#like look at how she structured midnights you have the standard album and then the 3 am tracks

[kingofmyborrowedheart]

I don’t really get the argument that Taylor should’ve edited/cut stuff from THE TORTURED POETS DEPARTMENT. The standard album tells a particular story and THE ANTHOLOGY is a deeper dive of those specific events that were first introduced on the standard tracks.

[ts1989fanatic]

Taylor Swift’s Best New Songs Aren’t Technically on Midnights

She hid her rawest, messiest feelings in her bonus tracks.

In the final track of Midnights, Taylor Swift confesses to being a “mastermind” who plans so carefully that she can’t possibly lose. The song is addressed to her lover, but she might as well be singing about the meticulous rollout of her new album. Over the course of nearly two months, she posted cryptic videos teasing the music without allowing anyone to hear a single note. She put together a “manifest” that looked like something out of the metaverse. She sold multiple versions of the vinyl, encouraging fans to collect them all to form a clock. And she didn’t release a single until the night the album dropped.

The strategy worked: When Midnights arrived, cresting on hype, listeners absorbed the album in full, spreading out the streams among its 13 tracks. As a result, Swift’s 10th studio effort topped Billboard’s Hot 100 chart this week, with songs from the album occupying all of the top 10 slots—making Swift the first artist to do so in history.

And yet, her most effective scheme may be the surprise she saved for her most ardent fans. A few hours after the standard version of Midnights hit airwaves, she released seven bonus songs she called the “3am tracks” as a surprise, writing in an Instagram post, “Lately I’ve been loving the feeling of sharing more of our creative process with you.” Written during the making of Midnights, the additional tunes are less polished than her singles. None of them appears to have been sent to critics in advance, which meant they were largely ignored in initial reviews. None of them is available to purchase physically. None of them made it onto Billboard’s top 10. But despite their relative invisibility and muted debut, they’re the best songs from her Midnights era thus far.

Catchy and cathartic, soulful and snarky, the 3am edition of Midnights may as well be a separate album. Thematically, the lyrics fit the LP’s concept of what keeps Swift up at night, but the songs are structurally more complex than the initial batch of tracks. Unlike those first 13 songs, for which she enlisted the producer Jack Antonoff, three of the bonus songs feature the stylings of Aaron Dessner, Swift’s main collaborator on Folklore and Evermore. The result is a collection that feels more experimental, as if Swift was deliberately noodling with rawer ideas. Swift cuts loose on these extra songs, pushing metaphors a step further than necessary, letting her voice go ragged, and spinning less-than-radio-friendly melodies.

Consider “Would’ve, Could’ve, Should’ve,” the finest and most stirring track from the 3am selection. In it, Swift sings of regret—over how an ex treated her, and over her own naivete, at 19, in embarking on the relationship. The longest song on the extended album, its flood of vivid lyrics and its propulsive melody bring to mind her previous scorcher “All Too Well.” Using religious imagery, Swift dwells on her loss of innocence, collapsing the time between her youth and her adulthood as she exhumes a truth she has long kept buried: “I can’t let this go,” she concedes. “I regret you all the time.” Swift’s voice, too, sounds uncontrolled and unprocessed as the song builds to a desperate climax, her breath catching as she wails, “Living for the thrill of hitting you where it hurts / Give me back my girlhood. It was mine first.”

That line, like many in Swift’s career, has drawn speculation about her personal life. Yet her best songs linger in a listener’s mind not for the celebrity-gossip fodder they provide, but for the way they seem barely able to contain her emotions. “Would’ve, Could’ve, Should’ve” may be about a specific relationship, but the anguish in her voice cuts deep no matter the context, and the song’s brilliant tension comes from the way she seems to want to go on and on—and on. I wouldn’t be surprised if, tucked away somewhere in a drawer, there rest half a dozen more verses. Maybe in 10 years there’ll be a 10-minute version she’s ready to produce.

ts1989fanatic if is even slightly possible @taylorswift don’t make us wait 10 years for it

That irrepressible quality, along with an unvarnished richness and fearlessness, can be found across the 3am songs. On the elegiac “Bigger Than the Whole Sky,” another track that has found resonant, personal meaning for some listeners, Swift repeatedly sings the word goodbye in a breathy upper register, like she’s drifting away. On the sexy, strange, and showy “Glitch,” Swift’s voice jumps an octave after the bridge, as if she’s malfunctioning from her lust. The poppy “Paris” tickles the ear; it sounds like a deep cut off 1989, all bouncy pleasures and bubblegum cheer, until the lyrics betray a darker tinge to Swift’s thoughts. “I’m so in love that I might stop breathing,” she sings. Later in the song, she goes further: “I wanna brainwash you,” she cries, “into loving me forever.”

