapters 3-9:

The Heart of a Graveyard - Demon Hunter

Tell me that your final home is not a shot in the dark; tell me that your hopes and dreams don't end in the heart of a graveyard.

Tonally, it doesn't fit perfectly with the rest of this list, but the subject matter is pretty on the mark. There's a sense of preparing for the worst while still hoping for the best that I like, particularly in this context.

Chapter 10:

Final Battle: Malladus (From "The Legend of Zelda: Spirit Tracks") - The Noble Demon

(The portion up to 0:46 is an intro, and not the most relevant to this list; the actual battle theme starts warming up after that.) A friend unintentionally reminded me that I love this track, and since that conversation happened smack at the climax of MHIMH, I naturally connected the dots. This would correspond to the recorded battle with Arceus, because the track for it in canon PLA just does not fit this version. I chose this remix in particular because it really emphasized the woodwind notes in parts-- which made sense re: the Azure Flute-- and because it has that underlying, train-chugging percussion. It's always struck me as a very triumphant battle theme, which fit beautifully.

Chapter 11:

Welcome to the World of Pokemon - Super Pokemon Mystery Dungeon

It's wondrous and mysterious, but gentle and a bit low-key at the same time, which I think makes it work very well for the build up this chapter, and most of the time spent in the Hall of Origin.

Mysterious Rainbow Girl - Wandersong

The same goes for this track; I was pretty torn as to which one I liked better, so I ended up keeping both for a little bit of variation.

Chapter 12:

On the Beach at Dusk - Pokemon Mystery Dungeon: Explorers of Time, Darkness & Sky

I had this one set aside specifically for the scene at the top of Dragonspiral Tower, where the reality of the situation is beginning to sink in. If you're familiar with Explorers, there... might be something of a parallel to be read into the situations they 'play' over.

Misc:

The yet untitled song from The Dreadful Demise of the Dinosaurs - Puppet History

A lonely life among the stars, my destination veiled and far away, but I knew one day we'd find each other. Then in the dark, a glint, a spark, the greens and blues, be still my heart-- and once I hit, that's it, I'm here forever.

While I'm here, I should probably include the fic's namesake. It's really only the one verse (~0:25-0:47), because this song has a very specific subject matter and thesis, but that one passage really stuck with me in this context. The first half definitely resonates most strongly with chapter 11, but I was also aiming to match the second to 12-- specifically "the greens and blues, be still my heart" to the scene on Dragonspiral, and to end with the promise of "I'm here forever"

[sapphosclown]

top 5 jatp songs?

oh gosh this is hard

Wake Up - i genuinely get so emotional when i listen to it and it was a beautifully shot scene

Now or Never - like just actually so good. The song that makes me wish sunset curve was a real band with a real album and sets a great tone for the show

Finally Free - not only such an epic song but so powerful as it’s the first time jatp get to debut and play as this new group for real

Edge of Great - classic, very enjoyable song and truly iconic in every way

The Other Side of Hollywood (+the reprise) - i really like watching it tbh, very good intro to villain song and it’s such a spectacle i love it

miss jatp so bad now gosh

ask me my top 5 anything!

[marianas-trench-is-not-that-deep]

Reasons Why I Think End of An Era Should Be More Loved

(also known as a long list of why I love this song <3) watch out, this is going to be a pretty long post lol

First and foremost, this isn't a list kind of thing but it will be more of a rant, because Goddammit I love this song and I don't see much people giving it the praise IT CLEARLY DESERVES

So let start from the beginning

The song starts off with an acapella part - (0:00 - 1:10) I feel like almost every Marianas Trench closing song starts with something similar, soft vocals and/or elongated notes that are at a slowly relatively slow pace (which is valid because every song before the closer is a ballad that makes me want to bawl my fucking eyes out). And it always work. It helps set the pace and eases smoothly when the tempo kicks a little higher which brings tension and momentum. This case is no different. I always enjoy listening to Josh sing in this little acapella format, his vocals are nice and clean, and not to mention the lyricism <3 Just the beginning lyrics make me want to swoon "One last cue/from love true/to final adieu" Idk, something about that line just got me !!!dlsk it's so simple yet poetic at the same time his delivery connotating sadness and realism that reflected his life back then. This whole exposition just completely keeps up with the concept of being an 80's coming of age action movie and the rest of the song does not disappoint.

afterwards, it kicks up

OMG the CALLBACKS and motifs from every other Marianas Trench song

everyone loves to talk about Dearly Departed as having the best call backs to others songs. C'mon we all freaked out in the best possible way when we first heard it. but I really would like to give End of an Era some of that spotlight BECAUSE COME ON!! this song doesn't only have just lyric call backs from the other songs but also their musical motifs and IT WORKS!! like, it doesn't sound tacky nor out of place. It's all fitted so smoothly and seamlessly into the song in a way that makes such musical sense and doesn't stray from the overall tone.

Here are all the call backs that I have found (and let me know if i missed one)

Masterpiece theater - right after the acapella beginning, the song immediately introduces a marimba that plays the beginning part of Masterpiece Theatre III as a musical motif. I freaked out the first time I heard it and I imagine a lot of you guys did too. I was like KDSOFDJS

Astoria - ofc it has to include the beginning song and it sung so beautifully tense compared to it's original. You can clearly imagine that this is ending climax of the movie. the stakes are high and there is a clear thick tension. Calling back to the titular song, through both lyrics and strings, is a way to narrate how far the journey has taken.

Ever After - the haunting "Face the Music/when its dire" background melody ITS SO FUCKING GOOD YALL LIKE WHAT THE FUCK. so all of this literally happens in the beginning. like first its the intro to masterpiece III and then uses lyrics from astoria and then uses lyrics from ever after as background vocals to harmonize with the astoria vocals and IT'S SO GODDAMN BEAUTIFUL and it's so well executed. LIKE I CANNOT STRESS ENOUGH HOW MUSICALLY TALENTED ONE HAS TO BE TO COMBINE THREE SEPARATE MUSICAL MOTIFS FROM PAST SONG TO MAKE A NEW SONG THAT SOUNDS FRESH BUT STILL BE RECOGNIZABLE TO THE OGS LIKE WAHAT/? but that's not all folks,, no no no no .

Ever After motif - the AHahAHah AhahAhah (yknow) the singing voice that appears in almost every song throughout the whole Ever After and most prominent in Porcelain. It is woven into the song so beautifully.

