#its fine but its not that memorable in terms of melody

[scalefeathers]

Thinking once again about how Nobuo Uematsu and Masayoshi Soken are both completely amazing composers but in completely opposite directions let me explain

Disclaimer I am not a music theorist; most of music theory is black fucking magic to me. I barely know what a chord is and the circle of fifths makes me quake as though before an Elder God. I just really like both of their works and sometimes I have thoughts about things. Also this is all just my opinion, it's fine if you don't agree, etc.

So: Uematsu is first and foremost, in my opinion, an absolute master of melody. I believe it's what makes his work so iconic and makes so many of his pieces so instantly recognizable. The Final Fantasy theme, the chocobo theme, Dancing Mad, Vamo'alla Flamenco, fucking One-Winged Angel--Just from seeing those names, you've probably got one playing in your head already. You could start humming it right now. Maybe you are already.

And it makes perfect sense when you consider the era he was working in, because back in the 8-bit and 16-bit era, the melody was all you had. When you have such a tiny amount of storage space to work with, you can really play only one, maybe two notes at a time. You can't do anything that's layered, because you only have one layer to work with. I think that's why so much video game music from that era is so memorable and iconic. It's not just because you played so much Street Fighter II when you were a kid that the music is indelibly seared into your brain (though that probably doesn't hurt); it's also because Yoko Shimomura wrote really solid melodies that had nothing else competing for your aural attention (apart from the in-game sound effects, which are probably also seared into your memory). (Yoko Shimomura, btw, also composed the music for Final Fantasy XV, the entire Kingdom Hearts series, and like 50 other games over the past 40 years, another fucking icon).

But back to Uematsu: like I said, melodic genius. Even when his work is upscaled into full orchestral arrangements, that core melody is always front and center. And his affinity for melody makes even more sense when you consider that before he got into video game composing, he was writing commercial jingles. (Younger folks may not be aware, but there was a time when practically every product had to have its own theme song, and the best ones were short, snappy, and instantly memorable--and for that, again, you need a strong, simple melody. Ba da ba ba ba, I'm lovin' it.)

Compare: Soken. Soken only started at Square 12 years after Uematsu, which isn't that long in human terms (to me at least, cos I'm old), but it is a long fuckin' time in video game years. By the time he started composing for games, there was so much more you could do with game music in terms of layering, complexity, and sound, and you can tell from his work that he takes full advantage of that. His work is complex and dense, a rich layer cake of themes and motifs, all beautifully merging and weaving together, often to extraordinary effect.

And again, if you look at his pre-music career, it makes a lot of sense that he'd have that approach to music, because he first got into the games industry as a sound designer; I believe that he is the sound director for all the FFXIV expansions, as well as being the composer. So of course he'd be very aware of not just how a sound (or piece of music) works on its own, but of how it fits into the greater whole, and of how to layer and balance lots of different sounds to create something greater than the sum of its parts. And of course it makes sense that he'd bring that approach to his compositions as well.

As a consequence of this approach, though, his music often lacks the memorable melodies that characterize Uematsu's work. Like, I ground (grinded?) Dun Scaith a lot the last time it was on the Mogstone rotation, I know all the boss themes extremely well and can recognize each of them instantly. But if you asked me right now to hum one? I don't think I could. (This isn't a deficiency, to be clear; music doesn't need a prominent core melody in order to be good.)

And that's also not to say that all his music lacks iconic melodies. His vocal tracks, pretty much by definition, have to put a single melody front and center; and then on top of that (or rather, behind it), you have all that trademark Soken richness and depth. Which is probably also why his vocal tracks go so fucking hard.

I think that's also why, out of all the expansions, I like Heavensward's music the best. Most of Heavensward's score is written by Soken, but the main theme is Uematsu's, and you may notice it's basically a tasting menu of like 5 or 6 excellent, very recognizable melodies, one right after the other. And basically every piece on the Heavensward soundtrack incorporates one or more of these melodies. So it really does give you the best of both worlds, and gives the overall score a cohesion that I don't see as much with the other expansions.

TL;DR, Uematsu and Soken are both amazing composers with very different and complimentary styles that reflect their differing backgrounds and the different eras of games in which they have worked and I just think that's neat.

[ascorpiosramblings]

Stressed out

(Ratio x Aventurine college AU-Yes I am projecting)

warnings: none

Tap. Tap. Tap. For the 13th time his fingers moved on the worn keys, typing away like a mad man as he sat among a sea of empty energy drink cans. His soft fingers caught a break as he laced them through his hair, tugging on his locks as he sighed. Its useless, so useless. The suffocation of independent research mixed with never-ending stream of assignments yet to be done left his wrists aching. Life truly had no mercy even for a genius like him, forcing him to follow the path of obtaining a bachelors, masters and PhD just like most researchers even if he already outclassed the masses.

He leaned on his chair. Pain shooting through his spine to his shoulders as he let his eyelids obscure the glow of his monitor. His body completely relaxed as he felt himself inching closer to the sweet embrace of slumber. But alas, the task at hand required his full attention as he reached for the cold can of caffeine dense poison. Cracking it open he practically inhaled it out of desperation to relieve himself of the curse of enervation.

He turned to face the multiple tabs open on the monitor and mentally prepared himself for another long night. "You look as terrible as ever" The voice took Veritas out of his work induced trance. It was Aventurine. Who let him in? Did he not lock his door?. Aventurine stood next to the taller man "I was knocking for a while and thought you died or something with how long I was out there." Veritas narrowed his eyes at the blonde before letting out a sign of resignation and falling back on his chair. "You certainly have impeccable timing". Aventurine laced his fingers with his, pulling him up from his seat. "You look exhausted, are you sure you're alright?" "I'm Fine" "Liar". Veritas was pulled out of his room.

"Lets go out on a walk, you look like you need to touch grass". Aventurine tugged on his hand, whisking him away into the midnight glow of the outdoors. Veritas could feel his heart speeding up, his gaze was taken by the way the moonlight bounced off the complex contours of his face. His thoughts started to scatter in all directions as his eye remained glued to the business majors face, feeling himself get lost in his eyes.

"The moon is beautiful, isn't it?" Aventurine said, gazing up at the sky. He took a step closer to the taller man "the bags under your eyes make me wonder if I can use them for groceries. Are you sure you got the memo that sleep is, you know, actually important?" Veritas rolled his eyes. "Tell that memo to the university, I have to publish my research paper before mid terms and finish a pile of assignments. Everything is easy, but the amount of physical labor required for such tasks is simply a nuisance. I already know what the Chinese Remainder Theorem is I do not need twenty questions to get it."

Aventurine chuckled as he listened to him rant. He walked with him, listening to every word said, memorizing each syllable as if it were an unforgettable melody even if it was a benign conversation. He wanted to savor this moment, he was enthralled by him. Everything he did. This one moment was one of many and each one was like a precious gem to Aventurine. The only dilemma left now was how unaware the genius was of the depth of admiration he had for him.

Their hands brushed against each other. This was enough to take Veritas out of his rant as he felt the softness of the others hand. Once again he felt his beating heart pick up the pace as if to remind him how truly beautiful the man in front of him was, how truly gorgeous he was. Their eyes met and in that moment Veritas laced his fingers with the blondes, finally giving into an impulse.

Realizing what he had done he tried to pull back. His face turning scarlet as he reminded himself of the possibility that Aventurine may not like it. But to his surprise, Aventurine doesn't let go.

"You were saying?". With that Veritas got back to his rant, yet his mind didn't stray from the fact that they were holding hands. As he spoke he noticed he soft smile on Aventurines face accompanied by a crimson hue on his cheeks.

"I am taken by you"

[putschki1969]

Parade - FictionJunction Album Random Thoughts

Just got to listen to the full album so I thought I would share my initial reaction to the songs. I am not too invested in most of the collabs but I still wanted to check out all of them at least once.

FictionJunction - ALBUM「PARADE」 - 【Release date】 2023/04/19 Check out the official website for the album which contains some self liner notes by YK.

First Press Limited Edition (CD＋Blu-ray) ￥ 6,600 VVCL 2147~2148

Regular Edition (CD) ￥ 3,300 VVCL 2149

Order link:https://fictionjunction.lnk.to/0419AL_parade Stream link:https://fictionjunction.lnk.to/PARADE

【Tracklist】 01. Prologue: Smitten. Very beautiful. It’s nice how some of the main melodies of the album come together here to create the most perfect prologue. 02. ことのほかやわらかい (Koto no Hoka Yawarakai): I certainly expected something else based on the title. The beginning got me super excited because I typically love this type of song from YK but then the whole thing just lost its structure for me. Can’t really get into it 03. 夜光塗料 feat. ASCA (Yakō toryō): Nothing to write home about 04. Beginning: I really loved the live version so I had high hopes for this. How does Keiko manage to sound even more cutesy here? It fits the song though so I am fine with it. Yuriko’s lalala part is somehow not as chill-inducing as it was for the live performance but when everyone joins in, the harmonies are gorgeous, it sounds really well put together and beautiful. 05. もう君のことを見たくない feat. rito (Mō Kimi no Koto wo Mitakunai): Still very fond of this. While I am not 100% sold on rito’s vocals, I do really appreciate the sorrow she is able to convey with her singing. 06. 櫂 feat. Aimer (Kai): Wow, this is literally an exact replica of “Mizu no Akashi”. Or I guess it would be more accurate to say that “Mizu no Akashi” was ripped off from "Kai” because apparently that song was written almost 30 years ago. It’s a nice ballad obviously but Wakana’s version of “Mizu no Akashi” is so much more beautiful in my opinion. 07. 蒼穹のファンファーレ feat. 藍井エイル&ASCA&ReoNa (Sōkyū no fanfāre): Decent song but none of the included vocalists do anything for me. 08. 八月のオルガン feat. LINO LEIA (Hachigatsu no Organ): My opinion didn’t really change on this. Quite a solid song. Absolutely adore the chorus. The dynamics in this are very old-school. I know that Keiko mentioned in one of her FC magazines that the structure and harmony distribution reminded her a lot of Kalafina and yeah, that’s something I definitely agree with. Although I still don’t think LINO LEIA sounds like Wakana (which many fans seem to believe). 09. それは小さな光のような feat. KEIKO (Sore ha Chīsana Hikari no you na): I know I wasn’t impressed with the live version so I was hoping for a different reaction when listening to the studio track. Alas, it wasn’t meant to be. I am so sorry Keiko!!! I realise that this is some great work from Keiko but the melody of the song just falls flat for me. 10. from the edge feat. LiSA: Nope, not my cup of tea. Next 11. moonlight melody: Always a tremendous joy to listen to this but I feel like the live versions are so much more precious. 12. 世界の果て feat. 結城アイラ (Sekai no hate): Meh. Normally I’d be all over the gorgeous piano and strings but the song as a whole is just not particularly memorable. And I will never like Asuka’s voice. 13. Parade: As I’ve mentioned before, I am not the biggest fan of Joelle as main vocalist but that hasn’t stopped me from falling in love with the song. It’s just so lovely. Some people have compared it to “Homura” and yeah, I guess both songs feel similar to me, especially in terms of really enjoying the song itself despite not liking the vocalist. I have no idea if I am still too biased towards Wakana but I don’t even think that’s the issue here since I have no reference of Wakana previously singing. But I guess subconsciously I still kinda miss her in songs like this.

M 01,02,04,11,13 feat. KAORI/KEIKO/YURIKO KAIDA/Joelle

So yeah, “Parade” might actually be my favourite song on the album, what a surprise XD And “Prologue” is just such a great intro. Maybe I will appreciate “ことのほかやわらかい” more once I get to hear it live. It certainly has potential to become something I like. I do think that the collabs with rito and LINO LEIA are much better than any other tracks on this album which feature guest artists. Maybe it’s because YK put more effort into writing the songs specifically for them after the audition? I hope “それは小さな光のような“ will eventually grow on me because I really wanna like this song for Keiko’s sake...We’ll see.

FJ Radio Special Broadcasts to Celebrate the Release of 「PARADE」

【Broadcast Schedule】

For those who are interested, I added a download link for the newest episode. YK talks about the first half of the tracklist of the new album and then spends the rest of the episode making one announcement after the other regarding all of her upcoming events. 4/18  21:00 ～ 4/24 23:59 「FictionJunction Radio vol.#16」

[eurovision-del]

Eurovision season is well under way! It’s only December but we already have our first song, and we’re going to get another one soon when Czechia select their entry. I waited to hear all the songs for the first time live at ESCZ, then went back to the studio cuts, and after a few days to get familiar with them, here’s what I think:  

Tom Sean – Dopamine Overdose

MYDY – Red Flag Parade

Lenny – Good Enough

Elly – The Angel’s Share

Tomas Robin – Out Of My Mind

Gianna Lei – Starlet

Aiko – Pedestal

My gut reaction after watching ESCZ was that unlike previous years we’re missing an obvious standout this year, since I enjoyed quite a lot of the songs equally, but actually I’ve come to think that MYDY are head and shoulders above the rest. Red Flag Parade is the most immediate of all the songs, designed to grab your attention with that dramatic opening, and it’s super catchy – it’s been in my head all week. The live performance had the clearest visual identity, The red marching band outfits are distinct and fit the song. The lead singer, Žofie, has fantastic energy and sells the attitude needed. Her vocals might not have been pitch perfect, but the sound system didn’t do anyone any favours, and it works fine for this style of music. However, while its catchiness is this song’s best quality, it’s also part of the reason why I didn’t rank it first – I’ve grown kind of tired of it just over the past week, and I’m not a huge fan of the melody in the chorus. By the third time it comes around, I want the song to be over already. It also kind of bothers me that the studio cut is censored – I understand it for the live version, but if you’re not even gonna say it in the studio cut, what’s the point of even writing a swear word at all?  