Midnights, the standard edition, is not lacking in interiority. “I really don’t think I’ve delved this far into my insecurities in this detail before,” Swift said about “Anti-Hero,” her lead single. And she’s not wrong: Her songs on the LP explore deeply personal territory, expressing her self-loathing and inner conflicts in punchy, poignant lyrics. But even so, the self-awareness of those tracks comes with a cheeky self-consciousness—it’s her, hi; she’s the problem, it’s her!—that the 3am songs avoid. In “Dear Reader,” the final track of the extended edition of Midnights, Swift addresses her fans directly—and tells them to stop looking to her as a “guiding light.” The immense scrutiny she feels is a subject she’s covered since 2014, when she satirized her notoriety as a serial dater in “Blank Space”; later, she devoted much of her 2017 album, Reputation, to unpacking her overwhelming fame via snarling, defensive earworms. In “Dear Reader,” though, she puts her distress plainly over a melancholic melody: “Darling, darling, please,” she sings. “You wouldn’t take my word for it if you knew who was talking / If you knew where I was walking.”

These extra cuts are, in other words, disarmingly candid; they’re the ones in which she allows herself to be truly messy. In the long lead-up to Midnights’ release, Swift explained that her songs belong in three categories, based on the implement she imagines she’s using as she writes: “Quill Pen” songs use old-fashioned wording, “Fountain Pen” songs offer detailed modern poetry, and “Glitter Gel Pen” songs are playful, even saucy. In the 3am songs, it doesn’t matter what tool she has in her hand. The ink spills all over, bleeding everywhere.

ts1989fanatic don’t get me wrong I love midnights and the work Taylor and Jack do together is (despite all the complaints) spectacular.

But there is also something really special when Taylor and Aaron work together, I agree with the writer that the work they do on the 3 AM tracks are more experimental not as pop and polished as the work with Jack but the rawness in these collaborations really works for me.

[carmenlire]

Higher than the Big Trees Ch. 39

read chapter one

read on ao3

“So, you’ll be here tomorrow morning?” Alec’s voice is distracted as he accepts the glass of water from the stewardess with a nod.

“I land at 10:15 and by the time I find the driver and make it to Rosewood, it should be around 11:30. Does that work?”

Taking a quick sip, Alec relaxes back in his chair. “Sounds great, Underhill. I have the BBC Live Lounge in the morning but I should be back to the hotel a little after noon once I finish the interviews that Lydia’s scheduled. Think you can be ready by two?”

Underhill’s voice is dry as he responds, “I’m ready now, Alec. He won’t know what hit him by the time we’re done.”

Alec’s tone is grim as he all he offers is, “Good.”

Hanging up, Alec thinks through his itinerary as he’s thirty thousand feet in the air. While he wasn’t quite obnoxious enough to own his own jet, he had the habit of chartering for transatlantic flights-- it was one of very few true splurges he indulged in and while Alec still regularly flew commercial in The States, everything was just so much more convenient when he flew private.

The stewardess is attentive but she’s worked for him before and knows that Alec doesn’t expect hovering care-- she’s in the cockpit talking with the pilots and he’s left to his own devices.

The next six hours are full of opportunities, he thinks wryly. He could write a little, surf the web for a bit, or sleep. All sound like excellent wastes of his time but instead, Alec reaches for his phone.

He has a few demos to play through and as Alec put his earphones in, he selects the first one. He always listens through recordings at least a dozen times before releasing it to the label. Feel Something, the title track of the album, is just what he wants and the meeting yesterday at Institute Records had gone amazingly well, considering the last time he’d seen Jia he’d been experiencing the worst writer’s block of his career.

They’d agreed to a midnight release next week and as Alec does the math, he figures that he’ll be back in New York by then. They’ll be recording the music video for the single soon and while it’s not common to release two singles so close together, Alec finds that he’s excited for this next album and the new phase it will usher in.

Truthfully, he’s excited for Magnus’s reaction.

The past few days-- months-- run through Alec’s head and he finds himself smiling, stupidly and sappily. It’s been a good summer and while he still has a private reservation or two, he’s looking forward to the rest of the year and whatever it may bring. His birthday is next month and Alec remembers talking with Magnus about traveling-- he wonders if he could persuade Magnus to join him on a trip soon or if he’s moving too fast, after all.

Alec knows from personal experience that Italy’s beautiful in the fall. He bets it would be even better with Magnus at his side.