Low and Alibis - "I feel so ashamed/wish this was easy" KDLSJFKSDF; this lyric is from Low from their debut album Fix Me. "I want you to know to, this never was the man I hoped to be by now" this is a call back to the song Alibis from the same album. and i cannot even try to begin to describe the absolute ferocity I felt when this part came on. The refer to two of one of their most emotionally charged songs from their debut album and AHHH and in the song, it serves the role as a comparison in the journey. These specific lyrics help continue the flow of the narrative that the song is going by being the 'before' and comparing himself to the what he is now. He had a specific image of himself before and the journey has converted him into something new but ultimately not what he wanted ("this was never the man I hoped to be by now"). If anything, he is expressing the lowest he has ever felt and is brilliantly using lyrics from his song LOW. He's expressing his regret, his sadness, his struggles that he had faced and acknowledges throughout his journey and knows that he does not want that to be the end. And it is such a wonderful call back because Fix Me and those specific songs are sonically but bring this authenticity because these songs are truly part of the 'beginning' of Marianas Trench's journey. It lowkey made me shed a tear

Porcelain (and maybe Dearly Departed) - So at 5:00 - 5-16 is literally just an excerpt from Porcelain (Ever After 2013) but just melodically inverted and LET ME TELL YOU, IF THAT'S NOT ONE OF THE MOST HEARTBREAKING THINGS. In Porcelain, it goes Ahhhahh ahh, then you hear the guitars and drums picking up, and then the lyrics come in "oh, when your heart releases, you won't fall to pieces, you'll let those diseases lie" with nice expressive melody. You hear that same melody in End of an Era but you hear first the ahhh ahh - since it was already kind of in the background for most of the song but it becomes most prominent in this section - and then then that melody with the lyrics "i gave in to sickness, could you find forgiveness, for a dear old friend" and then it kicks it up with the same guitar sounds and drums that was in Porcelain (but accompanied with kickass guitar riffs -- like cmon those riffs are so good!!!) and I'm not sure if this is too much of a stretch, but I think that those specific lyrics are a callback to Dearly Departed. They parallel the lines "in sickness and health" and reference the "dear old friend" that is is a constant in Dearly Departed. I don't really like to pry on people's lives (so feel free to correct me if i'm wrong) but I remember hearing that one of the reasons that Amanda called off the engagement was because Josh got sick at the hospital and was acting drastically different. I'm not sure if his parents' deaths happened around that time or if the cheating was also a factor but i feel like with this line he is referencing that he owns up for how he was acting and gave 'in to sickness' both in a literal and metaphorical sense despite the vows that he references in Dearly Departed (since "in sickness and in health" are part of wedding vows which reference the engagement). This part is just so emotionally and musically complex because what Ramsay is essentially doing is putting on the melody of the love song (tm) underneath the lyrics that reference the what could be the actual breakup in order to make a new meaning and basically use it as a way to salvage it because he still cares and loves her. AND YOU GET THIS FROM LITERALLY A MINUTE OR HALF A MINUTE LIKE WHATTT

After that emotional train wreck that was the middle section of the song, it starts nearing the conclusion with this anticipating climax and when it gets to the top, there's this intensity that reaches and is let out with a scream. and not just any scream, but the one that was in Astoria as a final cry of victory and perseverance, accompanied by amazing guitar riffs, drums and just overall DJSILFJSK ( i don't know how to put it in words) but its all there and it so good and victorious in a way that makes you think that you just watch a glorious coming of an age epiphany and rising to the occasion to finish out the journey and it just truly feels so magical.

Last and certainly not least, the last part. THIS LAST PART MAKES ME GO SO FUCKING FERAL ITS NOT EVEN FUNNY. but

"if we shadows have offended, I hope your heart can still be mended. I hope you know that i don't blame you my dear friend. Always will love you still, but Astoria must end"

The quoting of Shakespeare's Midsummer Night Dream (which i can make a whole analysis in it by itself but the post is already way too long lol) , which is a play essentially about love and marriage. and just the phrase of "dear friend" as a way to acknowledge that his beloved is not just the love of his life, but a friendship that he has cherished and cared for a long time. Using the quote from shakespeare and affirm that Astoria must end, gives it a spine tingly knowledge that this is the end. the end of the journey, the end of the song, the end of the relationship, the end of this era.

and the best part is that this does not necessarily mean that this journey is just about josh and his relationship and real life problems but also his musical journey. Marianas Trench has gone through so many changes, so many sounds, and has given people so many experiences. This song is the song that culminates all that Josh has written, produced, and created into one spectacular musical sound that is their way to leave their old selves behind. They have acknowledged that they have grown quite a bit as well as their audience and they are just saying good bye to this era. i don't know about you guys but I just think this is quite literally one of their bests songs ever and even though I barely made sense throughout most of this post, I hope it brings you more a somewhat good insight on what this songs means to us, the band, and to Josh. <3 <3 <3

[techtechonmymind]

For the ask game: 1, 16, 21?

1. Design an NCT U unit - pick the members, styling, and genre

This took me a minute. I wrote the question’s without knowing my own answers l o l. I want them to try something synthwavey! Something like KEY’s Bad Love or Killer. But because it’s NCT it could be a bit stranger. Ateez’s Take Me Home-esque. But it does need to be weird lol.

Maybe withhhh - Mark, TY, Taeil, Haechan, Ten, Doyoung? I just remember how much Taeil loved EDM so I want him on more dancey tracks even if this isn’t an EDM song lol.

Styling-wise, I really liked some of the Superhuman styling for something like this - like what Taeyong and Yuta wore, or something like what Johnny wore in Ay-Yo. White with pops of reds?

16. Favorite intro/outro/interlude?

Haha, Intro: Neo Got My Back - hence the blog name 🙈 It has such an incredible atmospheric vibe which goes hand-in-hand with The 7th Sense, which I think serves at the root for that album. And it sets the stage for Empathy so beautifully. I love that there’s a callback to it in Black on Black. So well thought-out and so well executed.

21. Favorite behind the scenes content?

Definitely the recording behinds! I love love love them. I am so grateful for them. It’s great seeing just how fully involved the members get with choosing tone/vibe/feel/attitude, working on harmonies, and just trying out new things collaboratively. I also like hearing glimpses of producers like Yoo Youngjin, Kenzie, and Junny - and others I don’t know by name. I admire their work, and they’re always so, so sweet and encouraging to the boys.

Send me an NCT ask!