While I respect MYDY a lot, and think they have a great package, my actual favourite from this selection is Tom Sean’s Dopamine Overdose. It’s a little less in your face, but still energetic and memorable, the sort of dance music I vibe with. I’m not hugely keen on the ‘sweet like teriyaki’ line, but other than that I enjoy this song a lot. The performance was alright, Tom felt a little awkward at points, but I think the overall staging concept is solid. I really enjoyed how the dancers were used, though I think there’s a lot of potential to take it further and improve the choreography, it’s a good starting point.

Finally, I also really enjoyed Lenny’s performance of Good Enough. As a song, it’s alright. I enjoy the contrast between the stripped back opening and the second half where the instruments ramp it up and it becomes more of a power ballad, however I feel it takes too long to get there – I feel myself getting bored with the second verse. However, Lenny really impressed me, apparently she’s pretty established in the Czech music industry, and it comes across, she seems very experienced and professional. Her vocal at the start is very exposed by both the composition of the song and the ESCZ sound system, but it sounds great. Her rough voice really fits with this song and its jaded, mature tone.

I would be happy with any of these three songs representing Czechia at Eurovision this year. There really isn’t much separating them for me, I have issues with all of them but also plenty I enjoy. MYDY is probably Czechia’s best option with how catchy Red Flag Parade is, and the most realised concept in terms of performance, but I think the others also have decent performances with a lot of potential there too. With how close these songs are for me, I’ve decided not to vote, I’ll just wait and see what ends up winning!

[appmasterd]

Rise of Niche E-commerce: Shopify's Role in Specialized Markets

In the dynamic landscape of e-commerce, niche markets have emerged as lucrative opportunities for entrepreneurs seeking specialized audiences. Unlike broad-market strategies, niche e-commerce focuses on catering to a distinct segment, providing tailored solutions.

This approach offers unique benefits but comes with its own set of challenges. As we explore the rise of niche e-commerce, we'll unravel the intricacies of how Shopify, a versatile and scalable e-commerce platform, plays a pivotal role in empowering businesses to navigate and thrive within these specialized markets.

Understanding Niche E-commerce

This strategy fosters a deeper connection with customers, as businesses become adept at speaking directly to the desires and pain points of their niche audience. However, successfully navigating a niche market requires the right tools and platform.

Here's where a platform like Shopify shines. See our comprehensive Shopify review to learn how its features and functionalities cater to the needs of niche e-commerce businesses.

Why Niche Matters: Benefits and Challenges

Venturing into a niche market within e-commerce offers a spectrum of advantages. Much like a skilled archer aiming for precision over distance, niche businesses can focus their marketing efforts with pinpoint accuracy.

This targeted approach results in higher conversion rates and customer satisfaction as products or services directly align with the specific needs of the audience. However, akin to threading a needle, the challenges are intricate.

Niche markets may pose limitations in terms of audience size and potential competition. The key lies in a strategic balance, where the benefits of customer loyalty and reduced marketing costs outweigh the challenges.

Shopify as the Niche Entrepreneur's Ally

Shopify, in the realm of e-commerce platforms, acts as the niche entrepreneur's trusted ally. Its flexibility and scalability are akin to a versatile toolkit, allowing businesses to sculpt their online presence with precision.

Shopify's adaptive features accommodate the unique product catalogs and branding requirements of niche markets, providing a seamless experience for both entrepreneurs and consumers. This adaptability is crucial, as niche businesses often demand a personalized touch.

Success stories abound, illustrating how Shopify's ecosystem empowers entrepreneurs to carve a niche and establish a thriving online presence. As niche markets continue to evolve, Shopify remains at the forefront, enabling businesses to capitalize on their specialized offerings.

Customization and Branding on Shopify

In the realm of e-commerce orchestration, Shopify is the conductor ensuring harmony in customization and branding. Much like a skilled conductor guides each section of an orchestra to create a cohesive musical masterpiece, Shopify provides entrepreneurs with an array of tools to customize their storefronts.

From theme customization that serves as the score to logo placements acting as musical notes, the platform facilitates the creation of a distinctive brand identity.

Shopify's robust features empower entrepreneurs to fine-tune visual elements, resonating with their niche audience and ensuring a memorable online shopping experience.

It's akin to tailoring a bespoke suit, where every stitch contributes to the overall aesthetic, making Shopify an invaluable tool for niche entrepreneurs crafting a unique brand image.

Navigating Niche Marketing with Shopify

In the dynamic symphony of digital marketing, Shopify orchestrates a seamless integration of instruments, amplifying the impact of niche marketing. Picture Shopify as the conductor, synchronizing various channels like social media and email marketing to create a harmonious melody of outreach.

The platform's marketing tools serve as virtuoso performers, playing a crucial role in targeting niche audiences effectively. Shopify empowers entrepreneurs to compose niche-specific promotions and campaigns, resonating with the unique preferences of their audience.

It's analogous to crafting a tailored marketing strategy, where each note strikes a chord with the intended audience. As businesses navigate the intricate composition of niche marketing, Shopify stands as the maestro, ensuring businesses hit the right notes for success in their specialized markets.

Conclusion

In the grand crescendo of e-commerce possibilities, the harmony between niche markets and Shopify creates a symphony of success. Shopify emerges as the virtuoso, enabling entrepreneurs to compose their unique melodies within specialized markets.

The rise of niche e-commerce is not just a trend but a testament to the dynamic interplay between tailored business strategies and a versatile e-commerce platform.

As businesses continue to carve their niches, the partnership with Shopify ensures that each note played contributes to a flourishing and resonant online presence.

In this orchestration of commerce, Shopify remains the conductor, leading entrepreneurs to triumph within their specialized markets.

[wickymicky]

aespa illusion is okay, i still can’t really get into it though :(

[eirikaanemo]

Venti's crush is a sister in the Church of Favonius. That's the entire prompt. Okay, she may have overheard Venti when he asked for the Holy Lyre and maaaaybe she gave it to him (in the name of freedom!), but she probably wouldn't be a sister after that.

Venti x GN!Reader

1.7k Words

Warnings: Eviction? Kinda?

Notes: So, halfway through I remembered "Sister" is a gendered term, so I switched it to "Disciple". Hopefully that still works!

Part 2: His Fight

His Lyre

He first caught your attention while he was doing a street performance. You were walking down the street, minding your own business, when you heard a melody so beautiful that you swore it had to be Barbatos himself. Following your curiosity, you found him performing a ballad for a group of children. His clear tenor painted looks of wonder on their faces as he regaled them with tales of Vanessa and the revolution of freedom.

You couldn’t help but stop to watch as well. He had captivated you as much as he had the children and you didn’t regret a thing. After Vanessa’s tale he sang of the fall of the storm god, the rise of Barbatos, the shaping of the lands, and the rise of Mondstadt. Every song seemed almost more amazing than the last.

It was getting close to evening by the time you were able to free yourself from his spell. Or rather, he stopped casting it. His last few notes rang out and faded into the darkness. You almost didn’t dare to breathe in fear of breaking the serene silence that overtook the scene. Then his eyes opened.

This was your first real chance to get a good look at them as he was usually facing just slightly away from you. Everyone else had gone home, so as he scanned the area, his eyes fell on you. And suddenly all you could see was his eyes. They’re beautiful, you thought to yourself, a hint of blush warming your cheeks.

His braids swayed a bit as he tilted his head curiously and a smile flashed across his lips. “It’s not often I see a Disciple here, tell me, did you like what there was to hear?”

“I did,” you confirmed. “I’m very impressed! It was almost like I was listening to Barbatos himself!”

He looked stunned for a moment, then an odd look crossed his face before he quickly covered it up with a broad smile. “Thanks! I appreciate the sentiment! That’s really quite the compliment.”

You were able to spend the next little while chatting before you had to go, but similar scenes occurred fairly often as time went on. About the tenth time or so he decided that you were friends, which you had no objection to. Though there was always a small twinge in your heart whenever he called you that for some reason.

Along with becoming friends, you started to notice some things. His songs are… very detailed in a way that makes them line up with records that rarely see the light of day. While you do your best to share Barbatos’ gospel of freedom with everyone, some records are just too fragile to be available to the general public. So the Disciples, like you, memorize them and tell them to the worshipers who come to the Cathedral.

However, either on purpose or by accident, most of the time Disciples will mix up little details or paraphrase things or skip over sections in a way that can confuse the story some. But Venti’s songs match every detail shown in the records, and more. You had checked multiple times and it always came out the same way. He was one hundred percent correct, in every song he played.

Then there was his hair. You’d never seen anyone with their hair being tinted at the ends like that. And you couldn’t find the hair dye he used either. And oh boy had you looked. You wanted teal in your hair too dang it! And when you finally asked him where he got it he laughed and said it was natural. How is that fair?

And then there are the times where he just didn’t act quite human. Like forgetting to eat all day without realizing it. Or referring to other people as “humans”, as if he, himself, isn’t human. Or how he only ever wears one outfit. Or the way anemo energy seems to flow through him instead of around him. You wouldn’t even have noticed that last one if it wasn’t for the fact that you are hypersensitive to it due to how you use your anemo vision. From all of that, and more, you can just tell that something isn’t quite what it seems about him.

So when you’re cleaning the cathedral in the back and hear him out himself as Barbatos to Sister Gotelinde something just clicked. Oh, of course he was Barbatos. What else could he possibly be? Too much added up for it to not make sense! Unfortunately by the time you were done reeling from shock Sister Gotelinde had sent him right out the door.

You had caught enough of the conversation, though, that you knew that Venti- no, Barbatos had need of his lyre. So you came up with a plan. This was going to get you in so, so much trouble. But this is what needed to be done. You need to get him his lyre.

It was surprisingly easy to swipe the lyre from its pedestal and avoid the other inhabitants of the Cathedral by taking back passageways. You had almost made it out, you were so close when you suddenly ran into someone.

Holding a hand to the point of impact starting to swell on your forehead, you squint over towards the other group. When your brain registers that you just ran into Venti you gasp and scramble to your feet, still holding the holy lyre to your chest. “Oh my goodness, I’m so, so sorry Venti,” you apologize. “Or, uh, would you prefer I call you Barbatos?”

Your friend blinks once, then twice, dumbstruck by the situation. “Venti is fine,” he scrambles to assure you after a few moments. “How did you know?”

“You weren’t exactly the quietest when speaking with Sister Gotelinde, Venti. And I was cleaning just out of sight. It made a lot more sense than some other explanations for your weird behavior that I’d come up with.” You admit sheepishly. “And I believe this is yours.”

His face lit up as you held the holy lyre out towards him. “The Lyre de Himmel! Thank you so much! See that, Traveler? We didn’t even have to steal it! I promise to do my best to take care of it.” You quirk an eyebrow as the Traveler finishes shaking off the effects of running into you.

“I’m going to pretend I didn’t hear that, and you better.” you tell him pointedly, causing him to giggle nervously. “Besides, the two of you need to go! I… didn’t exactly tell anyone about this. Good luck with Dvalin, Venti, Traveler. May Barbatos be with you!” You called out the last part out of habit.

Moments later you felt a hand clap onto your shoulder. “Dear,” Sister Gotelinde drawled slightly. “Please tell me you didn’t hand our sacred treasure over to that alcoholic bard.” You’re silent for a moment before years of being at the Cathedral won over your common sense. “You know I can’t do that, Sister.”

She sighs from her position behind you and her hand tightens on your shoulder. “I’m sure I don’t need to tell you how much trouble you’re in, especially if it doesn’t come back in one piece.” You gulp.

“Yes, Sister Gotelinde.” You murmur.

“Good, now get back to cleaning.” She instructs you curtly.

Nodding, you turn and walk past her towards where you were cleaning. She continued on, likely going to report the situation to Sister Barbara. You really hope that Venti keeps his promise.

While you try your best to put the situation out of your mind, your thoughts keep drifting back to it the whole next day. The nightmare you’d had that night hadn’t helped either. It had been a morbid scene, a broken lyre on the ground with an equally broken Venti as a triumphant Stormterror screeched over their still forms. You’d woken up sweaty.