He puts his wandering thoughts on the back burner and focuses on the music. This was the latest incarnation of Feel Something and as Alec listens to the whole thing through-- several times-- he knows that he’s got it. He’d recorded this a few hours ago, spending the last of his day in New York at the studio, fixing the few critiques he and Meliorn had agreed would take the single to the next level.

It’s a little after ten now and Alec will land in London at eight in the morning and go directly to the BBC’s headquarters. He’ll perform a few songs-- including a cover and an original-- and then have an interview later on in the morning.

His afternoon is free, though, at his insistence. While London was almost a second home at this point-- what with all the business he’s done here over the years-- there was a more practical reason that Alec had been willing to spend a few days here that had nothing to do with his career.

Hence, Underhill.

But that’s all for tomorrow and Alec needs to catch what sleep he can if he has any hope of being useful tomorrow. He catches up on his email for a few more minutes, making sure that everything is up to date, and then he’s heading to the bedroom in the back of the plane and crashing.

To his surprise, he falls asleep almost immediately. It’s been quite the day on both his personal and professional fronts and Alec is exhausted but it’s the good kind of tired-- it reminds him of being on tour and he misses that energy more than he’d even anticipated.

He can’t remember the last time he was in New York for three months straight and while it’s been great, it’s also been an adjustment. Alec was used to moving, being constantly on the go.

His last thought before sleep claims him is that he hopes Magnus can deal with a grueling tour schedule but even in his sleepy haze, Alec figures that they’ll be just fine.

Alec sleeps most of the flight, catching four or so hours before the stewardess is waking him up and informing him that they’ll be descending shortly. Alec makes quick work of changing out of the sweats he’d boarded the plane in and into his outfit for the day. It’s nothing dramatic but it does make a statement.

It’s been awhile since Alec’s had to don this particular type of armor but it’s effortless and gratifying in being so.

Olive green chinos rolled up to expose his ankles paired with a white short sleeved shirt with navy pop dots. It’s elegant yet casual enough for a radio appearance and when paired with a Ferragamo belt and shoes, his look is coolly composed.

Alec’s played this game since before he was old enough to understand its rules. It wouldn’t do to appear too casual or half-assed. That would mean he’s suffering a terrible break-up and generally in despair. Looking too put together though-- say a suit or structured blazer-- that means he’s trying too hard to look unaffected, that he’s hiding his inner turmoil or whatever the shit, and takes him right back to square one.

This look is nothing out of the ordinary for Alec, even if he’s dressed it up a little more than he usually would. That’s the image Alec needs to portray as soon as the vultures get sight of him-- wholly unaffected, as confident as ever, not a care in the world. Because Alec can’t forget that even if he doesn’t give a shit about what they have to say-- he’s also responsible for the media’s opinion of Magnus, no matter how obliquely.

How Alec plays this week will be the difference between the media circling above them, smelling blood in the water, or deciding that there’s nothing overly interesting in Alec’s relationship with a man who so happens so have a little skeleton in his closet.

Landing goes smoothly even as his thoughts are preoccupied and Alec grabs his bag from the seat next to him as the attendants open the door.

He’d landed at a small, private airport north of the city-- Heathrow would have been a nightmare to get through-- and a town car is waiting for him as he steps onto the tarmac. Alec sees the half dozen reporters standing a football field away, just that side of the private property line and smiles a little, just to himself.

He knows that smile will be splashed on the internet in a few minutes and he hopes the photographers choke on their payday.

The truth is, Alec doesn’t care. It’s just another day to him. He’s weathered far worse storms than a boyfriend whose dad was a raging asshole-- and he’s done it, more often than not, alone. With his siblings in New York more often than not and Alec across the globe, he’s dealt with paps who would rather tear him apart alive than give up their inside scoop. Having Magnus to fall back on, knowing that he’s doing this for them, is all the strength Alec needs to ignore the media when otherwise he might’ve been filled with impotent rage and bitter resentment.

Alec refuses to give reporters the satisfaction of ruining what he’s found and for the first time, maybe ever, Alec feels confident. He may know how to play the game, but he still catches himself caught up sometimes over just how little privacy he has, how little regard the rest of the world has for him.

The driver takes his bag and Alec ducks into the back seat. It’s a smooth ride into the City and Alec spends that time on his phone. It’s unforgivably early in New York but Alec sends Magnus a text wishing him a good morning and letting him know that he's landed safely before switching over to his email and seeing the updated itinerary Lydia had sent over in the dead of night.

Shaking his head at the hours she keeps, Alec sees that everything looks in order for the next week and refreshes his memory for what to expect today. He spends the rest of the commute online, getting caught up on the latest news about him and Magnus and their scandalous relationship.