[blueofthesun]

i have time to spare and love to talk as if i know something about music, so here's some album opener thoughts<3 i'm very curious as to what everyone's personal favs are, since each dir album has such a distinct vibe and i feel like their opening tracks really nicely set the tone every time. my top 5 (technically 6) is under the cut:

5. deity (macabre) / sa bir (uroboros)

tied because i feel similarly about both of them. both are the opening tracks of an album quite different from the one before, clearly indicating a step towards a direction that is significantly more ambitious and experimental. sonically i find these two have a few similarities as well. (in many ways i like to think of uroboros as their macabre 2.0 but that is its own post i think)

i just love the eerie atmosphere of both of these songs. the tension, the vocal teasers, the way they grow and morph and pull you in. both songs have a circular, hypnotic feel to them. both of these album openers say "you better start taking us seriously". and upon hearing them, i think that's exactly what you do.

4. schadenfreude (phalaris)

when i say i was in tears hearing the intro for the first time i am not exaggerating. what a beautiful way to lead in an album. and listen, i might not have understood and gotten the full vision with this whole song at first, but once i did, i really did.

the way this song is structured really gives you a good idea of all the different shades the rest of the album is to offer. it also ties nicely into the previous album era. i also really love the way this album is sandwiched by two 9-minute songs on each end, like two detailed, beautifully crafted bookends.

3. conceived sorrow (the marrow of a bone)

i just think making conceived sorrow the opener for tmoab was so genius. i remember many people feeling thrown off by it back when the album came out, but the more you listen to the full work, the more perfect sense it makes for this one to be the first track. it really highlights the undercurrent of grief and sorrow this entire album has beneath the aggressive exterior. it sort of acts as the perfect prologue for the rest of the album.

tmoab in general has some of the best ballads they've ever written, and i think it's brilliant the way they stand out against the gritty, gravelly framework of the rest of the album.

2. kyoukotsu no nari (dum spiro spero)

i love an instrumental album intro more than anything, and genuinely, kyoukotsu no nari is one of the most impressive and effective album openers i've ever heard. it achieves so much by doing relatively little, and every sound, every note has its purpose. you just know you're about to listen to their most ambitious and artistic piece of work to date when you start dss and hear that first chord drop.

the soundscape is so haunting and gut wrenching, gives me full body chills. that creeping organ (?) melody haunts my dreams. a masterclass on how to really make a lasting first impression, truly. i love their instrumental stuff so much.

1. audience killer loop (vulgar)

my beloved. all of this album's intensity and emotion is perfectly condensed into that little hook melody and the instrumental bridge, it's so good. the chorus is so powerful and memorable, the way the song loops (heh) back into that aggressive intro riff in the outro is just. absolutely iconic. to this day, this song works perfectly as a live set opener as well.

this song does what a good album opener does and makes you immediately excited to hear the rest of the album. i've called vulgar their most dynamic album before (and i'll do it again); this intro raises the energy from the get-go, and the rest of the album does a fantastic job at building momentum and keeping you in it up until the very last track.

[forathousanddays]

Pierce The Veil - Misadventures (Review)

For nearly the entire lifespan of post-2000 alternative rock, Pierce The Veil have been a figurehead of the genre. In the two years following the release of their first studio album, they saw two different occasions with the Warped Tour, and widespread recognition. Misadventures is their most traditional venture into pop-punk, with a youthful delinquent flair plastered all over it. 

While Misadventures was by no means their most successful album among longtime fans, it still released to universal acclaim. There are songs off other albums from them I like more individually, like The Sky Under The Sea, but every track off Misadventures is stellar. It cements itself, for me, as the only Pierce The Veil album with zero skippable songs.

Dive in further below the cut.

TRACK 1 - DIVE IN

The opening track sets the Misadventures tone perfectly. The squealing sound of an amp and generally higher tuned guitar gives the record an instant feeling of authenticity, and the mix places the main riff quite a bit below everything else for the first verse. The first minute or so let you feel for a brief moment that you might be listening to a normal Pierce The Veil record, but the pace and energy quickly establish a tone we’ve yet to see from the band. The chorus has a levity entirely new to the band’s discography, a far cry from the dark, full tones of Selfish Machines and Collide With The Sky. We got a hint of this sound in Props & Mayhem off the aforementioned album, but nothing as fleshed-out as the light, grinding quality to Misadventures.

The album perfectly reflects its title and cover, with a sense of clarity and youthful fun. Dive In is no different. 8/10.

TRACK 2 - TEXAS IS FOREVER

Again, a tone is set in the opening seconds. Texas Is Forever is the most immediately pop-punk song off their most immediately pop-punk album. The sound masterfully captures a sparking romance, and the lyrics encapsulate a running theme for Pierce The Veil, of a romance failing. Misadventures approaches that theme differently, though, with a happy(ish) ending. Vic Fuentes describes the song as self-indulgent in sound, and lyrically about a relationship that could finally end in mutual respect for separate lives. Don’t get used to that kind of health, though. (lol)

This is the fastest song in their entire discography, and I’m glad it’s a thing. 9/10.

TRACK 3 - THE DIVINE ZERO

Misadventures is largely unique in its scene, for being able to capture a cold and sentimental atmosphere with high tuning and energetic vocals. The opening feels distinctly lonely in the moments before it’s drowned out by a massive wave of sound, much like the theme of the song itself. The Divine Zero covers the conflict between substances and depression; the swimming high can hide things for a time, but when the feelings come back, they come back worse. The song changes tone frequently and erratically, but in a way that feels intentional. 

The outro feels hazy in a way that compliments the theme perfectly, like coming down as the sun rises. 10/10.

TRACK 4 - FLORAL & FADING

The transition from The Divine Zero’s slow, reflective outro into Floral & Fading never gets less jarring, no matter how many times I listen to it. The story behind the song is touching, but doesn’t necessarily belong in a strictly musical review. That being said, the meaning and idea is reflected beautifully in the upbeat and unconcerned tone. Floral & Fading is the finest encapsulation of the indifferent youthful authenticity on the record. If you told me this was written when he was, like, fifteen, I would believe you.

This is one of the biggest songs on the album, but I don’t think it’s for me. 8/10.

TRACK 5 - PHANTOM POWER AND LUDICROUS SPEED

After the crowded sound of Floral & Fading, the isolated intro is very welcome. Don’t get too used to it, though, because Phantom Power and- I’m sorry, there’s no way I’m typing out the entire title every time I refer to it. The track quickly carves out a space for itself, with the chorus having one of the largest sounds on the album. Less crowded and more filled out, no single part of the mix takes away from the other aspects. Everything is occupying equal space, which gives a fantastic listening experience in surround sound. Title checks out.

Once again, Misadventures excels at the outro. 9/10

TRACK 6 - CIRCLES

Do I think writing a fictionalized love story set in the midst of a real-life shooting is weird? Yes. Did the song turn out well enough that I don’t care that much? Yes! The heavy presence of the amps in the sound gives Circles a nice sense of pre-production processing to it, again serving to champion the record’s authenticity. I’m not crazy about the bridge, but the verses and chorus make up for where it falls short. The pick-up on the chorus after the bridge is incredible, and absolutely brimming with energy.