Logically you knew that Barbatos- no, Venti wouldn’t fall to Stormterror. But the scene still wouldn’t go away. And neither did the awkward feeling that accompanied your usual duties as a disciple. Some of your regular duties were suddenly almost… laughable? You now knew that Barbatos didn’t care about a good chunk of what you did in the Cathedral that some considered absolutely essential.

Your attitude didn’t help your position though, not with everyone now knowing what you did and watching you closely. The day is long and you feel trapped every second of it. Then Venti returns victorious with a broken lyre and everything crumbles around you. You’re kicked out, banned for life, right after him, with a suitcase of your stuff chucked out after you. Even though he ‘fixed it’.

Part of you wants to just lay there and regret your life choices; but you can’t help but smile when Venti reaches a hand out to lift you up, laughing about the irony of the situation. A small smile manages to reach your face as Jean starts chuckling too.

“Don’t worry too much, I know you’ve done a great good for Mondstadt.” She reassures you. “I know you have a vision, an anemo vision at that.” She gives Venti a pointed look. “How would you like to become a knight?”

Your smile grows into something a little more natural. “I’d like that, thank you Jean.”

“It’s no problem, really the least I could do. I’m sorry it had to end like this. Now, come to my office when you have a moment so we can formalize it. But for now I need to go and formally close the Stormterror case.” With a sigh she walked past you towards the knights headquarters and the inevitable paperwork which awaits her.

“I’m sorry that you got kicked out,” Venti apologizes once Jean’s out of sight. “All you did was help and you got in trouble for it.”

“It’s alright, Venti,” you try to claim. “It was kind of awkward knowing that you are Barbatos anyway.”

“Still,” he pressed. “You put everything on the line for me and I really appreciate it. I’m really sorry I didn’t follow through. I’ll have to make it up to you. And I know just where to start.”

His kiss to your cheek was quick but sent a warmth blooming across your face, contrasting with the coolness of his lips.

“Of course,” you mumble, embarrassed. “It was your lyre anyway.”

“It was,” he agreed. “But you believed me. And that really does mean a lot to me. Thank you, really.”

[chickenmcfly1]

Since you said you’re a guitarist and music major yourself, do you have any thought about Marty as a musician and his path?

omg you should not have gotten me going on this. Music and Marty are my favorite topics of ramble about and now you’re letting me ramble about both together gajagska. Anyway, here are my thoughts about Marty and his music

He started showing musical inclination when he was quite young. Grandma Sylvia (aka Trixie Trotter) would sing and play for Marty and he loved it

He expresses want to learn an instrument when he’s around 8 years old and there’s already a plunky little piano in the McFly home. By no means is it a good instrument, but George has Sylvia teach him.

Marty likes it a lot and he practices and becomes pretty proficient. Neither Lorraine or George expect much to come from it, but they’d rather have Marty playing jazz standards and Beethoven than have him setting fire to the rest of the house

After Sylvia passes a few years later, well one, Marty is absolutely destroyed because he’s not that close to anyone else in his family, but also the piano lessons stop. George and Lorraine can’t afford lessons and they don’t really care enough to encourage Marty’s musical goals

Marty keeps up with his piano playing, but around this time, at age 10, he begins to get really into Rock n Roll. The record store by his house is where Marty goes to escape his family before Doc and he becomes obsessed with all the Rock Stars and their records.

There’s a video of Jimi Hendrix explaining how to play the guitar that plays at the music store on loop, and Marty watches it over and over and over and over until he has it pretty much memorized

He mows lawn for a week and the first time he gets paid, he goes straight to the record store and buys the tape and the other guitar lessons that come with it

And Marty decides right then that he wants to be just like those rock stars. Because their music is so incredible and they’re so entertaining, and talented, and cool.

The older Marty gets, the more fascinated with all kinds of music Marty becomes. He applies himself to learning the melodies and analyzing the elements of the music with a dedication that his teachers wish he could also apply to literally anything else

He also tries his hand at writing his own music. It comes surprisingly easy because Marty’s a very emotional person, even at like 12, but he’s really scared of expressing those emotions. He’s afraid of being made fun of and rejected and judged and called weak, so he writes music, but nobody ever heard it.

By 12, Marty is begging his parents for a guitar, but they don’t want to spend the money on an instrument or lessons. Marty; however, is desperate and is willing to do literally anything to get his parents to buy him one.

Hill Valley is a small town, and the record store owner obviously had noticed how Marty comes by every single day, so he ends up giving Marty some trashy old acoustic that needs to be tossed

The guitar is probably only given to Marty because fixing it up to put it in selling condition would probably cost more that they could ever make from it, but looking at Marty, you’d think he’s just been given the best gift in the entire universe

So he watches the Jimi Hendrix tapes another 10,000 times and works his ass off and improves an enormous amount and by the time he’s 13, Marty is quite a good guitar player

In 8th grade, he’s able to save enough for another (equally crappy and equally used) guitar but this one’s electric and its the most incredible thing Marty has ever seen and he adores it

Marty’s super insecure in pretty much everything he does, and nobody feels good about themselves at age 13, but at this age, Marty really starts doubting himself way more and struggling with confidence. Music is an escape from that. Marty works so hard with his piano playing, with his singing, and especially his guitar playing, and making music is the place where he feels most comfortable in himself.

At this point, Marty’s family life is getting worse and worse, school is hard and friends are hard, but he has music and he throws himself into it 110 percent.

That all comes crashing down at Marty’s first audition. Marty auditions for Jazz band in 8th grade, and that rejection shouldn’t be a big deal because there two spots and 8th 9th and 10th graders, but Marty’s quickly rejected and it breaks it heart. This had been the one thing that was simple for Marty. There was no chaos or fighting or compilations behind it, he just did it and it made him happy, and now that’s been taken away from him too

He pretty much decides he’s giving up on music forever after that and is never playing for anyone else again, but as usual, Doc comes into Marty’s life at the perfect time.

Music is one of the first things Doc and Marty bond about. Doc tells Marty he’s welcome to play any of his records while they’re working. His music is mostly jazz and 50s stuff, and Marty absolutely falls in love with it.

After listening to more of that, Marty discovers a love for combining the classics with a new unique kinda heavy metal sound

He asks Doc about the saxophone and Doc teaches Marty quite a bit of it. Marty’s not as great at sax as he is at piano, singing, or guitar, but it’s fine because he has a duet partner now.

He and Doc play together a lot and he’s the only one that gets to hear Marty’s original music. Marty writes a bunch of jazz and rock pieces for Sax and Guitar too, and being able to play with Doc gives Marty a lot of the confidence boost he needs. Doc makes a point to always encourage and compliment Marty’s performance. And it’s not hard to do either, because Marty really does have something special.

Improvising with Marty is a wild ride. He’s able to change keys, styles, and go into mixed meter in a way that seems almost effortless and with alarming speed. Anybody with him really does have to ‘try to keep up’

Once he gets to high school, Marty tries auditioning for a few things again. To his surprise, he’s picked for a few small things. Nothing as big as he wants, but it’s better than nothing. Someone somewhere thinks Marty’s good and that’s something.

Marty also gets into a little bit or recording, mixing, and composing. [There’s a tiny electric or MIDI keyboard in his bedroom in the Polaroid from the set so I’m assuming he’s writing music for full bands and playing some parts on MIDI with a software instrument, but idek if that technology existed back then, so who knows right]

For his 15th birthday, Doc gives him the rest of the money for the guitar he’s been saving up for. It’s an Ibanez and when he plays it or the first time, it feels like the instrument was made just for him and everything is right in the world

He throws himself even more into practice after this and music goes from a hobby to the thing he wants to do with his life. Marty’s always felt lost and directionless when it comes to his future. It’s always felt like he isn’t good enough and won’t really amount to anything. His family are all nobodies, and nobody thinks Marty is capable of achieving anything. But Music gives him purpose and hope for the future.

Doc’s nonstop encouragement is what pushes Marty to finally take the first step and decide to pursue music

In sophomore year, the pinheads come together. Marty is a lot more serious about the whole thing than the others, but being in a band is cool, so they all carve out a few hours every week to rehearse. Marty pushes and pushes them and himself to be better.

He starts dating Jennifer in junior year and Marty writes a lot of songs for her. He finally gets the courage to show her one. Jennifer loves it and becomes Marty’s (second) biggest cheerleader. Any audition, rehearsal, and rare performance Marty has, she’s there. She knows how much this means to him and she takes any opportunity to encourage him

By senior year, everyone seems to know what they want to do with their life, and Marty knows with absolute clarity what he wants to do too, but he’s so scared to take the leap and go for music. He wants this so badly and it means so much to him, and someone telling him he’s not good enough to make it would absolutely destroy Marty. So he keeps these dreams close to his chest and only tells Jennifer and Doc, who convinces Marty to send an audition to the record company

Making that audition tape is the most miserable experience ever. He does over 100 takes of the same song because if it’s not absolutely perfect Marty’s entire world is going to be destroyed. The recording is never perfect (and Doc tells Marty that no recording will never be perfect enough in Marty’s eyes, and what he has done is incredible but Marty doesn’t believe it)

In the timeline where Marty breaks his hand, the second he wakes up in the hospital and sees his mangled hand and feels the way his fingers move so disjointedly, he knows he screwed up and everything is ruined

The loss of music, which was the one thing that made Marty have hope in himself, sends him spiraling and leads to the broke version of him in 2015

In the timeline where everything works out and Marty doesn’t race, he ends up sending the audition to the record company right away. Obviously, insecurity, confidence issues, and an obsessive need for validation don’t just disappear with one trip to the old west, but after time travel, he’s able to put himself out there with his music a lot more

After time travel, Marty is stuck in his own head a lot. He’s often very confused about the terms of his own existence, and existentialism aside, he’s struggling to cope with trauma bc guilt from what happened on his travels. And while Marty doesn’t care what other people think of him that much anymore, his own opinion of himself has gotten worse, if anything.

Getting over the initial thoughts of ‘you’re not good enough so why even bother’ is a whole process but he and Doc work through it, and Marty is finally able to commit himself wholly to his music.

Being on stage and performing and just playing gives Marty a reprieve from the trauma and the confusion he’s dealing with and his music gives him another safe space

As Marty starts to heal more and more he also starts auditioning more, playing more confidently, performing his own music and Doc (who moved back to the present) is his biggest cheerleader and is there at every performance

The new McFly parents really push Marty to study music at a college so he can get a college degree, and Marty ends up auditioning for college and studying Guitar Performance with an emphasis on Music Education

He writes several albums, a few become huge sensations, he is able to tour for a bit and he performs quite a lot. Once the kids are born, he stops touring as much, and once they’re older, he pretty much fully stops so he can fully focus on them.

He becomes a music teacher instead and it allows him to encourage so many other budding musicians while still staying true to his own passions

[cto10121]

finally saw encanto!!!! yeah, i felt kind of obligated to view and review it, what with my being colombian american (first generation) and all. and also there’s that song about not talking about that guy everybody’s talking about…so. let’s just get to it

it’s better than coco, i’ll give it that, in that it is not (as) cheesy and not (totally) mami and papi propaganda of the importance of ~familia and all. this one actually has conflict…which is then resolved less than five minutes later. also way less plot, so it evens out. i’ll just do a good, bad, and ugly. take it away, hugo

the good:

the animation? it keeps getting more and more detailed and holy shit, they decided to do actual choreography. that must have been painful to animate. kudos, i guess

um. that one cumbia in the end credits? actually colombian and the melody was not that bad. my mom danced a little because of course she would

the premise isn’t too bad. the execution was cheesy and precious (remember when disney had balls and had adult jokes and a genuinely witty screenplay? i do. i remember) but it had at least something to say about burnout and perfectionism and intra-family fuckery.

that’s it, really

the bad:

songs sucked. the first one was probably the worst. at least the bruno song is catchy. but that was the only one even the least bit memorable. the cumbia in the credits was probably the best composition, ha. even the lyrics were piss poor. i swear lin-manuel miranda is getting worse and worse after hamilton. hamilton at least had clever rhymes. what’s happening?

they keep making the screenplays to these things simpler and simpler, aren’t they? also the increased use of superlatives and adjectives.

the lack of stakes. yes, abuela is a pill, but also…not that much? for one thing she believes mirabel immediately about the cracks instead of questioning her and when mirabel tries to defend herself, she doesn’t even accuse her of lying or doing it for the attention. i guess i wanted a more gaslighting abuela, ha. it doesn’t help matters that until mirabel goes snooping around we don’t get a sense of how stressed everybody is. she also sees the error of her ways far too easily and quickly. latino parents are way more stubborn, and this one had trauma.

speaking of, her backstory is…interesting. as in, way too vague. i’m guessing abuela and her husband were supposed to be indians and were screwed over by the spaniards (or simply colombian government doing pogroms??? again, i know that to be a mexican thing, but i suspect that to be a latin american thing in general). it would have given the narrative some weight to give a piece of genuine history, but eh.

this family was just way too lovey-dovey in general. mirabel and isabella hating each other is pretty much the only thing that rang true in terms of family dynamics and that wasn’t developed much at all.

i suppose it was never meant to be a mystery, but…we never got an explanation as to why the casita (or casota, it should be called) didn’t give mirabel a gift. i mean, that was how the movie began and its central conflict: mirabel struggling to accept her lack of powers. also, bruno supposedly leaving never had any weight—even before the song luisa talked about him just fine and mirabel even mentioned him and his powers in song.

the confusing racial mixture of the triplets. abuela and her husband both look straightforwardly indian with maybe (1) spaniard ancestor, but pepa is pretty white (with red hair! was that spaniard?) and of the three only bruno got the nose; he also looks the closest to his mother. but whatever. you do get weirder irl combinations, so

the ugly:

the magic returning at the end. i suppose the big reveal is that the magic was really tied to the well-being of the family members so when they began to feel better it…came back???? if it sounds stupid, it’s because it is. at the very least it was not very well explained and it undermined the whole message of the magic not being what truly matters or what is special but just being you.

the whole scene of antonio getting his powers almost got me diabetes, yuck

the powers themselves being pretty lame. luisa’s was genuinely useful, but unless isabela can grow crops as well, her power was the most useless of all. dolores’ super hearing really should have been torture for her and camilo changing into people is useful for spying, not so much for ordinary life (or would it? that would have been a good angle, show the reality of a small town, but that would require the actual subzero level of fucks disney no longer has). ditto for antonio’s talking to animals.