When the car pulls up to the building, Alec can see the crowd of photographers through the blacked out windows of the town car. Luckily, it’s a sunny morning and Alec doesn’t feel like too much of a douche as he slides his aviators on and smooths down his shirt. He doesn’t wait for the driver to open his door and instead gets out himself.

Out of the frying pan, he thinks and his expression is blank as he makes his way to the front door where an assistant is holding it open and looking only mildly out of her depth. However, what should have been a few second stroll turns into a minefield as the reporters inch into his breathing space.

The flash of cameras is blinding even through his sunglasses and Alec narrows his eyes at the door, each step slow for how the crowd is inundating around him.

“Hey, Alec!” A microphone is shoved in his face but Alec barely spares the reporter a glance. That doesn’t stop the man, though, from asking, “Is it true that you’re in a relationship with Magnus Bane, heir to Asmodeus Bane’s ill-gotten fortune?”

“No comment.”

It’s the standard response in the industry but that doesn’t stop the paps from coming even closer, as though Alec had just given them a million dollar soundbite.

Alec knows no comment is only worth a few thousand, in this case.

“Alec, how does it feel to be tied down? How can it be true that the most sought after bachelor in the music industry is spoken for?”

Another reporter laughs and it grates in his ear. “Tell us that we haven’t seen the last of Party Boy Lightwood. We at The Sun were heartbroken to find that someone had grabbed you up without anyone noticing. Tell us you’re smart enough to dodge an obvious gold digger.”

“Yo, Lightwood-- Brett from the Daily Mail. We heard that you’re whisking Bane away on a honeymoon next week to celebrate your private wedding ceremony. Can you confirm?”

Alec rolls his eyes internally but just repeats, “No comment,” in a cool tone.

But like sharks scenting blood-- even if everyone present is well aware that the accusation was nothing more than a play to get a reaction-- the reporters become just a little more frenetic. Gritting his teeth, Alec shoves his way through the paps and thinks that maybe he should have brought his bodyguard along. It’s been awhile since Alec’s been embroiled in the news so intensely and having security definitely helps keep things running smoothly.

Still, Alec’s made of sterner stuff and while photographers yell in his ear, trying to get his attention, and phones are shoved in his face for a soundbite worthy of a headline, Alec makes it to the front doors of BBC radio relatively unscathed.

The assistant holds the door open wide and as soon as Alec crosses the threshold, she’s turning on her heel to follow him while two security guards from the building keep the paps out and muscle the doors closed.

Alec hears the shutter of dozens of cameras even through the closed doors. The windows do nothing to temper the flash as everyone tries to get a photo of him through the glass.

Alec pauses at reception and the assistant takes over.

“Good morning, Mr. Lightwood. My name is Lacey and I’ll be your assistant today while you’re here at BBC Radio.”

Raising a brow at the calm, confident tone, Alec just offers a smile and replies, “It’s nice to meet you, Lacey. You can call me Alec.”

The two of them shake hands and Alec’s a little surprised to see that Lacey has a professional, steady grip. “How long have you been here,” he asks and tries to readjust his first impression of her.

From her reaction to the jungle outside, he’d thought that she’d be a nervous intern but while she had looked shaken as Alec fought his way through the wolves, here in the confines of the station, she seems ready for anything.

Smiling brightly, Lacey replies, “Three months but I have to admit that I’ve never dealt with a crowd the size of yours.”

“You get used to it,” is all Alec says and Lacey looks at him like he’s lost his mind before shaking her head a little and refocusing the conversation.

“You’re here for the next few hours and I’m your point woman. I’m the one that can get you coffee or whatever else you require and I’ll be the one to lead you through your schedule with us. We’re starting with the Live Lounge performance and you’ll have a few minutes for makeup and hair before we get you to the stage set-up.”

Alec goes along with whatever she says and doesn’t tell her that he’s performed or interviewed here so many times over the past ten years that he probably knows the building just as well as she does. He lets the hair and makeup team fiddle with him a little, making sure that he won’t look washed out under the performing lights, and then he goes to the recording room.

It’s not really a stage, just a dimly room with just enough space for a performer and their instruments. Cameras and TVs line one wall and as Alec shakes hands with the team and goes through a round of introductions, he settles in his spot in front of the piano. He puts his headphones on and rests his hands on the keys, taking a grounding breath.

He was only using the piano for the first song-- he’d use the stage band for his own music-- but part of the fun of the Live Lounge was covering artists with stripped versions of their own songs.

Alec warms up for a few minutes and then the cameras are rolling. He’s practiced this particular song for a few months and had brushed up on it yesterday after heading home from the studio.