I’m not mad this is the most streamed song on the album, even if it’s not my favourite. 7/10

TRACK 7 - TODAY I SAW THE WHOLE WORLD

While it gets overshadowed often by its acoustic version, Today I Saw The Whole World is a total treat to listen to in its original form. The heavy guitar reminds us who we’re listening to, but in a way we haven’t really heard from them before. The chord progressions are super catchy, and the lyrics are incredible. My favourite part is when the lyrics and the delivery match up in “back and forth just like my heart is on a pendulum.”

Refreshing to hear some really gnarly guitar on this album, and I’m glad it’s here. 9/10.

TRACK 8 - GOLD MEDAL RIBBON.

I don’t hand out 11s, because I want 10 to feel like something really valuable, but this is a place for one. Hypothetically, at least. Opening with a solo that gives me genuine chills, Gold Medal Ribbon is a sound Pierce The Veil hasn’t touched before or after. The composition feels otherworldly and longing, and Vic Fuentes’ desperate vocals amplify the latter effect beautifully. Gold Medal Ribbon feels like an ode to grief, more than a requiem. The lyrics once again feel youthful and inspired, with the title line referring to a relatively obscure ice cream flavour. 

The bridge made me cry a little bit when i was relistening to write this. 10/10.

TRACK 9 - BEDLESS

Bedless is, above all else, pretty. The quieter delivery on the vocals as well as the slower, more powerful guitar puts an emphasis on this one that’s absent from most of the album. I don’t consider that a weakness of the album, so much as a strength of this one track. Everything builds off itself, with every shift in tone or delivery feeling earned and set-up previously. The quiet guitar in the background of the bridge makes the track itself feel almost tired, which is helped by the generally slower pace of the chords after it. The outro is really pretty, too.

It’s lagging behind, but not in a sloppy way; the slower playing puts more weight and power behind every note. 10/10. The home stretch gets a lot of those.

TRACK 10 - SAMBUKA

Making Sambuka the shortest song on the record (by almost a full minute!) is criminal. Every second of this song is a treat to listen to, as a perfect crystallization of the high energy of Misadventures. The title itself, even, is a misspelling of a drink Fuentes tried on tour in the UK, which he left that way because it looked easier to say. It feels careless and alive, but the lyrics have a pang of transparent aching to them.

I’m really mad about the length. 10/10.

TRACK 11 - SONG FOR ISABELLE

If you know me personally, you might know that this song means a lot to me. I’ll do my best to leave this out of the rating, though. A running trend with all of my top three albums is awareness of their own construction; if Song For Isabelle was anywhere else on the album, I would have said it needed to be the closing track. It’s the culmination of every sound and style and theme on Misadventures, an ode to youthful indifference and poor decisions. A masterclass in arguably tasteless romantic subplots. A genuinely touching story, even with that presence. You might recognize my display name from it.

The lyrics paint such a perfect picture of the setting, so much so that I can almost feel the California humidity clinging to my skin under a late night breeze. 10/10.

RETROSPECTIVE

Rounding off my list of top threes is, obviously, another 10/10. Misadventures is incredibly well-received critically, but criminally underrated among fans of the band. It’s a style they’d never really indulged in before, and will likely never indulge in again. It’s sad to think about, but I’m glad it stays fresh and unique among their discography. The outro to Song For Isabelle is a perfect outro to the album and its themes, even being a lyric pulled from a song Vic loved growing up. I figured it would fit as a send-off to my top three, too.

[atlasllm]

WAIT DID U MEAN HOLLYWOOD UNDEAD???? HAVE U HEARD WAR CHILD? PARADISE LOST?

PARTY BY MYSELF???!!!!!!!

YEAH HOLLYWOOD UNDEAD KJBGDKD

I didn't answer this ASAP since I wanted to give my full Lore about Hollywood Undead + please remember I'm terrible with music genres so like

One of the things I really enjoy about music is buildup; hence why one of my favorite MCR songs is Demolition Lovers. It's 6 minutes of switching from part to part very beautifully, as well as constructing the narrative of the aforementioned Lovers. You get the soft intro, leading up into those initial "I'm trying, I'm trying", which stops but fades again to the "All we are are bullets", which ends in that AWESOME guitar solo(?) that keeps building and building to the "Phantoms forever" part.

Lots of other songs I enjoy have this sort of buildup; Undefeatable from Sonic Frontiers (which like, kinda makes sense as it's both a really good song and also meant to build up to each section of the boss battle it's from), King For A Day by Pierce the Veil, Last One Standing by Simple Plan, City Traffic Puzzle or Sweet Tangerine by The Hush Sound...

Heck, even when listening to Evanescence in 3rd grade I probably enjoyed Bring Me To Life for that reason as well

This Love This Hate has the benefit of also being a Blorbo(tm) song which is another story entirely that I don't feel like telling; but overall I enjoyed the buildup of that song and since I heard it first in a Blorbo AMV + I always associated its lyrics with said blorbo, but that was my first Hollywood Undead song. I'm not sure what genre it feels like since it doesn't sound like the harsher rocks of Three Days Grace or the pop punks of the Emo Trinity, but whatever it is, it's just overall very good at portraying a highly specific mood; similar to Viva La Vida by Coldplay to me, where it's such a melancholic mood for a feeling you simply can't place, but it still makes you Feel anyway.

Sell Your Soul I actually found through a random speedpaint video; I think I was actually looking for speedpaint vids set to This Love This Hate since sometimes I wanna see visuals while listening to my music when lyric vids don't suffice. It def feels more on the rock spectrum than This Love This Hate, which I absolutely enjoyed; but ough the BUILDUP being so much harshly rock-ish helps a lot. The lyrics always gave me the impression of someone being led to their own public execution; screaming from within that they fear their own incoming death, the fear and shame from realizing how many people come to celebrate YOUR OWN DEMISE, to some part of you saying FUCK IT, THROW IT ALL AWAY! FORGET ME! I CAN'T DO THIS ANYMORE! since either way, you're dying. Considering I enjoyed Three Days Grace in 3rd grade, I think there's something self indulgent in the lyrics + harsh music of Sell Your Soul.

This Love This Hate was just very personally endearing to me, like a blorbo-themed Viva La Vida. Sell Your Soul was outright BOPPIN' to me since its harsh lyrics and rock-y tone was just very appealing to me.