“COLOMBIA TE QUIERO TANTO. COLOMBIA COMO ME GUSTA TU ENCANTO.” kill me

for all the rah-rah about representing ✨authentic colombian culture, ✨ it’s worth noting that my two colombian parents (boomers, born ‘48-‘58) were like 🤔 and 🙄 the whole movie. my mother kept saying that this looks more mexican and that colombian pueblos weren’t that colorful!!! you remember, mija, when we went to [insert pueblo name] it wasn’t all color, this is more mexican!!! don’t believe in the disney lies!!!! my dad meanwhile was frowning over the modern latin rhythms in a supposedly 19th century setting. there was an arepa. and that one cumbia. and they roped in carlos vives (my parents were like oh, yeah, him). overall, not very impressive. i will say, however, that this may be more reflective of campesino, gente-humilde culture and my parents were…definitely not that, ha.

so this was yet another overrated cheesy disney flick with an inexplicable internet fandom and pumped-up claims about ~representation. i have a feeling some higher-ups ordered the creative team not to make things too colombian or else the other latino subcultures will not give them money will be sad. but now that this was a sleeper hit, disney is not going to stop until it has a movie for every hispanic-latino american subculture. i blame you. i blame all of you.

[rachelbethhines]

TTS Songs Ranked Worst to Best

Someone asked me to rank my fav and least fav TTS songs a while back, but I’ve since then relistened to the soundtrack and there’s a whole bunch of songs that just forgot about, so here’s a more accurate ranking now that the songs are more fresh in my mind

32 .  Life After Happily Ever After (Reprise)

This song is infuriating, because the finale is infuriating. Listening to this song just makes me angry all over again because it reminds me just how unsatisfying the ending to TTS was. I wanted to turn it off at several points. I barely can get through it despite it being so short. It doesn’t help that the soundtrack leaves all the dialogue in there and fails to actually end the song. It just cuts off before the final note.

31. Hook Foot’s Ballad

Does this even count as a song? Why is it here on the soundtrack but not the Hurt Incantation? Did Menken really waste his talent writing a joke and did the showrunners really waste money and limited resources on this?

30. Friendship Song

Bland, boring, and pointless. It was clearly written as a marketing stunt for the radio disney charts and not as anything to do with the plot of the series. They just throw it up on screen to fill out the running time and don't even let the whole song play through. It’s pitiful.

29. Waiting in the Wings (Reprise)

I didn’t think much of the original song one way or the other, but the reprise is soooo dumb. The plot twist it introduces winds up ruining the whole show and sabotaging both Cassandra’s and Rapunzel’s characters. It’s not even a nice sounding song on it’s own. The kid’s voice is irritating (who I’m sure is doing her best, but really little kids shouldn’t be made to sing professionally as a general rule) and the melody just as bland as the first time it was played. The only reason to like this song is if you’r a mega fan of Cassandra’s or her VA, which I am not. (Note: this is not a criticism of Eden Espinosa, I just don’t happen to follow any of the VAs in this show)      

28. Through It All

I like the instrumentals in this song, and that’s about it. Everything about this song is wrong. It doesn’t fit the story, it’s a misuse of the cast and songwriters, it’s a waste of valuable screen time, the melody is dull, and the dang soundtrack had to throw in that lame dialogue about ‘greatest threat ever’ at the beginning. If you want a pump up song in your story then you got to earn it. You can’t just tell us things are bad, you got to show it. A joyful horseback ride and everyone sitting in a bar safe and sound isn’t threatening or depressing enough to warrant a cheering up session. Plus the song itself doesn’t add anything to the overall story.

27.  The Girl Who Has Everything

Sometimes I think the writers were willing trying to sabotage themselves. It’s as if they were determined to make the only two main female characters in the show unlikeable bitches in season three.   Don’t believe me? The creator Chris has said this song only exists to highlight how much easier Rapunzel has things than Cass and went onto say that Rapunzel was in the wrong during their conflict because ‘she held Cassandra back’. (Oh yeah she totally ‘held back’ the grown woman who left on her own accord, returned on her own accord, and then assaulted and tried to murder a bunch of people for no reason of her own accord.) But this song does succeed in furthering season’s three narrative that Rapunzel is a spoiled selfish brat. Shame the story fails to address this setup and never has Rapunzel learn to be a better person. Rather the narrative bends over backward to tell us how special Rapunzel is without any sense of self awareness and this song falls into that same trap; making it both irritating and pointless.

26. Listen Up

Yeah, I talked about this on my salt marathon, but I just don't like this song very much. The melody is fine but the lyrics are a real miss in my mind. It doesn’t help matters that the song is indeed pointless in the grand scheme of things.

25.  Livin’ the Dream

This is much on the same level as Listen Up as it features the same problems. It doesn’t add to the narrative and the lyrics kind of let it down. I placed it higher just because I like the melody a little more.

24.  More of Me

This song is a lot like the Friendship Song in that it was created to be an end credit song for the pop charts and you’d be forgiven in forgetting it even exists. However, it at least got to actually play all the way through. I think this song was a real missed opportunity. I honestly believe that it should have been the opening theme song of the show instead of Wind in My Hair. It’s more built to serve such a purpose and it’s a waste of resources not to actually use it. Alternatively, I would have accepted it being reworked into the actual series as a character song. Especially since we’re missing a song in season three due to budget cuts.  

23. Wind In My Hair

Speaking of theme songs, I think I would like Wind In My Hair a lot better if i didn’t have to listen to it every episode. On its own it actually has a lot of things going for it; a nice melody, interesting instrumentals, good singing, ect. Unfortunately it’s just over exposed, and none of those elements lend themselves naturally to an intro song for a tv show. In fact the theme song feels really out of place and is edited oddly to fit the shorter intro. 

22. Wind In My Hair (Reprise)  

Honestly the theme song is mostly comprised of this reprise, but it has the opening instrumentals from the OG song frankensteined onto it. This means that the version that plays before every episode is on fullblast all the time to keep the energy up, but that’s not how the song is suppose to go.  The actual reprise that plays in the pilot builds to a crescendo, starting soft and melancolony and getting louder and more hopeful and determined. It sounds a lot better in full because of that.  It’s still too overexposed though. Both these songs would probably be higher on the list of not for the theme song version. 

21. With You by My Side

This song is fine. It’s nothing special, but it’s not bad either. What knocks it down the list is the fact that Lance isn’t in it, despite Lance being right there.  Like don't bother hiring a famous Broadway singer if you’re not going to have him sing!  But that speaks more to the poor writing of season two than anything else. This song also doesn’t really add anything to the narrative as, contrary to what the writers intended, it doesn’t actually enhance the emotional impact of Cassandra’s betrayal later in the episode. The song itself is just tacked on and doesn’t take the opportunity to lay down any foreshadowing for that plot point.  

20. Next Stop Anywhere

Another perfectly serviable song. It’s not bad but nothing outstanding. It gets the job done. It’s also really ho-hum and the soundtrack keeps all the unneeded dialogue, which is a pet peeve of mine. 

19. Waiting In the Wings

Despite it’s hype, I never thought much of Waiting in the Wings. It’s got nice instrumentals and Eden Espinosa gives it her all in the singing department. The problem is it’s too generic. It’s a bare bones basic ass ‘I want song’. Cassandra's movations are weak and unsupported by the narrative, the melody is boring, and it honestly doesn’t add anything to her story. I mean it should, it’s her character solo, but because she’s written so poorly the song just winds up undermining the character in the end.   All I’m saying is that, this is not the song from season two that I would have nominated for the Emmys. But it’s still Alan Menken, it’s still nicely performed, and given the rest of the competition for that year, it did deserve to win. 

18. If I Could Take That Moment Back 

This song is also pretty generic, but it’s less boring than I See the Light, (yeah, I said it, I See the Light is boring) so that’s a win in my book. Ergo this holds the title of the only New Dream duet that I enjoy. But there’s better stuff on this list. 

17. Next Stop Anywhere (Reprise)

Well no, I take that back. The reprise of Next Stop Anywhere is also technically a New Dream duet. It’s still not anything amazing, but it works for what it is. Plus, Adria’s opening dialogue in the soundtrack version doesn’t bother me quite as much as some of the other dialogues choices that were kept in.  

16. Stronger Than Ever Before 

I really enjoyed this song in the moment. It’s catchy and fun, and it finally has Lance doing something rather than ignoring his existence. However it is borderline unnecessary in terms of story placement, and I’m slightly mad at it now that I know that we could have gotten a Rapunzel and Varian duet but it was scrapped for this instead.   

15. Crossing the Line

Keeping with the theme of ‘songs I have conflicting emotions about’, we have Crossing the Line.  This song is confused. It starts and stops, the melody isn’t clear, the orchestration is playing tug of war with the singers for dominance, and it’s basically Alan Menken and the show’s creators ripping off Frozen. (I guess he’s kicking himself for leaving that particular project?)   But it’s interesting. I never heard anything quite like it. It’s memorable even if it doesn’t fully work. It’s got these interesting bits and pieces to it that just never quite comes together as a whole. Some of the lyrics are some of the best Glenn Slater has ever wrote and is far better than the story actually surrounding the song. Yet there’s other lines that are total cringe. Sometimes the song is bold and catchy and gets you all hyped up, and then other times its limp and staggering and feels so awkward to listen to.  Yet it’s not boring or generic and so I have to place it higher than the rest of the songs that’s come before. (Also, there’s some amazing orchestral covers out there that really pulls together the various parts really well, just fyi) 

14.  Nothing Left to Lose

I really don't like this song.  I’ve been one of its biggest critics ever since it was leaked by the marketing team earlier this year.  And yet... I can’t in good conscience place any lower on this list.  All of the problems I have with it are the exact same problems I have with Crossing the Line. It’s confused, the various pieces don't line up, the instrumentals are competing with the vocals, the song’s progression is weird with it’s constant key changes, some of the lyrics are good while others are absolute shit, ect and so forth.  It also actively works against the story it's trying to tell. The song wants you to sympathize with Cassandra, but her lines are as shallow as a puddle and makes her look like a sociopath. Especially when she’s physically attacking Varian through out for no reason. Also neither character learns anything from the exchange and it fails to impact the story.  By all accounts this is a bad song.  But I’m Varian trash.  There I said it. You happy?  Varian’s parts in the songs are fine, good even, and the song is anything but bland. I would rather listen to a mess then be bored to tears by a competent yet standard four chord pop song. 

13. I’d Give Anything

This song is nice to listen to. Story wise it absolutely sucks and shouldn’t have been in the finale at all. But it sounds pleasant.  This is one of those songs that could pop up randomly on the radio and I would just think it it a nice sad break up song. I can’t say that about some of the other misplaced songs in the show. This one however, you can very much, absolutely divorce this song from the narrative and it would be fine.  Now that’s not good writing, and it’s very much a waste of limited resources, but I’m rating the music here first and story second. 

12. Buddy Song

The Buddy Song also absolutely did not need to exist but it also sounds nice. Plus, it makes use of Lance so I’m a little more lenient towards it.   I can’t however place it higher since it really is just Alan Menken ripping off Alan Menken. Like, I would not be at all surprised to find out that this was originally a deleted song for Aladdin or something.  

11. Bigger Than That

What can I say, Lance just gets good songs. When the show bothers to give them to him.  Unfortunately, it’s not the best placed. It kind of interrupts the more important drama of Be Very Afraid, and probably should have been saved for a later episode. Especially since it hinges on a plot point that is contradictory to Lance’s character.    We should have gotten a Varian and Rapunzel duet here and given Lance his own episode in the second half of season three. This song could have easily been refitted into being a bonding moment for him and the girls. That would also have filled out the season’s original songs to the usual eight instead of only  seven.