As he’s given the cue to start from the producer, Alec eases into Coming Down by Halsey. Badlands had been one of his favorite albums the year it had been released and he’s held this song in reserve for a few years just for such an occasion.

The piano is a soft undertone and Alec leans into the notes. He hasn’t performed since May-- since Good Morning America all those weeks ago-- and it feels good to be back. He hasn’t taken so much time off since he was in high school and even if it’s a stripped version in front of half a dozen cameras and no fans, it’s still fun.

There’s no pressure here. It’s Alec and his passion in its purest form. Singing a song he loves in the silence of a dim room. Letting his eyes close, Alec ignores the people gathered, the staff that ensure everything runs smoothly and focuses on the piano and the notes.

The four minutes go by faster than Alec anticipated and there’s a short commercial break before Alec hears the intro music in his headphones. He hears the introduction for his next song-- one of the ones he’d recorded a couple of weeks ago that has almost a guaranteed spot on his next album-- and he counts off the beat with the drummer accompanying him.

This song is a little more lively and he’s breathing hard by the end of it.

There are a few more songs he performs, mostly old favorites with his latest singles mixed in, and then he’s moving back from the piano. Pulling the mic pack from his waistband, Alec hands that and his headphones to a member of the sound team and then Lacey is ushering him to the radio department.

Alec waits outside of the recording room, watching as Nick Grimshaw goes through a spiel of some sort before being ushered in. He’s known the radio host for several years and the two have a good relationship-- they’ve even gotten drinks while Alec’s been in the city. Grimmy never pushes when he senses a sensitive topic and he’s one of a handful of media personnel that Alec actually likes. He's talked to the man off record several times before and Grimshaw has yet to expose any of his confidences. All around, he's a pretty good guy in Alec's opinion.

He sits in his assigned chair across from Grimmy and gets hooked up with headphones. He asks Lacey for a cup of coffee and she returns almost startlingly fast. He’s a little surprised that it’s a great cup and it’s only then that he realizes that he hasn’t had any coffee this morning and it’s going on mid morning.

Just a few minutes later, Grimmy’s introducing him and Alec grins and relaxes into his seat, sipping on his coffee.

“Our next guest is a music industry legend-- and he knows it. He wrapped up his last tour in May and has spent the summer laying low in his hometown. Until this week, at least.” The host’s tone is scandalous as he continues, “Rumor has it that the most elusive playboy in New York has finally let himself be caught-- and by a professor, of all things. I’m sure everyone is very excited to hear that we’re spending the morning with Alec Lightwood. Alec, man, it’s been a little while, hasn’t it?”

Laughing, Alec leans into his mic. “It has,” he confirms. “I almost want to say it’s been over a year since I was last at BBC Radio 1 headquarters.”

“Too long,” Grimmy says sadly.

“Way too long. But I’m in London for a few days and thought it only right that I stop by.”

“Well, Alec, we appreciate that.” Nick takes a quick drink of his own coffee before going on. “How have things been with you lately? Catch us up on what the Alec Lightwood’s been up to the past few months.”

Nick raises a brow which Alec returns as he answers. His first interview being with Nick is definitely not a coincidence by Lydia and he resolves to send his manager a nice gift-- something with gold-- once he gets back to The States. Nick knew how to play the game and he was feeling Alec out. Alec would appease him-- after just a little bit more ducking and weaving.

“I wrapped up a world tour earlier this summer.”

“Yes,” Grimmy says dryly. “I heard. I also saw your GMA performance and saw a few fans post about a supposed private concert.”

Shrugging, Alec replies, “I like to do a few smaller events for fans during the year, Nick. You know that. My Good Morning America performance was fun, though. It was nice to perform in Central Park.”

“I would imagine. I noticed something, though, when I was watching it this week.”

Interest piqued, Alec just prompts, “Oh?”

“You were performing fan favorite Carousel when you did something a little unusual for you-- you dedicated a song.”

All of a sudden, Alec realizes what Nick’s building up to and he winces a little. He barely remembers the performance and had totally forgotten that he’d mentioned Magnus at all. Though now that he thinks about it, he definitely should since the move had been brazen even for him.

Still, there’s a game to be played. “A dedication,” Alec asks, frowning as he makes a show of thinking. “That doesn’t seem like me. I never dedicate songs. It’s almost always unbearably sappy and I wouldn’t put my fans through that.”

“Yeah, you’ve only dedicated one or two songs before but that’s what made this stand out. You dedicated that song to someone you met recently.” Grimmy sends Alec an arch look. “Apparently, you thought they could be a great friend.”