However, I remember going on a Hollywood Undead binge after accidentally finding Sell Your Soul... only to be a little disappointed that the things I was finding just wasn't capturing that same energy of either song

I definitely do have more Hollywood Undead songs in my playlists than just Sell Your Soul and This Love This Hate, but they're not particularly songs I've gone as crazy for as those two.

I'm not sure if I have time to re-listen to all of these to fully digest, but in re-listening to Levitate I quite like the sound but not particularly crazy for the lyrics. Young is odd because I quite enjoy the instrumentals I'm hearing, but something about the vocals isn't really hitting me as crazily either.

Also just in case bc I forgot it's one of their top songs: Bullet is pretty nice, I quite enjoy the contrast between sad lyrics and boppin' instrumentals! I have no problems with it other than it sounds quite different than the rest of my music playlist so that's why I haven't added it. Not to mention I did used to listen to it during my very bad sad boi hour moments so I definitely need to be in a specific mood to listen to it.

Paradise Lost is the only title I recognize from your ask, but listening to it again it DOES have a bit of dramatic buildup, but it's not hitting me quite much. It has a soft instrumental at the beginning but very harsh vocals, which is a bit of whiplash I personally am not a fan of for this song. I quite like how the chorus sounds at least! But it's such a highly specific vibe that I personally DON'T vibe with; I'll probably add it to my Liked Songs, but not my actual playlists. Not to mention I tend to add music on if I can see myself drawing to them, which I'm not really getting that vibe with Paradise Lost

BUT (and I'm doing this live as I write this post), I will listen to your other songs rq!

War Child, live thoughts:

what the fuck a horn

first lyrics this is more of a #slay song than the dramatics of sell your soul/this love this hate

this fr sounds like the kind of song you'd put over your best gameplay footage

i think that's what i'm thinking tbh, i tend to like more dramatic lyrics, but at the very least i'm enjoying the instrumentals! the vocals are pretty nice too even though they're talking about ass and alcohol; just kind of a disappointment for someone who's more for the dramatic songs

Good song! I could imagine myself drawing to this, but I am more for more dramatic lyrics than "mm girl sexy". I feel like I'd add this to my more boppin' playlists rather than my full on mish-mash of dramatic songs.

Party By Myself, live thoughts:

kiinda don't like this intro for some reason @_@

party music??

this feels more of a #slay song as well

this rap is bumpin' though

yea this absolutely feels like party music; GOOD party music though, like the kind you'd find on a 2012 dj playlist

once again, v bumpin! just perhaps not the kind of dramatic i tend to enjoy

Once again, good song! Oddly enough has the vibe of 2012 party playlists? I'm not sure if it's "imagine myself drawing" levels, but definitely I can see myself listening to this if I wanna feel those #party vibes. And there are a LOT of good party vibes songs out there.

The verdict: Bumpin' songs with no drama go in the Edgar Allan Poe meme playlist

I thiiink I prefer Party By Myself more than War Child? Those 2012 party music vibes just hit much better than the general #slay energy of the latter.

Once again, there's some level of disappointment I feel however; I do in fact tend to love the more dramatic vibes of Sell Your Soul and This Love This Hate in my general music. It's why I enjoy My Chem so much! Heck, my newest songs in my main playlist are about the #drama;

1.) A guitar instrumental cover of a song trying to capture the vibes of "The End"; a credits song, a death, your OWN even so!

2.) Love From The Other Side was introduced to me by a friend who also enjoys Fall Out Boy and introduced it to me as "dude the new FOB song sounds so anime". It's very dramatic in its buildup! ...But also Fall Out Boy lyrics have always been slightly incoherent to me so JKSBGKFS I don't tend to care as much when it comes to their lyrics

3.) Okay this one I added because it reminded me of an OC dynamic when I found it but like,,, cmon it sounds like breakup angst

4.) Heard this randomly as well, but always associated with a sort of seething hatred for someone who's wronged you; it feels like a musical embodiment of glaring intensely at someone

5.) Once again was imagining this one with an OC dynamic and like,,, yeah. #Drama

I think the TLDR is this:

I love drama and buildup within my music, and This Love This Hate and Sell Your Soul were perfect brainrotting songs back when I first listened to them! I would attempt to get into Hollywood Undead more, but each song I listened to just didn't really hit me as much as I wanted; maybe the vocals for one song weren't my cup of tea, maybe it was too much boobs sex and alcohol in the lyrics, maybe the instrumentals just weren't hitting me. Paradise Lost is definitely better than I remember, though once again still not HITTING me as well as those first two songs, and it's still not one I'd consider for my main playlist.

I'm glad to be able to share music with others, and I do quite enjoy the songs you've listed! I do quite enjoy Party By Myself more than War Child since it captures those 2012 party music vibes. However, there's once again the disappointment in simply preferring more dramatic songs than the #slay and party music vibes of these two. There's nothing inherently wrong with it, it's pretty much a matter of personal preference and a bit of surprise I managed to fall in love with Sell Your Soul and This Love This Hate out of all the songs from Hollywood Undead that DON'T fit their vibes! It's just a shame since in listening to those two I was hoping to find another Three Days Grace or Green Day kind of band within Hollywood Undead, but it's just simply not the vibe they tend to pursue within their music and I respect that.

Overall I enjoyed being able to ramble about this, and I'm at least happy to be introduced to new Hollywood Undead songs even if the vibes of them are the opposite of what I tend to enjoy within my general music taste :] Thank you so much for introducing me to them!

[thebandcampdiaries]

Chill & Groove: The duo is back with a new rendition of Peggy Gou’s “It Goes Like Na Na Na.”

Chill & Groove is a Dubai-based electronic music duo formed in 2018 by Bob Howard and Elias Francis. Together, they set out to combine a huge range of influences to create a very personal sound inspired by Mediterranean and Balearic melodies and rhythms. However, it doesn’t stop there. The two talented producers also love to embrace collaborations with other vocals, as well as explore a broader range of styles, including Latin, Deep-House, Afro-Beat, and more.

As another example of their diverse approach, the pair has recently unveiled an exciting new single: a cover of Peggy Gou's hit, "It Goes Like Na Na Na."