10. Life After Happily Ever After

Now we’re getting to the good stuff. The top ten. The best of the best.  This song makes the cut for three reasons.  1. It lyrically and musically interesting 2. It does the job of furthering the story and the characters  and 3. Eugene’s part is so damn good.  Like this song could have easily fell down into the ranks of ‘fine but generic’ if it wasn’t for the bridge with Eugene. That puts it over the top and to my mind makes it better than anything from the OG film. (well almost anything, Mother Knows Best is still great)    This is the barometer by which I measure all of the music in the series. Is it better or worse than Life After Happily Ever After? Because this is the level that I equate good musicals with.  What keeps on the tenth spot and not higher is the dialogue that still left on the soundtrack and the lack of a Cassandra introduction. That and also the rest of the songs are just flat better. 

9. Hurt Incantation 

Hurt, Decay, Reverse, whatever you want to call it, this was such a cool fucking concept. One that was utterly wasted by the show.  I place this so high because it just sounds awesome! It looks good too, and it offered up so many possibilities from a story perspective.  What lets it down is the lack of follow up for it and it’s too short. There’s needed to be another verse. It also should have been on the actual soundtrack instead of  Hook Foot’s Ballad.  (The Heal Incantation also was sung in What the Hair, but I’m not counting it since it was written for the film) 

8.  The Girl Who Has Everything (Reprise)

I hate the initial song and the set up that it took to get here, but I love this reprise. It’s perfect. This is what the story needed more of. Rapunzel taking her life into her hands, and her proposing to Eugene would have been the perfect capstone for her arc.  In fact I’m angry we didn’t actually get that. There’s absolutely no reason why Rapunzel couldn’t have done so and we could have had her and Eugene engaged during the second half of season three. How much better would have it been if Cassandra threatened their wedding plans and that’s why they couldn’t go through with it until after the series ended? So much more tension that way. 

7. I Got This

This is a really good song that actually futhers the characters and the narrative. Moreover it’s refreshing to see the heroine not be perfect and to fail sometimes due to her own inadequacies. It’s just a shame that the series didn’t follow through with this set up, but I appreciate the attempt all the same.   

6.  Set Yourself Free

This is the only song in the series that’s an actual satisfying pay off for anything. Music wise it’s nothing too special, but in terms of context it just works. We were sorely deprived of such resolutions and songs with actual meaning in the show. 

5. View From Up Here

This song is too good for the episode it actually appears in. We needed something like this back in season one to introduce Cassandra with. It also sadly doesn’t fit with the wider narrative after season three. However I shall still appreciate it as a ‘what might have been’ type song. 

4.  Let Me Make You Proud 

The only reason why this song isn’t higher is just overexposure and I’ve no one to blame but myself for that. I’ve listened to this song way too many times. As such it tends to alternate between this, View from Up Here, and the next song on the list. But make no mistake it is glorious. Fantastic instrumentals, set up, and of course amazing vocals. 

3.  Everything I Ever Thought I Knew

Yes, I know this plot point didn’t lead anywhere, but it works for this song at least. Also Eugene’s VA is a really underrated singer. He sounds nice and he emotes really well.  Though I’ll be honest, this jumped up to third place because it was fresh in my mind after listening to the soundtrack before making this list. I’ve always liked the song and I do rate it highly, but it can change places with Let Me Make You Proud and View from Up Here at anytime depending on my mood. 

2.  Let Me Make You Proud (Reprise)

This song is heartbreaking!  Story wise it probably shouldn’t exist because it gives away the twist too soon, but who cares, it’s awesome!  Varian’s arc is the most compelling in the show and the only thing that saves TTS from falling into mediocre obscurity; and it’s songs like this that help make the arc stand out even more than it already does. 

1. Ready As I’ll Ever Be

I said it before and I’ll say it again; Ready As I’ll Ever Be is the greatest thing Alan Menken has ever written in his entire career!  If you know anything about the multiple award winning songwriter then you know that is no faint praise and I do not dole it out lightly.  This song is the reason why this show even has a fanbase. People are still getting into the series because of this song. And no matter how many times you listen to it just rocks!   It’s complex, layered, moody, and with a fantastic beat and energy. The performances are wonderful and the instrumentation glorious. It belongs in the hollows of Disney’s greatest hits and not regulated to a spin-off tv show that failed to make its money back.  I weep for the lost potential that this song and this show had. It hurts to know that so many people will never see this flash of brilliance that has come out of the House of Mouse, will never know the wonderfulness that is Varian.  Ah, ‘c'est la vie’, I suppose. Tangled the Series got what it deserved, but it's crew did not. While I can not in all honesty recommend the series in full; I do sincerely urge any Disney fan to check out the songs at the very least. Especially this one.  And that’s it. There’s my official ranking of all the songs, and I hope those of you read my Tangled reviews appreciate the hours it took into making this. 

[bisexualhobi]

wait I think I agree not today is really bad but now rank all their title tracks from best to worst pls

lmaoohdksjjdjf i love this question so much anon but due to the fact that i’m me this would get way WAY too long. so i’m doing the top 5 best title tracks and then top 5 worst ones okay? i’m looking at google and apparently they have 26 korean singles so yeah that’s too much.

to rank them as objectively as possible I'm gonna try to take into account gp impact (which is not the same as chart impact since the fandom inflates those numbers), production, creative value (how innovative/different from other pop songs was it?) and the concept of the music video/aesthetic in general. 

BTS TITLE TRACKS: TOP 5

5. Black Swan (2020)

am I cheating by putting here a pre release single? maybe. but it would be a disservice to leave this one out so bear with me

⭐gp impact: this song made more noise as a pre release single than the title track. I saw it in at least 3 end of the year editorials for best kpop songs of 2020. and the thing is it could have been WAY bigger but a lot of stuff happened that sadly made it go away too soon. I don't think this one is as famous or recognizable as the others in this list which is why it's going last, but also I think this song is the most underrated gem in bts discography so it's still going here.

⭐production: this song beat out the front runners (I need u, save me, DNA) solely because of its production. there are not a lot of kpop songs out there that manage to pull off what this song does. it's powerful, it's nostalgic, it's a dark and sexy song without being too on the nose. the mixing is SUPERB I remember the first time I heard it I thought "this would blow the fuck up if it was a Travis Scott song" and I will DIE on that hill. this is an example of heavy autotune on a song done right, not like the rest of their super autotuned songs that sometimes come out unrecognizable and empty sounding.

⭐creative value: it's not truly a new concept in pop to make a song about the Death of the Artist. it’s also not something a rookie group can do, this song needed to be released at exactly the time in bts’ career that it was. there’s just no emotional impact if you just sing about how the music makes your hear beat and you’ve been in the industry for,,, 3 years. this is the type of Swan Song you release at the peak of your career, so that really contributes to the message. mixing a trap beat with a ballet motif is GALAXY BRAIN SHIT.

⭐️concept: the ballet influence is just beautifully executed, this song is a beautiful piece of craftsmanship on all fronts. i think they could literally build an entire ALBUM off this concept, so the fact that they jampacked it onto one single song is both amazing and a little sad for me. i wanna hear more of this. i want a literal Black Swan (the darren aranofsky movie) horror concept where the protagonist falls prey to his own madness because he strives for perfection. but yeah, the song itself and the orchestral version just make this a complete golden concept in my book.

4. IDOL (2018).

⭐️gp impact: i think a lot of people that didn’t know anything about kpop vaguely knew about this song when it was released. i know i wasn’t into kpop at all but in my pop culture circle there was a small bleep from this song bc of the concept and the dance. i think it’s a great “embassador of kpop” track, like if you wanna explain to someone with no previous knowledge what kpop is about you can show them a performance of this song.

⭐️production: the production is a little all over the place for me. the instrumentals are amazing and really creative tho, but like in terms of mixing vocals and the structure of it, it might be a little too grating. it’s not the best produced song in ly: answer by any means but it still makes it work

⭐️creative value: the whole hanbok thing is a 10/10. bts weren’t the first ones to do it, but they did it in such a tightly executed way that honestly that “classic korean roots meets the edgy western feel” concept belongs to them now. groups are still recreating it. it’s a really innovative concept in general.

⭐️concept: the music video is,,,, something. you might love it or hate it, but it’s memorable. i think the purposeful way in which they made it as loud and brilliant as possible can be taken either as a camp adjacent or just as the group going nuts with the budget, which props to them. the choreography is also a BIG plus. the south african influence is really well executed and they made sure to do it as cultural appreciation and not appropriation. definitely the most memorable thing from this song is the choreo

3. Run (2015).

⭐️gp impact: this was their second song to have a music show win. it was the lead single from hyyh pt2 and honestly it might be the best song off hyyh as a whole. it cemented bts as not just another kpop group, because it made non fans turn their heads too! from what i gather this really propelled them forward and made the fanbase grow a lot.

⭐️production: hyyh pt2 is super well produced. i feel like this song in particular makes a fine job of mixing the vocals but it’s not outstanding. the best part is the instrumentals. but overall it’s a really good song with amazing lyrics and a great melody.

⭐️creative value: this built off of what they did with pt1 so they were already in a comfortable place, when they found this sound they really explored it well and deep and it works! i’m glad they went this emo pop route because it was a good contrast to what was dominating the charts in kpop in 2015.

⭐️concept: the aesthetic is PERFECT. there’s not a single other thing that i could add or that i wanted gone. it’s the perfect mix of coming of age teen film and heartfelt, dreamy pop. the music video is by no surprises the favorite mv of a lot of the fandom. the cinematography is beautiful and the song and the video perfectly capture that fleeting moment in life when you’re in the brink of adulthood.

2. Mic Drop (2017).

⭐️gp impact: this song was the first bts song to chart on the billboard hot100. back when the fandom had no idea how to chart, mass buy etc. that’s enough said. (personally i think mic drop is the quintessential bts song and their best release so the fact that i’m not putting it first should count as something).

⭐️production: for the purposes of this ranking i’m using the original mic drop and not the steve aoki remix even tho it was the steve remix that was released as the single. the song has the BEST mastering i’ve heard in kpop. the transitions are flawless, the beat is pure fire, the entire first minute is literally the hardest hype rap i’ve heard in kpop. everything about it WORKS.

⭐️creative value: it’s kinda funny how this song got released the same year as kendrick lamar’s humble, because imho it’s the best hiphop song of that year after humble. 2017 was truly the year of the diss tracks. bonus points for including it right after the billboard acceptance speech skit in ly: answer. SUPER refreshing among the ed sheeran type of pop that dominated that year.

⭐️concept: it’s a great concept but not innovative by any means. still, it works and bts managed to exploit it to the max. the choreo, the mv, the styling, everything was amazing!

1. Blood, Sweat & Tears (2016).

⭐️gp impact: it's probably the first song to put bts on the map beyond the kpop sphere. it really set the tone for their 2017. it's one of their most famous and recognizable songs to date.

⭐️production: this song is STUNNINGLY arranged. the mix, the ambience, the progression,,, it's all brought together to make a very well crafted song. it has a distinctive electronic/pop sound to it that still manages to set itself apart from the trend that was going at the time. black swan is probably the closet single they have to this in terms of production.

⭐️creative value: the song itself is very in compliance with the 2015/2016 trend of hype songs with edm influence, (ie. closer, shape of you, cheap thrills, let me love you, something just like this, etc.) but it still packs that punch that makes it sound fresh even for 2021.

⭐️concept: it wasn't the first song to sound like this in kpop ofc but it was the first truly sexy concept for bts. the aesthetic is innovative and very well thought out, the mv is amazing and the choreography too. i read somewhere that j-hope had a lot of input for this choreo so that's amazing. also blond taehyung is literally the best thing to come out of big hit.

WORST BTS TITLE TRACKS

ok so here we go with the worst ones! this is in ascending order as i prepare myself to pick the worst of them all, but please remember this isn’t meant to be mean spirited, i am simply applying the same criteria to their most underwhelming songs but that doesn’t mean they don’t have their own merit! it’s just that out of 26 singles, SOME of them have got to come out at the bottom right?

5. Life Goes On (2020)

⭐gp impact: this song is not memorable with the general public, its #1 on the bb was the product of mass buying and even though it's a feel good song made to comfort fans in the times of pandemic it's still bland and boring. I think it had no music show appearances either, and as far as bts ballads go this is just bottom tier. it’s not that it’s terrible, it’s just very underwhelming 

⭐production: the autotune in this song is very poorly executed, it doesn't add to the song the way black swan does for example. it's just off putting and the melody is really forgettable. it's funny bc the chorus is directly pulled from the 2018 reggaeton super hit "La Canción" by J Balvin and Bad bunny lmaooo 💀 so I can't get that out of my head either. the structure is just fine and has nothing of substance 

⭐creative value: the song is attempts to be a heartfelt acoustic song but it really has nothing that sets it apart from other songs product of the pandemic like Justin and ariana's stuck with u. for a song in a self produced album it's the song with the least input from the group. the lyrics are good, but they're not as sincere or groundbreaking as for example Spring day. 