He emphasizes the end of the sentence and Alec rolls his eyes. “Friends are important to a healthy life, you know,” he says demurely.

“Well, Alec, you know everyone here in the studio-- and the world, I’m sure-- is dying to know. Who’s the friend you made a few months ago and do you still talk to him?”

Alec laughs a little, leaning close to the mic. “Well since you asked so nice Grimmy, I do still talk to him. His name is Magnus.”

Nick’s eyes light up, like he wasn’t sure Alec was going to give him the story after all, and Alec smiles and takes a drink of coffee.

“Magnus, you say?” He pauses for a beat before returning, “Is there anything to the story that you want to share, Alec?”

“Let’s see,” Alec starts. “What do you want to know?”

Nick glares at him, joking, and Alec smothers a laugh that’s probably caught on tape.

“Lightwood, what do you think I-- and everyone listening raptly right now-- want to know? Anything, everything.” Grimmy sweeps a regal hand in front of him. “The floor is yours, man.”

Humming thoughtfully, Alec finally says, “Well, it looks like you know Magnus and I were friends.”

Jumping on the reply, Nick asks, “Were?”

“You’re right, Grimmy. One’s boyfriend should also be a friend. That’s only healthy.”

“So, it’s true then? The illustrious Alec Lightwood is taken?”

Alec pauses dramatically before sighing in equal fashion. “I am,” he confirms. “I’m in a relationship with Magnus Bane.”

“You’ve heard it from the man himself, folks!” Grimmy tsks, shaking his head morosely. “I know a lot of men will be crying into their pillows tonight at the news that you’re off the market, Alec. So you know I have to ask-- what’s the story there?”

“It’s a pretty boring story,” Alec says, almost apologetically. “We met in a diner one night.”

“You do like a good burger,” Grimm says sagely.

Alec laughs. “You know me too well. But yeah, I was at this diner in New York and it was pretty late. I had just ordered my food when I looked up and saw him.”

“Oh? Was it love at first sight,” Nick prods.

“I wouldn’t say that,” Alec says, a little uncertainly. “There was just something about him, though. We talked for a few minutes that night and things were kinda left there. I didn't think I’d ever see him again.”

“But?”

“It turns out we go to the same coffee shop. I ran into him there a few days later and we talked a little more and ended up exchanging numbers. I’m telling you, it’s all pretty conventional. We talked and met up a few times and things just grew and changed until we realized that there was more than just friendship there. We talked and-- yeah, man,” Alec ends, grinning. “He’s my boyfriend.”

“I’m happy for you, Alec, but you know I have to ask-- are you concerned about his history?”

No matter that Nick’s a friend, Alec’s tone cools at the suggestion, even if he knows that Nick’s just doing his job. “No, I’m not concerned about anything having to do with Magnus.”

Grimmy winces. “You have to know how that looks, though, right? This guy comes out of nowhere and you start dating only for it to be revealed his dad is a is one of the most well-known conmen in the entire world? And Magnus apparently has a juvie record? That doesn’t look good for anyone involved.”

Alec laughs but it’s caustic. “Are you telling me that you’ve never done something you regretted, Grimmy? Fu-- goodness knows that I’ve gotten into a scrape or two that involved a lawyer. And we can’t help who our fathers are.”

Alec doesn’t say anything else on the topic and Grimmy is kind enough to stay away from the topic of Robert. Instead, the host says, “I just want to make that sure you know what you’re getting yourself into. You’re Alec Lightwood, for God’s sake. You can’t just date anyone, even if we’d all like to think we have a certain level of autonomy that extends to who we want to be with.”

“I’m choosing Magnus,” Alec says firmly. “We’ve talked about things and we’re together. I don’t care what anyone else has to say about my relationship, especially when they don’t know us.”

Raising a brow, Grimmy replies, “That sounds pretty strong, Alec. Can I take that to mean that you and Magnus are in this for the long haul, naysayers be damned?”

Smiling, Alec just says, “That is what it sounds like, doesn’t it?”

Thankfully, Nick takes the cue and with a huff of amusement and a silent nod in support of Alec, the show goes to commercial.

Taking his headphones off, Alec follows suit and the two of them enjoy a few minutes conversation off the air.

“Hey man, I hope you’re good. You know that I had to ask.”

Shaking his head, Alec waves him off. “We both know how the game’s played, Grimmy. This was nothing out of the ordinary for the two of us.”

“Well, that’s not quite true, is it? I never thought that I’d see the day you settled down with someone. This Magnus guy must be special, yeah?”

“Yeah,” Alec confirms. “Between you and me, I’m pretty gone over him.”