The original artist is a well-respected South Korean DJ and producer who gained worldwide acclaim for the original version of this track, known for its spontaneous, genre-blending sound that really made the rounds all over the world for its fresh twist. Chill & Groove’s cover is not a one-to-one rendition of the original but rather a fantastic opportunity for the duo to showcase their distinctive personality. This powerful rendition does a great job of exemplifying Chill & Groove's ability to create standout electronic music. The track showcases electrifying energy and undeniable drive throughout the performance, and the production’s solid backbone backs it up. "It Goes Like Na Na Na" clocks in at about 4 minutes and nine seconds, packing a lot of punch in the process. The drum beat has a steady pattern, built on a punchy bass drum and a hi-hat part that cuts through the mix. There is also room for some percussive elements that add more detail and motion to the track. The syncopated synth/key part adds even more to the groove while bringing some additional melody to the song. This intro contrasts beautifully with the original song, which has a more traditional tech-house vibe. The "Chill & Groove" version stays true to the duo's name, providing a more balanced rhythm and a softer pace, which makes the melody all the more immersive. The vocal layers are also amazing, and it feels like the slower tempo of this cover makes the beauty of the melody stand out even more. This arrangement is rich and immersive, but there is also room for some minimalism, especially in the way the instruments are so understated and perfectly placed within the mix.

“It Goes Like Na Na Na” stands out due Chill & Groove’s exceptional production quality. The mix is finely balanced and rich in detail, providing an immersive listening experience. The track boasts a lively edge while maintaining meticulous attention to sonic nuances that contribute to its depth. The low end is tight and resonant, perfectly complemented by a clear and smooth top end that adds crispness and brightness to the sound.

While “It Goes Like Na Na Na” has a modern and polished production, it never feels overproduced. This thoughtful approach allows authentic, human elements to shine through, adding warmth and character to the mix. This rendition of “It Goes Like Na Na Na” is highly recommended to fans of the original, of course, but it will also please people who enjoy the music of artists such as Fred Again, Four Tet, and many others who combine catchy electronic sounds with cinematic tones and a chill attitude. It’s a track that surprises with its sonic diversity and keeps listeners hooked with its catchy yet unpredictable arrangement.

To conclude, this cover is just a great example of Chill & Groove's ability to defy expectations and set higher standards in music production, which is evident in this release. Covering popular songs can be quite the challenge because many artists fail to infuse their own personality and often fall short. There isn’t much point to a cover that’s a verbatim replica of the original. However, a rendition like this excellent spin on “It Goes Like Na Na Na” by Chill & Groove offers another perspective, a different musical point of view that makes the listening experience all the more enjoyable. The new musical fabric of this cover highlights the strength of the original material, and more so, it also showcases Chill & Groove’s ability to identify a powerful melody and bring even more power and depth to the mix. Find out more and listen:

We also had the chance to catch up with the duo for an exclusive interview. Keep reading to learn more!

1. Who is Chill & Groove and how has your journey as electronic producers came to be?

Chill & Groove is an electronic music duo based in Dubai and was formed in 2018 by DJs/Producers Elias Francis & Bob Howard. After connecting a few times and getting to know each other, we found out that we both shared a special love and connection to the Mediterranean and Balearic sounds. This in turn inspired us to work together to create our first track “El Camino Del Sol” and eventually launch Chill & Groove.

Our journey thus far has been a very rewarding and thrilling ride filled with creativity, experimentation, and growth. It has allowed us to put our name on the global stage, release amazing music and collaborate with amazing artists

2. What inspired you to create your own rendition of Peggy Gou’s hit “It Goes Like Na Na Na,” and what elements did you feel were essential to make it your own?

Although we lean towards creating our own original tracks, from time to time, we enjoy reimagining existing songs especially those we feel would lend themselves well to a lounge & downtempo vibe in addition to their original style. With Peggy Gou’s "It Goes Like Na Na Na," we saw an opportunity to put our own spin on the track, bringing out the melodic elements in a more laid-back, atmospheric form. We wanted to create a version that felt fresh while staying true to the essence of the original but offering a different energy and experience for the listeners.

3. Maintaining a balance between modern production and human, organic elements is always a challenge in electronic music, but you achieve this really well. What were the key techniques or decisions you employ to give off such a warm tone?

Balancing that modern, electronic polish with a human feel is really important to us. We aim to incorporate real instruments, like guitar, saxophone, & keys as much as we can to layer the electronic sounds. Collaborating with friends and musicians to record extended solo sections, even if only a small portion makes it into the final track. The spontaneity of a solo where imperfections and subtle shifts in timing come through, really adds an organic quality.

We are also very mindful about the mix, leaving room for dynamics and textures, and letting a solo breathe in its own space within the mix rather than heavily quantizing or editing it, helps capture that natural vibe.

It’s definitely a mix of intentional choices and experimentation, and we’re glad it is resonating with our fans.

4. How do you want listeners to feel when they hear your music?

The goal is to spark joy, relaxation, and freedom—letting the music carry them away, creating a vibe that’s both uplifting and hypnotic, where they lose themselves in the moment and ride the wave of the sound.

The music should encourage a state of mindfulness or even transport listeners to an idyllic place, like a cozy lounge, a tranquil beach at sunset, or a serene urban rooftop. Ultimately, it's about fostering a connection that lets the world melt away for a while, leaving room for peace, comfort, and a touch of inspiration.

5. Any plans for future releases or gigs?

Absolutely! We’re always working on new and exciting material. For 2024, we still have two releases scheduled to drop before the end of the year, and plenty more to come in 2025. So keep an eye on our socials for updates.



[chrisryanspeaks]

Camera Obscura Mesmerizes Webster Hall with Dreamy, Nostalgic Performance

Camera Obscura's performance at Webster Hall on June 20th, 2024, was a night to remember for fans and newcomers alike. The iconic venue, known for its intimate yet vibrant atmosphere, provided the perfect backdrop for the band's dreamy, nostalgic sound. The night opened with a soft, ethereal intro that set the tone for the evening. As the band took the stage, the crowd erupted in applause, a testament to the loyal following Camera Obscura has cultivated over the years. Tracyanne Campbell's vocals were as enchanting as ever, effortlessly blending melancholy and warmth. Her voice carried the emotional weight of each song, drawing the audience into the stories being told. The setlist was a well-curated mix of classics and newer material. Highlights included "Lloyd, I'm Ready to be Heartbroken," which had the entire crowd singing along, and "French Navy," where the interplay of jangly guitars and catchy melodies created an infectious energy. The band also performed tracks from their latest album, showcasing their ability to evolve while staying true to their signature sound. One of the most striking aspects of the performance was the band's chemistry on stage. Each member contributed to a cohesive, polished sound that felt both effortless and meticulously crafted. The lush arrangements were brought to life with precision, from the gentle swell of strings to the crisp, punchy rhythms. The lighting and visuals complemented the music beautifully, enhancing the dreamy, nostalgic vibe without overshadowing the performers. Subtle changes in color and intensity mirrored the emotional shifts in the music, creating a fully immersive experience. A particularly memorable moment came during the encore, when the band performed an angelic version of “Come Back Margaret." The simplicity of the arrangement allowed Campbell's vocals to shine, leaving the audience in a state of hushed reverence. Camera Obscura's performance at Webster Hall was a masterclass in indie pop. The band's ability to blend heartfelt lyrics with intricate musical arrangements created a captivating, emotionally resonant experience. Fans left the venue with a sense of fulfillment, having witnessed a band at the height of their powers, and a night that would linger in their memories for years to come.  Read the full article