⭐concept: as a ballad ofc I'm not expecting it to have a grand choreography, and the mv being filmed in their personal dorms to reflect the lockdown is actually a nice touch but besides that there is nothing exciting, innovative or even sincerely comforting about the song and the concept. the greatest thing abt it is the fact that jk directed the video, which is actually pretty good.

4. We are bulletproof pt 2 (2013)

⭐gp impact: this song made no noise back in the day and to this day its just beloved by the fandom due to a sense of nostalgia and "remembering bts' roots". don't get me wrong it's amazing that bts still perform it in the year of our lord 2020 because you can't forget where you came from, but it's not a good or memorable song by any means. 

⭐production: I went back to listen to it for this and oh god. I can't remember the mixing being THIS bad. jimin, jin and taehyung sound exceptionally bad, they don't sound like themselves especially jin. it's just a really poorly mastered song, but then again the rest of their debut album isn't far better. 

⭐creative value: this is straight up ripping off early 2000s black culture from the US. not only the music, the styling for this era in general is unfortunately really bad and culturally appropriating and overall it's a mess. 

⭐concept: there is nothing of substance to be said about this song. it's just really a miss. the mv is terrible, the only thing that can be salvaged from this is the choreography, but besides that the whole thing feels sloppy, rushed and is also kinda cringey.

3. N.O. (2013)

⭐gp impact: no noise. this song was just a really weird pick for their first comeback when attack on bangtan or coffee was right there. not to be mean but no wonder they didn't have a music win this year. 

⭐production: it's an objectively bad song. it's just really underwhelming, the whole mixing feels amateur. it's not a good hiphop song and it's not a good vocal arrangement and the chorus is also a rip off of a late 90s American song I can't find right now 

⭐creative value: this song isn't innovative in any way, it's just..... there. very meh in general, I have nothing more to say about it 

⭐concept: the storyline kinda wants to go somewhere with the music video but it doesn't manage to make a connection. the styling is plain, simple and not flattering at all. it tries to make a protest of the Korean school system but it doesn't say anything beyond "school bad" which we already knew

2. Not Today (2017)

⭐gp impact: its a very middle of the list song for a lot of the fandom. I literally know of no one that claims this as their favorite mv/era/song. when you ask people about their least favorite bts songs they won't mention this one either, you know why? because it's that irrelevant. it had no music show wins either. it's precisely because of this why I put it so high up on the list. there's nothing worse than an unmemorable song, if it was widely hated then at least that would be a response. 

⭐production: it's a really mediocre song in terms of structure and melody. it tried to be hype but it falls short. the chorus feels half finished and the message of the song is just “the revolution has begun”? which okay? but it adds nothing to the You never walk alone album either.

⭐creative value: there is nothing exciting about this song, and the chorus is too grating. the rhythm is repetitive and nothing new either in kpop or pop in general. 

⭐concept: sadly there's not a lot to be said for the song. it says nothing of value and what it says falls flat. there's no innovation. you can actually see a lot of idol in this song, and also ON. those two songs are what this one tried to be but failed.

1. War of Hormone (2014)

⭐gp impact: thankfully none. this song got the treatment it deserved, if they had won a music show for this one it would feel tainted lol. now it's just a meme in the fandom but overall it made zero noise and contributed nothing to bts' evolution 

⭐production: the production is very lazy, which is odd because dark & wild has some pretty tight tracks. but this one is just meh, nothing outstanding and the melody is just annoying 

⭐creative value: this is a song that was probably born out of the desperation to have a gp friendly hit. it tries really hard to replicate an outdated idea of what boy bands should be, and it does it badly. simply put this song is very mediocre and misogynistic and the fact that it's a running gag in the fandom that "feminism isn't important when war of hormone comes on" isn't funny and it's actually cringe. please stop 

⭐concept: the styling is so ugly :( the mv is very low budget which isn't surprising but they managed to make more with less in past releases. it's just embarrassing and I wish this song didn't exist, there's a reason why they never play it anymore lol. overall a dark mistake in bts' career

[oneweekoneband]

Vacation

There’s a lot of clichés about artists burning out just as they come through with their brightest work, and in some people’s version of this story, that might be the frame for Vacation, BTMI!’s final album before breaking up. Personally, I’ve never bought into those monomyth-esque narratives about bands’ inherent career arcs, and so I’m not inclined to view the album this way. I will say that while I absolutely love it, I don’t think it’s necessarily the band’s best album. It’s also just not accurate to think that this was a point of “burning out” for BTMI!, since Jeff started writing for his solo career almost immediately following the band’s dissolution.

Still, Vacation does hew eerily close to a lot of these rock ‘n’ roll archetypes. It was a momentous album, it was probably the most publicized release the band had seen, it represented a new musical direction that seemed to present itself as the summary of Jeff’s experimentation with genre and songform over the rest of the band’s career, and the band very much did break up after its release (although, as with ASOB, it took a few years for that to become official).

About that publicization: while I’m somewhat sad that I missed out on most of BTMI!’s career (being, you know, too young to go to shows or even think much about punk for the first 5-ish years), I’m still glad I found them when I did, because the build-up to the release of Vacation was a really interesting time to be a fan. In 2010, almost a year before the release, the band began a roll-out of singles to get people excited about the new material, and it worked like a charm on me: the boisterous first single “Everybody That You Love” seemed like a sign of great things to come if its electrifying lead guitars and dizzying vocal hook were any indication. “Hurricane Waves” and “Can’t Complain” showed even more diversity to look forward to when the band released them in 2011 ahead of the album. In addition to that, Jeff launched a whole new label to sell Vacation (and much of the other stuff released through Quote Unquote) through, Really Records. Clearly, he was trying to communicate something about the step forward he wanted Vacation to represent.

And fans like me, despite knowing that “Side Projects Are Never Successful” and that Jeff was never in it for the fame, had reason to believe not only that this might have been the band’s big shot, but that they might actually make it big – or at least to become big enough to continue to exist as a full-time touring band that played music for a living. The Vacation singles were getting media coverage like no other previous BTMI! release had, and they marked a direction for the band’s music that, while retaining the punk integrity and musical ambition of the earlier albums, also proved more melodic, cleanly-produced, and accessible to a broader audience. While previous albums got recognition in the punk scene, Vacation looked like it had “crossover potential.” And when it finally arrived, there were even more positive signs: within half a year of the release, “Can’t Complain” made an appearance in “The Office.”

Of course, for all this to work, the album had to be good, and thankfully it was better than that – despite what might have sounded like my talking it down, it definitely represents a new high for the band. It’s Jeff’s own favourite BTMI! album, and I can see why: its complexity is something to be proud of. He had always been influenced by artists falling outside of the punk spectrum, but here those influences are more pronounced than ever, and the band finally breaks free of its ska-punk chains with a sound wholly its own. Brian Wilson-esque harmony arrangements and multi-part songs abound, and in a similar fashion to To Leave Or Die In Long Island, a couple motifs from individual songs (“Campaign For A Better Next Weekend” and “Sick, Later”) turn up in multiple places on the album for thematic cohesion. If SMiLE was Wilson’s “teenage symphony to God,” Vacation might be Jeff’s “adult symphony to punk rock.”

Many of my favourite songs off Vacation stand completely alone in the BTMI! catalogue, with little stylistic precedent. “Why Oh, Why Oh, Why (Oh Oh Oh Oh)” is a brash, thunderous fusion of Elvis Costello’s melodic sense and Bruce Springsteen’s maximalism, with a wealth of memorable melodies and lyrics that are all Jeff’s own. “Can’t Complain” is that rare song that manage to “rock quietly” – it’s both hushed and urgent in its muted acoustic chords and slide guitar lines, panicking at the pace of everyday life while simultaneously realizing how much there is to be thankful. And of course there’s the glorious, dynamic opener that slowly builds from a nostalgic piano riff accompanied by subtle, emotionally-charged chord changes into an explosive hardcore-punk charge, with vocals ranging from Jeff’s cleanest, quietest-ever singing to his more characteristic shouting to a group chant at the end.

But even when Vacation retreads familiar territory, it still feels like it’s moving forward. “The Shit That You Hate” stands in a long line of 3/4 5-6-minute slow-burn songs appearing on BTMI! albums, but it feels like a perfection of that particular type of song rather than a simple revisiting. Jeff’s weak, warbly falsetto note when he sings “Hold onto your hope” always gets me a little choked up. “Hurricane Waves” might recycle a melody from To Leave Or Die In Long Island during its bridge, but the rest of the song is all new, providing that melody with a fascinating recontextualization to great effect. The aforementioned “Sick, Later” has a zig-zagging riff in an unusual time signature combination that still manages to be incredibly hooky, as well as some of my favourite lyrics on the album:

The first time that I took you to the hospital,

I was tired and you wanted to die,

I drove off, and I couldn't understand at all

Fuck, I didn't even walk you inside,

I thought we all wanna die, we all wanna die,

And I thought that was fine, I thought that was fine.

One of the album’s most instantaneous joys comes from “Vocal Coach,” the shortest true song on the album. Jeff’s vocals were probably the most consistently difficult factor in terms of getting listeners outside of punk to take BTMI! seriously; they’re somewhere in between the traditionally-expected “bad” vocals of classic punk and the cleaner, more melodic style of singing dominant in pop-punk. Either way, they definitely don’t play to mainstream ears (perhaps this is why “Campaign For A Better Next Weekend” starts the way it does, and for that reason, Vacation might be the best place for a listener that’s not well-versed in punk to jump into the band’s discography). On “Vocal Coach,” Jeff takes on this problem with a healthy dose of irony, penning an ode to the imperfections he loves in music, the “dirty covers, dusty grooves and deep scratches.” But with a melody reminiscent of Pinkerton-era Weezer, he also expresses his own frustration with his inability to transcend the ugliness of his own singing: “I get embarrassed when my voice pops out and it’s not like in my head, / If I got a new vocal coach and I could hit the notes, you’d fall in love again.”

I understand that frustration – I’ve sung in more than one band, but before I even started playing in a band, I never thought I could be a singer because I thought I wasn’t good enough. But over time, I slowly realized that the reason I thought that was because I was comparing myself to singers who were already considered to be superhumanly-gifted, and that not every singer needs to be that way; there are thresholds of “good-enough,” and realizing where you fall in that can be a very freeing experience. I learned to sing by imitation Johnny Rotten and Billy Corgan, singers with definitively “bad” voices that nevertheless managed to communicate pretty much exactly what they wanted to in their songs. And Jeff Rosenstock was another big inspiration to me in that respect: he was a “bad” singer who nevertheless sang his songs defiantly, against popular tastes, because who else was going to do it for him? (Not to mention that as a “rock ‘n’ role model,” Jeff seems like a much better guy than Johnny or Billy.) But like Jeff, I know that there are times when singers wish we could do more with our voices than what seems to be within our natural ability, and we start wondering if it’s just a matter of putting in the right amount of work to “perfect” that voice. “Vocal Coach” brilliantly captures the nuances of this feeling in under two and a half minutes in an unforgettably catchy tune.

It couldn’t last, though. Even Jeff seemed to know it, as he sang on “Vocal Coach”: “ I'm aware that I'm kind of getting scared the love that I thought had no bounds is coming to an end.” Vacation proved that BTMI! could be made more accessible and reach a wider audience, but there were limits to that growth. Just what reasons lay behind those limits will always be a bit obscure, but after a while, it became clear that despite being their most successful album to date, Vacation wasn’t going to be a true “commercial breakthrough.” To be fair, I don’t even know if that’s what Jeff wanted. I haven’t been fully clear on why the band broke up, and strangely, Jeff even seemed a little vague on it in this interview, citing one member’s moving to Australia as part of it. It didn’t have much to do with a lack of commercial success (Jeff claims the band wasn’t even on as much of an upswing in popularity as fans had come to believe at the time), and I doubt he would have soldiered on with his solo career the way he did if it had. In fact, I suspect his solo career is probably more well-known by now than BTMI! was even at their peak.