Nodding seriously, Grimmy just says, “I’m happy for you, Alec. You deserve this and I hope to hell that it works out for you two.”

They fistbump while Alec says thanks and they're back on air just a few seconds later.

The conversation moves onto his career and Alec talks about his plans for the next album for a little bit, bantering with Nick, before there’s another commercial break.

Carefully, he stands up and stretches, draining the rest of his coffee and requesting another. Lacey jumps to attention and Alec spends the next little while playing a few radio games and talking about other, less personal subjects.

When the show finally ends, it’s after noon and Alec feels his red eye catching up with him. Shaking his head to clear it, he thanks everyone and follows Lacey as she leads him to the front of the building where his car is waiting.

There aren’t as many reporters this time and Alec makes it to the car with a fraction of the attention his arrival to the station had garnered.

The ride to the hotel is uneventful and Alec scrolls through Twitter and responds to a text from Jace before going over to the New York Times and spending the rest of the drive reading a few depressing as hell articles.

Pulling up to the hotel's front entrance, the doorman moves smoothly to attention and Alec nods to him as he steps into The Rosewood. It was his favorite hotel to stay in when he was in London and most celebrities liked the privacy the hotel afforded.

Walking over to the reception desk, Alec’s greeted warmly and checks in without issue. The driver had taken his bag to the hotel earlier and as Alec checks his watch, he sees that Underhill should have arrived a little while ago. Getting his keys, Alec heads to the elevator and up to his room.

He has a suite for the duration of his stay and as he inserts his card, he hears the television on low volume. Underhill is sitting on the couch, sleeves rolled up and jacket thrown over the dining table chair. He’s watching a football game and looking through his phone.

“What’s up,” Alec asks, kicking the door closed and throwing his key onto the entryway table.

Looking up, Underhill shrugs. “I’m just wasting time until you get here. Cutting it a little close, aren’t you?”

“You know me,” Alec says dryly. “I love to live dangerously.”

Underhill snorts but doesn’t say anything. He also doesn’t move his feet and Alec swipes at them half assed as he moves around them to take the other half of the couch.

“He should be here in half an hour.”

“We’re ready,” Underhill says confidently. “I’ve got my paperwork and legalese all ready.”

“Legalese,” Alec asks, giving his lawyer an arch look.

Underhill just shrugs and they watch the rest of the quarter before turning the TV off. Standing, Alec moves to the liquor cart and pours a glass of whiskey for Underhill, handing it over before pouring a second for himself.

Underhill flips through a folder, skimming the contents for a few minutes before sighing and coming to his feet. He rolls his sleeves down and shrugs into his suit jacket. They set the suite to rights and Alec takes out his phone. Magnus must be up for he’s answered Alec’s good morning text sent so many hours ago and Alec can’t help his smile as he types up a reply.

“Focus, boss. The bastard should be here any minute.”

Rolling his eyes, Alec shoves his phone into his pants pocket and it’s at just that minute that the room’s phone rings. Alec picks it up on the third ring.

“Lightwood,” he says brusquely.

“Good afternoon, Mr. Lightwood. There’s a. . . Victor Aldertree here and he insists that he has an invitation to your unit. What should I tell him, sir?”

Ale hears the disapproval in the concierge’s tone but bites back his laugh. It was almost unheard of for any media to ever be allowed on the grounds, though for purposes like the one Alec had set up were the only exception.

“I have an appointment scheduled with him for an interview,” Alec confirms. “Send him up-- with an escort. Between you and me, he’ll only be here twenty minutes or so and then he’ll need escorted off the property.”

“Very good, sir.”

Hanging up, Alec leans back in his chair and sends Underhill an amused look. “Ready?”

“More than,” Underhill says grimly. “I can’t believe that he really thinks you’re going to give him an exclusive interview after the shit he’s pulled.”

“He’s a reporter, Underhill. He probably can’t see past the million dollar story that’s landed in his lap.”

A knock sounds on the hotel door and Underhill stands to answer. Alec, for his part, crosses one leg over another and settles in for his meeting, taking a leisurely sip of his whiskey.

Underhill swings the door open and Aldertree appears, looking pompously pressed in a subtly patterned blazer.

He walks right into the suite without hesitation and Alec nods to the bellman behind him as Underhill slips him a tip.

Switching his gaze to the bloodthirsty little reporter in front of him, Alec inclines his head. “Mr. Aldertree.”

“Alec.” The two of them shake hands and Alec barely buries his ire at being greeted so casually. Aldertree, the smug bastard, takes a seat at the table opposite Alec and Underhill seats himself between them.