[audiofuzz]

Camera Obscura Mesmerizes Webster Hall with Dreamy, Nostalgic Performance

Camera Obscura's performance at Webster Hall on June 20th, 2024, was a night to remember for fans and newcomers alike. The iconic venue, known for its intimate yet vibrant atmosphere, provided the perfect backdrop for the band's dreamy, nostalgic sound. The night opened with a soft, ethereal intro that set the tone for the evening. As the band took the stage, the crowd erupted in applause, a testament to the loyal following Camera Obscura has cultivated over the years. Tracyanne Campbell's vocals were as enchanting as ever, effortlessly blending melancholy and warmth. Her voice carried the emotional weight of each song, drawing the audience into the stories being told. The setlist was a well-curated mix of classics and newer material. Highlights included "Lloyd, I'm Ready to be Heartbroken," which had the entire crowd singing along, and "French Navy," where the interplay of jangly guitars and catchy melodies created an infectious energy. The band also performed tracks from their latest album, showcasing their ability to evolve while staying true to their signature sound. One of the most striking aspects of the performance was the band's chemistry on stage. Each member contributed to a cohesive, polished sound that felt both effortless and meticulously crafted. The lush arrangements were brought to life with precision, from the gentle swell of strings to the crisp, punchy rhythms. The lighting and visuals complemented the music beautifully, enhancing the dreamy, nostalgic vibe without overshadowing the performers. Subtle changes in color and intensity mirrored the emotional shifts in the music, creating a fully immersive experience. A particularly memorable moment came during the encore, when the band performed an angelic version of “Come Back Margaret." The simplicity of the arrangement allowed Campbell's vocals to shine, leaving the audience in a state of hushed reverence. Camera Obscura's performance at Webster Hall was a masterclass in indie pop. The band's ability to blend heartfelt lyrics with intricate musical arrangements created a captivating, emotionally resonant experience. Fans left the venue with a sense of fulfillment, having witnessed a band at the height of their powers, and a night that would linger in their memories for years to come.  Read the full article

[glenrocklibraryteens]

Album Review: Plastic Beach by Gorillaz

Damon Albarn and Jamie Hewlett’s exceptionally innovative endeavor with their animated genre-bending group Gorillaz reaches an all-time high of their records. Plastic Beach is a perfectly executed concept album complete with an army of collaborators including Lou Reed, Mick Jones & Paul Simonon, Bobby Womack, Snoop Dogg, and many others. Their first two releases, Gorillaz and Demon Days, were also incredible and extremely influential, but the records and tracklists became much more focused and organized as time went on. The dreamy, vivacious atmosphere saturated with synth and electronic rock. It captures the listener’s imagination perfectly and holds interest throughout, dabbling in many different genres and a variety of track styles. It begins with the ethereal “Orchestral Intro” that leads you into Gorillaz’ dream world like a ship coming into the bay, and it was nominated for a Grammy in 2011 for best Pop Instrumental Performance. Another opening track, “Welcome to the World of the Plastic Beach”, which features Snoop Dogg and the Hypnotic Brass Ensemble, sets the futuristic tone for the rest of the album. “White Flag” features a heavenly introduction from the National Orchestra for Arabic Music and verses from Bashy and Kano. 

 “Rhinestone Eyes”, the fantastic and vibrant track regarding global warming and the environment is definitely one of the first highlights from this album (originally intended to be a single). Another highlight is the successful single “Stylo” featuring the late Bobby Womack and Mos Def, casually political and conceptual. “Superfast Jellyfish”, the colorful, fun, and vibrant track featuring Welsh musician Gruff Rhys brings attention to the toxic manipulation of the music industry - the jellyfish a metaphor for the easily manipulated musicians who submit to the industry. Throughout the track, Gorillaz urges creators to stick to their roots, stay creative, and reject the industry’s norms. “Empire Ants”, featuring Little Dragon, is another fabulous highlight with blissful vocals, a gorgeous instrumental, and a dark meaning. Albarn describes how our society has become similar to a colony of “empire ants” who work to move the machine along. “Glitter Freeze”, which title is referenced throughout the album as a desired place or state of being where the world is beautiful, but still fake, plastic, and superficial. “Some Kind of Nature”, a positively upbeat and more sunshiney track featuring the late great Lou Reed of the Velvet Underground about the human nature to corrupt. Next up is the incredibly successful “On Melancholy Hill”, a beautifully nostalgic track thats simplicity creates a bittersweet atmosphere, brought together by the relaxed vocals and catchy instrumental. “Broken”, a traditionally touching track, one of Albarn’s specialties, describes the loss of a person, a group, or a thing (tangible or not). It could be determined differently, but I believe that either from Murdoc or 2D’s perspective, they may have lost the passion and excitement they once had while making music. After all of the chaos that led to Plastic Beach, the assumed loss of guitarist Noodle and disappearance of Russel, the creation of Cyborg Noodle - they feel as though they are piecing together what they have left - trying to imitate the “glitter freeze”, or the perfect reality, but falling short. “Sweepstakes” is mostly composed of a spoken word verse by Mos Def. The title track, an incredible song that again focuses on pollution and cyberculture. This track features Mick Jones and Paul Simonon of The Clash. “To Binge”, featuring Little Dragon once again, is an incredibly heartfelt and vulnerable track with a beautifully heartbreaking story of how addiction, something Albarn has heavily struggled with, and how it affects relationships and those who you are close to. This is my personal favorite song from the album and one of my favorite tracks from Gorillaz and in Damon’s career. “Cloud of Unknowing”, featuring an amazing performance from Bobby Womack that serves as a final reflection on Plastic Beach. The album closes with “Pirate Jet”, a visualization of the listeners leaving Plastic Beach, which represents not so much a place, but a different perspective and outlook on life and the reality of our world today. Overall, I think this album is one of the greatest displays of creativity I’ve seen in records of today, backed up by talented songwriting and vocas. It has the perfect ratio of pop, radio-friendly hits that still remain far from the commercial production of singles we usually see, the vulnerable and moving pieces and everything in between. I would rate this album a 9 / 10, as some of the tracks are lacking a bit for me, but still making it my favorite Gorillaz album to date and one of my favorites from Damon Albarn’s career.