In the end, I’m just happy the band go to do what they wanted to for as long as they did, and that BTMI! brought so much to my life and the lives of other fans like me. I’m also incredibly grateful I got to see them at least once, on their last tour before they broke up in what turned out to be my first real punk show. It was, in some ways, kind of a fluke: I was 16 and the band had planned some tour dates in Canada, including Ottawa, which was truly shocking, considering that almost no one big (outside of the Wu-Tang Clan – look that one up, it’s a strange story) comes to Ottawa. But it was even flukier than that, because it turned out that my parents had planned a road trip to Toronto for our family over the date BTMI! was playing! Of course, I checked the tour dates and sure enough, they were coming to Toronto too, so I got the tickets for that show instead and saw them for the first and last time at the loft above Sneaky Dee’s with my sister. It was an amazing experience, and I can’t think of a better way to have been introduced to live punk. I was caught off-guard by the mosh pit, but it was a friendly one, and I ended up spending most of the show in it. The band played almost every song I could have hoped for (“25”! “I Don’t Love You Anymore”! Every great song on Vacation!) and I ended the night a sweaty, dehydrated mess. As Jeff came down from the stage into the crowd after the show, I gave him a big hug and told him how awesome I thought it was. And while I hadn’t brought a blank t-shirt for the band to spray-paint their name on (a tradition from the early days they were still doing at that time), I bought one of their special “bilingual shirts” that I assume were made specially for the Canadian leg of the tour. I still have it:

[rockandrollfool]

Pyskobilly - The Paron Saint of Nothing - Album Review

From the off let me declare a conflict of interest here. I was sold on this album just by reading the title. It reminds me of a line from ‘how soon is now’ (The Smiths).“I am the son and heir of nothing in particular” (1984). There was that glorious period in our lives when they and Morrissey could do very little wrong. Recent declarations by Mozzer render him obsolete, politically, these days. Though, his influence in terms of song writing reaches far beyond the discourse concerning his dodgy dealings with ‘For Britain’. Whilst The Patron Saint of Nothing may doff its cap in the general direction of The Smiths that is where all further comparison ends.

Psykobilly is the alter ego of one Willian Newton originating from the North East until the age of twenty five, he now resides in Gloucestershire. Not that you can hear any of the geographical locations within the sound or feel of the tracks. The album is more steeped in a variety of influences, both international and UK, therefore whilst there are some real 'heart on the sleeve moments' when considering musical reference points, he and the album are original in both substance and depth.

The album artwork, feel s slightly claustrophobic and the imagery leads one to believe that highways and travel will be central themes within the piece. A black and white picture of a road dragging the eye into a disappearing point is always going to score big. Throw in what looks like a massive storm cloud in the background and you get the sense of foreboding. The song titles compliment the mood, so imagine the shock and surprise of (Kerouac Said) Everything’s Fine (track one). It sounds like a combination of Roy Woods Wizzard, Danny Wilson, the former pop combo from Dundee that scored a massive hit with ‘Mary’s Prayer’ and Sheffield troubadour, Richard Hawley. The whole album had me listening for differing musical pointers and influences, and they are there. I found myself leaning into the speaker trying fathom who certain melodies and hooks remind me of? That is the sign of something special I think? Ultimately though you arrive at the conclusion that this, well this is none other than Psykobilly.

The song feels huge in terms of production. It has everything thrown at it, and yes that would include the kitchen sink, but what a glorious opener. Think ‘angel fingers’ by Wizzard with Lou Reed at the helm and you get the picture. It is massive and you will find yourself singing along. It is impossible not to. ‘Kerouac’ is both infectious and has magnetism by the bucket load. It has a tangible pop edge to it and when Shirley Manson of the band Garbage said “I love pop music, who doesn’t?” she could have been directly referencing ‘Kerouac’.

Newton claims on his Instagram page to be songwriter, guitarist and ‘reluctant vocalist’. This then plays out on the track ‘Imposter Syndrome’. There is something rather beautiful in the swooning melodies and backing vocal provided by Izzy Sorrell and ‘our Bill’. However the lead vocal feels restrained, like something is being held back. Honestly you want the vocal to lift and soar particularly given the theme of the track. This is not a criticism merely that more would have really upped the dynamic and extended the vocal delivery to make it more urgent and needy. I love urgent and needy by the way.

On ‘Ballad Of An Exile’ there are sonic references to Wizzard again and the track feels like something that Bradfordian Brit Popsters Ultrasound could have written and produced. It is utterly gorgeous. The themes of lovely and gorgeous absolutely play out on all the remaining songs to differing degrees and for very different reasons. The string section on ‘Sacred Veil’ is beautiful and sublime. You could lose yourself in the majesty of the soundscape. I definitely did.

Considering this is the second album from William it stands well, capturing a moment in the chronology of Psyksobilly and its development. It is so much more than that though as tracks like ‘Burying the dead’ and ‘Thrill U Kill U’ testify.

‘Thrill’ is an absolute departure from the other songs and it is magnificent. We revist the restrained nature of the vocal delivery as it feels like it is missing a ‘big shouty’ verse and the chorus equally needs a lift as I found myself hollering at the top of my voice in a sing along style.

That said I quite unexpectedly was spinning and pirouetting in my tiny space and whilst Astaire might offer “it takes time to get a dance right, to create something memorable” what Bill has created is something in terms of melody and hook that has an ear worm quality to it and that you won’t forget. For the record I don’t really dance to songs. I had imbibed no illegal/legal substances to get me up from the chair. I simply couldn’t sit there listening as my feet were tapping and legs followed fairly quickly. I say dance, of course I mean a random series of movements that defy explanation. The experimentation with sound on this song really surprises the listener and it feels like a complete move in an opposite direction from the other songs on the album, sort of Kraftwerk meets Marc Bolan.

The album closer ‘You’re Not Coming Back From This’ evidences that Bill has no imposter syndrome. The vocals soar and drive in ways that suggest underneath the baritone delivery on the other songs there is a screaming rock God in attendance, he just needs unleashing. The song is the perfect ending and when Bill sings on the middle eight of the track ‘you’ve lost control so let it go, you’re in a hole so just stop digging, who you kidding LET IT GO” the sustain is so emotive and powerful, the note perfect, I collapsed exhausted from the emotional connection I felt and cried. You’ll find other tunes and songs here but you won’t find better. It is the stand out track on an album of stand outs.

So if you want something a little different then this might be the album for you. It has all the qualities and charisma that great pop music should have whilst at the same time not being formulaic or trite. It feels sincere and driven by a real desire to offer a very personal view into a world of the ‘other’ or ‘outsider.

Here is the other stuff you need to know, I think. The album was released on February 8th 2021 and was recorded at Caretaker Studios. The arrangements, production and knob twiddling are handled and crafted by the rather talented and clever Phil Sorrell. His ear for sound really compliments Psykobilly. Some folk subscribe to the idea that ‘less is more’ in terms of production. The overall lesson here is more can be rather lovely and beautiful in the right hands. This is a glorious testimony to finding the right person/people to work with and Psykobilly has found the right people to generate ideas, tunes and melodies to fill stadiums. I have every part of my anatomy crossed and hope the albums finds space and places to be heard as it has the potential to be massive. Buy this album you won’t regret it.

See the following links

https://en-gb.facebook.com/bill.newton.735?fref=nf

https://soundcloud.com/user-145952109

The Rock And Roll Fool - April 2021

[brightbeautifulthings]

Little Creeping Things by Chelsea Ichaso

"And it's easy to get along with yourself at first, having so much in common and everything--that is, until the dark things nestled deep within emerge, and you find that you might not like yourself as much as you thought."

Year Read: 2020

Rating: 3/5

About: I received a free e-ARC through NetGalley from the publishers at Sourcebooks Fire. When she was a child, Cassidy Pratt set a fire that accidentally killed a neighbor girl. Although her memories of that day have never resurfaced, she's pretty sure she didn't mean to do it, but the bullies in her high school, led by Melody Davenport, will never let her live it down. When Melody goes missing, Cassidy is in a panic. Not only does she have a motive to want to kill Melody, she may have inadvertently helped plan her murder. Trigger warnings: death/child death (off-page), fires, injury, bullying, scars, guilt.

Thoughts: This is a perfectly fine YA mystery/thriller, although it does little to distinguish itself from others of its kind. It's reasonably paced, with most of the thrills coming at the beginning and the end with few in the middle while Cassidy agonizes over what to do. More than any murdery/thrillery disappearances or threats, the novel is an interesting look at living with the guilt of something that happened when Cassidy was a kid and the bullies who won't allow her to let it go. The premise reminds me of an older YA book, Right Behind You by Gail Giles. I remember liking it quite a bit back then, but I don't know how well it's aged. The current disappearance is more lackluster, and it mainly involves Cassidy accusing everyone under the sun of having murdered Melody. I guessed the killer but not the truth about the fire when Cassidy was a kid, so the book had a couple surprises for me.

The characters aren't bad. Cassidy feels like a realistic teenager, who knows she should do the right thing but struggles with it alongside her history. I got a little weary of her bff/romance relationship with Gideon, who's a pretty standard knight in shining armor, but I'm rarely one for romance. One of the problems I have with the characters as a whole is that all the men have a bit of hero complex, which constantly forces Cassidy into damsel in distress role. She has a protective brother, a protective best friend, and at least one random guy promising to fix things for her. The female relationships aren't much better, since the only female friend Cassidy has she's also sort of using to get information on the investigation. None of them are deal-breakers in terms of enjoying the novel, but it's not all that memorable either.

[sarasanddollar]

SARA'S VAGUE SENSE OF HOW CARTOONS PROGRESSED:

as requested by @chintastic and @whatdoesthefauxsay, and specifically requested by @lunagalemaster to be posted to Tumblr!

uhhhhhhhhhhhhhhh early 1900's animation becomes a thing in the West? Merrie Melodies, early Looney Tunes, that kind of thing. Black and white stuff, view in theater only, it's not "adult" but it's really for adults going to the theater and sort of "look at our technical skill!" sort of show (and as a form of escapism from the war, then the Depression, then the war again)

skip on down, Snow White happens, Disney is a phenomenon, we're not really looking at cartoons in the film circuit here tho so I won't be talking abt like Disney movies and Pixar et al. because that's a whole other animal

television gets invented !

"adult cartoons" that are like funny/sexy happen, stuff like Betty Boop, we're still figuring out what animation is for but plot starts to show up esp with the now popular Mickey/Bugs Bunny stuff

It's the mid 1900's, we're out of the war, I don't know what happens in this period, I know the Hays Law becomes a thing so censorship happens pretty fast, and Saturday morning cartoons directed solely for kids are officially a thing, so Inspector Gadget, Scooby-Doo, the Flintstones + the Jetsons, Alvin and the Chipmunks, Tom & Jerry, more Looney Tunes and Mickey Mouse cartoons. A lot of these toe that line between "cartoons for kids" and "cartoons for adults" by including little things that make it fun for parents too

It's the eighties!!! The Industry has figured out that they can make cartoons that [gasp] Sell Merchandise!!! to kids. So toy cartoons come out, that's all stuff like TMNT, My Little Pony, Transformers, X-Men, He-Man/She-Ra, Voltron, Rainbow Brite, Care Bears, and Strawberry Shortcake. The quality of storytelling goes DOWN down down down down and everything is just factory-churned out with the purpose of Selling Toys (tho we still hold a lot of these things pretty near and dear)

The nineties happen. Nickelodeon figures out that cartoons are good and kids like them! And starts airing those instead of live action and puppet shows. They realize, hey, what if... We had cartoons. ALL DAY. Instead of just on Saturdays, for an hour in the morning. They instate an all-day all-cartoon channel that is ONLY their original content (they borrowed stuff like Tom & Jerry up until then), and they follow a brand guideline to make sure it's... The kind of stuff kids like. It's funny, it's interesting, it's creator-driven, and it's not just to sell toys or just churned out to fill a time slot. Quality picks up! This is why 90s cartoons are still a classic today. But also TLDR Nickelodeon killed the Saturday morning timeslot

Cartoon Network follows suit. We get good stuff well into the early 2000s, and then Disney decides to throw in as well - they'd already had shows in the 80s based on their existing brand properties (Little Mermaid, Hercules, Aladdin, and ofc Micky Mouse, Chip+Dale, and DuckTales!) but we start getting original channel-only stuff like, well, American Dragon. More on that later.

The Simpsons. We start to get adults for cartoon that also have heart and morals, instead of just. Sex jokes (Simpsons has quite a few of those too though!). The Simpsons is a cultural icon and influences pretty much every kids cartoon you can imagine, from SpongeBob to Fairly OddParents.

Anime. Anime was beginning to become VERY popular in the States sometime in the seventies (backtracking a bit here) and popular stuff like, AstroBoy, Akira, Speed Racer, started getting ported to kids channels later on (with really bad dubs.) That got a greater and greater influence ESPECIALLY among adult weebs that weren't really as huge a group as they are now demanding Better Quality English-accessible stuff (there's a whole thing on the history of this that I don't have enough internet time to get into) and that started to happen, esp when Ghibli became a huge success, people started going crazy for it, and Disney was like hey ! a market ! and made Good Dubs with A-list guest star voice actors that started the anime revolution overseas

Speeding back up, we start getting things with overarching plots. Avatar happens. Avatar ... Is revolutionary, and that starts making people realize that hey :pikagasp: we can have things that are Complete. Instead of you know axing them halfway or keeping them static status quo for every episode. This is due to the influence of anime on the industry! Remember we're well into the early 2000s and anime is now more mainstream than ever. Naruto, FMA, Black Butler, OHSHC, Death Note, all that good stuff is happening at this point in time.

Avatar doesn't do anything though. It's just, different. Different enough that people remember. (And enough that everyone who worked on it worked on the aforementioned American Dragon - a lot of the same writers and actors, giving it a pretty good internal plot of its own!)