[whatareyoudoingwithamaserati]

Need to talk about Freed by The Plot In You before I explode everyone bear with me for a second.

First of all I will always die on the hill that is Landon Tewers because I am obsessed with his voice and his music and the fact that he’s the lead singer of TPIY absolutely fucking blew my mind. What a guy. Chefs kiss. The way he manages to blend a slightly shaky vocal quality with the ping-pulse intro of the song is so beautiful and he manages to get the intent of the song across with just the power of his voice, lyrics non necessary. The tremor and power of his vocals (especially when paired with the slow build of music) is so well done, especially when he manages to make it sound quiet at the same time. And the way he transitions to the mid fry scream for emphasis. Good GOD, it’s only emphasis on the end of two words, but it completely sells the tone. It blends sorrow and anger and is just SO well done.

The transition from fry to clean vocal is also just. Damn bro! He pulls off this powerful emphasis and then shifts back into soft and wavery and watery, which is only one of the first ways the song plays with depth and tone in beautiful ways.

After the first verse the chorus kicks in with a hint of fry in comparison to the pure clean vocals of before and again, it conveys this sense of desperation. He’s gone from mournful to upset, to angry, to a man who is (pardon the lyric reference) about to break. The sound amps up, gets a lot more solid, and crescendos into a drop that solidifies the rest of the song, especially when paired with the steady rumble of guitar.

The second repeat of the chorus is the same but also different; the sound is fuller, the guitar is more present, and the fry is kept solid through Tewers’s voice as he sings this mournful song about a man who has failed and who has been put on display for it and is so very clearly hurting. The blend between clean and scream is toed so beautifully, and then he makes it to the edge of the chorus, and refuses to throw the listener off of it. As compared to the first chorus, the building one, the second is louder and more blatant, but it is hollow, still empty, missing that last, final, crucial lyric. And it never gets added. It’s like musical edging in the most tonally consistent way, because you never get that final line, and the music fades off, back into the sound from the beginning. There’s no guitar, just the pulsing, techy sound.

Anyways, the first chorus is my favourite, because of how it takes the tone set in the verse, and takes it harder, takes it deeper, adds a whole lot of intensity that you wouldn’t have expected from the beginning of the song. The build up of it is incredible, especially with the fry, and the last three lyrics hit no different the second or third or twentieth listen through. The way Tewers screams break to end off the chorus resonates REALLY hard in my soul, especially with the pause between lyrics, the moment where you can hear him inhale-exhale before throwing his whole being into those four words. Anyways stream Swan Song by The Plot In You. Literally the Album of all time <3

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The Enchanting Elegance of the Violin: A Harmonious Exploration

Intro

The world of music is a vast and diverse tapestry, interwoven with countless instruments, each with its unique voice and charm. Among these, the violin stands as a paragon of grace and sophistication, enchanting both musicians and audiences alike. In this blog post, we delve into the intricacies of this enchanting instrument, exploring its history, advantages, the exciting future it holds, its vast scope, and finally, we’ll conclude with an ode to its timeless appeal.

Advantages

The violin boasts a multitude of advantages that contribute to its everlasting popularity. One of its most remarkable features is its versatility. From soulful classical compositions to foot-tapping folk tunes and everything in between, the violin has a role in almost every musical genre. This adaptability ensures that violinists can find their niche in the vast realm of music, from orchestral symphonies to intimate solo performances.

Moreover, the violin’s compact size makes it highly portable, allowing musicians to carry their artistry wherever they go. Its enchanting tone, when played skillfully, can evoke a wide range of emotions, making it a preferred choice for conveying deep sentiments in music. The instrument’s ability to reach both the highest and lowest registers with finesse is a testament to its unparalleled versatility.

Transitioning from its sonic qualities, the violin is known for its exquisite craftsmanship and aesthetic appeal. A beautifully crafted violin is not only an auditory delight but a visual masterpiece. The intricacies of its design, including the scroll, purfling, and f-holes, often turn the violin into a work of art that reflects the skill and dedication of its maker.

The violin also offers a unique connection between the musician and the audience. Its compact size makes it a more intimate instrument, enabling performers to establish a direct and emotional connection with their listeners. The audience can witness the musician’s passion, technique, and emotion up close, creating a bond that is often missing in larger orchestral settings

Additionally, the violin’s presence in popular music has expanded, with artists from various genres incorporating it into their work. Whether it’s rock, pop, or world music, the violin continues to find its place and contribute to the rich tapestry of modern musical expressions.

The advancements in materials and manufacturing techniques also bode well for the violin’s future. The quest for creating better, more resonant tonewoods and improving construction methods allows for the production of high-quality instruments more accessible to aspiring musicians. This encourages a new generation of violinists to take up the instrument and carry its legacy forward.

Scope

The scope of the violin is boundless, transcending borders, genres, and generations. It has a remarkable presence in various musical realms:

1. Classical Music: The violin is a cornerstone of classical music. It is an integral part of orchestras, chamber ensembles, and has an extensive solo repertoire. Classical violinists often strive for perfection in their technique and interpretation.

2. Folk Music: From Irish jigs to American bluegrass, the violin plays a pivotal role in various folk music traditions. Its sweet, lilting tones are well-suited for storytelling through music.

3. Jazz: Violinists in the jazz world have broken boundaries by introducing improvisation and swing to the instrument. The violin brings a unique dimension to jazz ensembles.

4. World Music: Across the globe, the violin is adapted to various cultural contexts, from the Indian classical tradition to the Arab world’s rich musical heritage.

5. Contemporary Music: In genres like rock and pop, violinists create unique sounds and atmospheres, contributing to the richness and diversity of popular music.

Conclusion

In conclusion, the violin is an instrument of timeless elegance and enduring appeal. Its advantages, from versatility to portability and emotional connectivity, make it a beloved choice for musicians and audiences alike. The violin’s future is bright, with innovations, collaborations, and expanding horizons that will continue to captivate the world of music.

The scope of the violin is as vast as the universe of music itself, encompassing classical, folk, jazz, world, and contemporary genres, with room for experimentation and innovation. This instrument bridges generations and cultures, uniting us through the universal language of music.

The enchanting elegance of the violin persists as an emblem of human creativity, passion, and the pursuit of beauty through sound. As long as there are musicians like Aditi at Achievers Destination Academy who continue to carry its legacy forward, the violin’s harmonious exploration will endure, enchanting generations to come.

Follow Achievers Destination Academy for updates and visit our site for more details: www.adaminischool.com

Author:

Aditi