Stuff like Totally Spies happens! That's also anime influenced. Later we'll get stuff like the new Voltron, the new She-Ra, the return of Avatar with Korra, slowly but surely everyone is deciding that Japan is the good trend. Even Winx Club or Angel's Friends over in Italy gets the anime influence! Everyone knows what's up.

It's the early 2010 and cartoon quality goes... Down for a bit, around these points, we get stuff like Fanboy and Chum Chum, Fish Hooks, just, the so random xD rawr humor is what kids are into and the industry doesn't know what to do except gross out humor and barfing rainbows and it's just... Not memorable.

Except Adventure Time nails it and it's a PHENOMENON. I don't know what happened there but something about the childlike wonder and good humor being connected to the (you guessed it!) overarching plot causes a sensation like never before.

Gravity Falls.

Steven Universe.

Star vs. the Forces of Evil.

In Canada, Detentionaire.

A Scooby-Doo reboot during this time called Mystery Incorporated.

Suddenly this is the trend. Starting with ATLA but leading to AT, big scary mystery, big scary villain, episodes that CAN be viewed stand-alone but also super connect? THIS is the industry trend now and we are LOVING it. We love a story that... Progresses. Characters that grow and change. 80s kids are now older and want cartoons that are good, not just. Toys selling machines.

Streaming services killed the television star. It's a LOT easier to do the overarching plot thing now that you can sit and binge something in one sitting instead of waiting once a week/month to see one ep of a thing you already forgot what happened in last time.

My Little Pony!! Gets rebooted. It's 2013 and for SOME reason this has a huge following? A huge following of adult men, where it's a show for little girls. The brony movement was so huge it's often compared to how Star Trek became a big hit among female viewers way back when. This doesn't influence other shows in storytelling terms but it does change marketing - now your only audience might not be what you think it is. Everyone tries to follow suit by selling their shows to "adult fans," it doesn't always work but boy howdy! And well, MLP follows the trend of overarching plot too, best as it can.

It's the late 2010s and we're in the nostalgia age. Now 90s kids are older and they run the market - we're not trying to make new stuff or support new creators, we're trying to salvage what was and make money off what people loved before. Reboot after reboot after reboot, Disney with its big movies and Nickelodeon doing (a great job, admittedly!) with their Rocko, Zim, and Arnold movies. It's working out fine, but it's a pretty big indicator that there are no new ideas - or rather, new ideas are being snuffed out in favor of bad PowerPuff Girls reboots (Cartoon Network not doing so hot, SU is what saved it!)

this is probably not well written I kept backtracking and adding other stuff pff I hope it's coherent ;; ENJOY

[interesting-blog-name]

“Indie Rock” MEGAREVIEW (Hippo Campus - Bashful Creatures/Bad Suns - Language & Perspective/COIN - How Will You Know If You Never Try)

“Indie rock” is a term I never understood. It obviously should be used to describe rock by independent bands, but what counts as independent anymore? Bands like Arcade Fire and Modest Mouse are categorized as “indie”, much like Mac DeMarco, and they have reached a point in their careers of worldwide fame, but they’re still considered “indie”, not because they record their music at home with a $15 mic, but because of their sound. It’s hard to describe, but it’s a light brand of rock that has undistorted guitars, pop structures, and something of a Summer vibe to them. I really don’t know how to technically describe indie rock as a genre, but I have yet to listen to an indie rock album, so I got three short albums from bands that my some of my friends listen to, all under the “indie” umbrella (according to Wikipedia), to see if I actually like the style.

 Hippo Campus – Bashful Creatures

It’s a solid EP. Not much more to say.

I really don’t know what to comment on in this, because I feel like the biggest problem with the “indie” “genre” is that the bands all sound the same, and for a 6-track EP, how much variety can you really ask for? Also considering this is their debut EP. The instrumentation is fine, especially the guitars, which I think really embody the whole summertime feel of the genre, and standout in almost all tracks here, and the singer’s voice is memorable enough, and doesn’t leave anything to be desired at any point. He’s also super hot The songwriting is that youthful, lovey dovey shit you’d hear in a teen romance movie (“Art school girl with ignorant bliss. Peace, weed, cocaine, and mushrooms and shit”) but it’s tolerable (except in Souls, that song’s chorus is a little too generic for me, I think; even though I like how the song starts kind of toned down and suddenly blows up). The closest the EP gets to having even the slightest bit of edge is on the title track, an anthem about not caring about what others think and being yourself, and Suicide Saturday, the biggest song in here, which talks about social suicide and college parties and all that. Unfortunately, they’re also the most forgettable songs.

Sophie So has a really catchy hook, and showcases Jake’s higher pitched vocals very well, it is easily my favorite song. On Little Grace, the biggest change-up is the dub rhythm that sneaks up in the middle of the song, but it doesn’t stand out, and the chorus is the most annoying in the EP. Opportunistic has a fast cadence to it that sets it apart a little bit, plus the guitar fingering is notable, but the track isn’t anything superb or whatever.

It is executed well, doesn’t bring anything new, but I’d listen to it in the car.

 FAVORITE TRACK: Sophie So

LEAST FAVORITE TRACK: Bashful Creatures

 Like a 6/10

“You came back, you wanted to see through my two-colored eyes. You left me at home with a handful of downtrodden sighs.”

 Bad Suns – Language & Perspective

I had known Cardiac Arrest for almost three years now, an upbeat song I’d enjoyed a little, so I chose Bad Suns for the second album, and I was disappointed.

After the first three tracks, I had the feeling Language & Perspective had nothing interesting to offer, and I was mostly right. Nearly all songs here could be described as something like “indie-pop”, but with a huge emphasis on the “pop” aspect. The tracks are all so goddamn formulaic and predictable, songs like Take My Love and Run, Learn to Trust and We Move Like the Ocean sound like they literally copy-paste themselves halfway into them until they end, and Sleep Paralysis swaps what could be an actual verse with like 20 seconds of onomatopoeia. The song topics are generic and bland as well, most of them being about “[coming] to you on my hands and knees” and dreaming about an ex late at night and stuff like that, or general teenage anxiety and overthinking, and that would be tolerable if the band at least said it with some kind of variation, but they don’t, it’s just surface-level love and regret songs back to back.

An exception to the bland songwriting in the album is the song Salt, where lead singer Christo sings from the perspective of his transgender friend. I’m not trans, so I can’t relate nor understand if the lyrics are accurate, but the thing is he isn’t either. From the Genius annotations, it seems the friend was pleased though, and said the feelings expressed in the song were things she actually felt, but was never able to describe, so I guess that’s cool of him to dedicate a whole song to her experience. Still, unfortunately the track isn’t such a standout instrumentally or vocally, but one thing I liked was how the hook finishes at the end of the song, when “these memories are nothing to me, just salt” becomes “salt to the wound”, so yeah that was cool.

Language & Perspective is at its best when the hooks are catchy and you just don’t give a fuck. Songs like Cardiac Arrest, We Move Like the Ocean and Pretend are super easy to sing along to, and sound perfect for when you’re in a car driving against the sun (I know I said the exact same thing for the last album leave me alone), especially because of Bowman’s impressive singing, but without that thin veil of sugary pop, what does this album have that stands out? Matthew James, Take My Love and Run, Transpose (which sounds like it could be on a really corny Nike commercial) and Learn to Love just aren’t as memorable and fun, and so they end up coming off as generic, bland and at times annoying, just because they don’t hold up to the melodic fun little hooks on the other songs.

I can’t hate on Dancing on Quicksand and Rearview however, as even though the first’s lyrics aren’t standouts, I can’t help but love how groovy the song is, and the latter, while the melodies aren’t the most memorable here, the lyrics, to me, sound like they have a little more life and personality to them, even if they remain somewhat vague. I have to admit Sleep Paralysis is a mixed highlight for me, despite the lyrics being especially repetitive, just because of how grand the ending sounds and how the eerier chord progression brings at least something new to the album.

Also, really quick before I wrap it up, why the fuck is 20 Years not in the album? It’s in an EP they released the same year which features Cardiac Arrest, Transpose and Salt and it would easily be my favorite track if it was in the tracklist, maybe because it’s just really relatable to me how your teen years pass without you noticing, but it’s also so mellow and would bring such a refreshing little moment in the record.

My difficulties with this album is that I do like and see myself in the future bumping a lot of these songs individually, if I shut down a few parts of my brain and disregard half the lyrics, but when they’re all crumbled together into a project, their single qualities fade and their flaws unite to form a pretty unsatisfying listen; nearly all songs feel static, formulaic, and don’t progress or amount to much – which is pretty noticeable if you realize all songs span from 3:03 to 3:53 minutes - and the instrumentation brings almost nothing to the overall experience, it’s pretty much a backdrop for Bowman to sing his heart over, without much personality of its own. So while it’s not awful, it’s not good either.

 FAVORITE TRACKS: Dancing on Quicksand, Rearview

LEAST FAVORITE TRACKS: Learn to Trust, Take My Love and Run

 4.7/10

“You let your hair down, your face is made up, you know this town so well”

 COIN ��� How Will You Know If You Never Try

COIN is the least familiar band of the three here, as I’ve only heard Growing Pains from them and I don’t remember anything from the track, but as a quick intro, the band is from Nashville, Tennessee and consisted of 4 members: Chase Lawrence on vocals and synthesizer, Ryan Winnen on drums, Joe Memmel on guitar and backing vocals, and Zach Dyke on bass until he left two years ago.

After listening to the first three tracks of the album, my expectations were pretty high, but after finishing, I feel like this album is reminiscent of a poorly-heated microwave meal: the first three tracks are decreasingly good, the middle of the album is raw, and the last three go back to being increasingly good, with the only exception being the bright spot that is track 7, Heart Eyes, a romantic, entrancing little jam that I can’t help but love.

My big grip with HWYKIYNT is that, for 11 tracks, COIN doesn’t let go of the ear-destroying instrumental breakdowns (it’s not like it’s heavy metal or anything, but the mixing makes it sound like the guitars blow up at some points), tuned up guitars and formulaic song structures, and that leads to many tracks becoming rather forgettable amongst the others. There are, of course, exceptions, but they’re few and I’d say not well-located within the album: Don’t Cry, 2020 is the big standout in the album for me, and I fell in love with it first listen (the context of today being 2020 also helps, I guess), Boyfriend’s defining synth-line and bubblegum qualities make for a lot of enjoyment, especially paired with the light-hearted passive-aggressiveness and rejection on the lyrics, and Talk Too Much, their biggest song, has some cute little lyrics, and an ultra-pop hook that centers the whole song around it and is impossible not so sing along to; but immediately after, the album starts to slow down its hype with I Don’t Wanna Dance, which has an appealing vocal performance by Chase, and starts promisingly with the synths, but is too simple to go anywhere.

Hannah is probably the most forgettable song here, and brings absolutely nothing to the album, and Are We Alone?’s lyrics are cute and focused but really simplistic; in this song specifically, I think the breakdown the band employs right after the hook is really unnecessary, and the song would do better without it. After that is Heart Eyes, which I’ve mentioned before as one of my favorites, mostly because it tones it down a bit, something that really needed to happen at some point this deep into the record.

The song Lately II contains the hidden track Nothing Matters and deals with Chase losing his newborn nephew, a sequel to Lately off the band’s debut album. On the outside, it sounds like just another cheerful song, but the lyrics taken into context I’m sure are very meaningful to Chase and his family; besides that I enjoy the heavier drums in this track and the loose vocal melodies right after the chorus, plus the closing instrumentals are also a nice addition, but I don’t really understand the need to include a hidden track into it; I understand the themes are intertwined, but it could have very well been a separate track, and the way it is slightly harms the song when isolated from the album into, for example, a playlist or a one-time listen, but whatever.

I don’t have much to say about Feeling, it’s your average hype indie-rock track, something you’d maybe hear in a FIFA video game soundtrack, but to its credit, it doesn’t go overboard in itself, the vocals and guitar performances feel very grounded and safe, in a good way. And to finish this off, Miranda Beach brings some solid guitars to the table, they feel very textured and pierce through every other sound; the song is definitely one of the most infectious and ear-catching on here. Closing it all up, Malibu 1992 is the slow jam the album was in need of for 11 tracks. Very stripped back and patient compared to the rest of the song, which makes it stand out naturally, but that doesn’t mean the song is superb or anything, it’s just a refreshing taste.

Throughout a lot of the tracks here I was waiting for something more, a slightly different approach to a song, more introspective lyrics, but it never really came in a way that stood out, and because of that, the start of the album ends up more solid than the rest of it, in my opinion. It isn’t a bad album, but it isn’t amazing either. I feel it’s very derivative, the lyrics are not a standout, and while some songs may be bops, I don’t feel it is strong as a whole project.

 FAVORITE TRACKS: Don’t Cry, 2020; Miranda Beach; Talk Too Much; Heart Eyes

LEAST FAVORITE TRACK: Hannah

 I’m feeling a strong 5 to a light 6 on this one. 

“You’re so concerned about your future, yeah, but tomorrow’s just another day.”