Alec tilts his head to his friend. “This is Underhill. My lawyer.”

At that, Aldertree looks a little startled, though he waves it off just a moment later.

What a fool, Alec thinks. Aldertree thought Underhill was just here to prevent Alec from incriminating himself in anything too embarrassing.

Alec watches as Aldertree takes out his phone and opens his recording app, starting the audio. Alec lets him get situated, taking out his little pen and notebook, relaxing in his chair as if he has all the time in the world.

Finally, Aldertree says, “Alright, gentlemen, should we get started?”

Alec pauses for a few beats and studies Aldertree. The journalist was a thorn in his side and he’s looking forward to the next several minutes.

“Ready whenever you are, Mr. Aldertree.”

Aldertree dives right in and goes straight for the throat. “When did you start dating Magnus Bane and did you know from the start that he was ill gotten goods?”

Alec’s temper spikes but he doesn’t need the look Underhill throws him to keep his control. His expression doesn’t change from its bland pleasantness as he reaches over and grabs the reporter’s phone from the table before Aldertree even knows what’s happening.

Ignoring Aldertree’s squawks of distress, Alec presses the red button to stop recording and then deletes the file.

He looks up to meet Aldertree’s incredulous face. “You’re not here for an exclusive, Aldertree. Quite the contrary.”

Underhill flips open the folder in front of him, perusing its contents that Alec knows he’s already memorized, letting Alec have a few minutes.

Leaning over the table oh so slightly, Alec’s voice is soft as he asks, “You got quite the story didn’t you? You found out that I was dating someone. I don’t know who your inside source is but it doesn’t matter-- you took whatever they had to say and you ran with it. You ran all the way to the fucking bank with a story on me.”

Settling back in his chair, Alec throws back a swallow of whiskey, setting the glass back down on the table with a hard thud in the otherwise still room.

“Now normally,” Alec continues conversationally, “I’d let you scamper off with your tidy little check and you’d just be another annoying reporter on my shit list. But this isn’t normal, Aldertree. You brought someone else into this.”

Aldertree looks admirably unfazed by Alec’s little rambling speech, though Alec sees the way his eyes widen imperceptibly at the mention of his boyfriend.

“That’s right. You can sling all the shit you want at my name. It’ll take more than some goddamn two bit reporter to bring me down. You had the nerve to go after my boyfriend though, Aldertree, and that I won’t tolerate. You don’t mess with what’s mine and you can imagine how Magnus felt when he read his past in a fucking tabloid.”

“I’m a journalist,” Aldertree says firmly. “It’s my duty to report the news, especially when people are keeping secrets.”

Tsking, Alec reaches for his glass and tips it toward his guest. “Ah, but you don’t get it, do you, Aldertree? Some things are off limits-- especially when you have the means and the spite to make sure they stay that way.”

Aldertree raises his head and casts a defiant look at Alec, scornful. “What are you going to do, then? The story’s already out. Everyone knows that your boyfriend is just using you for your money and that when he’s done with you, he’ll walk away without a backwards glance.”

Now it’s the reporter’s turn to look pityingly at Alec. “You’re too fucking stupid to realize that you’re just another arrogant celebrity falling into a trap laid by someone smarter than you. Don’t blame me for sounding the alarm-- you should be thanking me.”

Alec smiles thinly. “I should be thanking you,” Alec repeats thoughtfully. “What should I thank you for first? Almost ruining my relationship? Making my boyfriend feel like shit? Revealing our relationship-- that we were obviously keeping out of the press-- to the world? You’re right,” Alec says, marveling. “There really is so much to thank you for, you snide little bastard.”

Nodding towards Underhill, Alec continues, “You fucked up, though. Didn’t you?”

“How,” Aldertree asks, crossing his arms in front of him. Alec sees the flash of panic in his eyes and his mouth tilts up, just a little.

“You’re a reporter but you’re still bound by the law. You’re not infallible. I read your article, you see. I read it a few times. That’s when I realized that you weren’t just a bottom feeding son of a bitch-- you went above and beyond to get your scoop and I promise, that’ll be your downfall.”

Alec leans close, makes sure that he has Aldertree’s undivided attention as he slowly says, “I’ve consulted with my lawyer and it turns out that it’s a felony to break into sealed records. I don’t know who you bribed, but you broke the law when you looked at Magnus’s juvie record. That’s grounds for immediate prosecution and I’d go a step further and say it’d mean your job at Idris News.”

“You can’t do that,” Aldertree accuses. “That’s illegal.”

At that, Underhill looks up from the folder. “I’m sorry, what’s illegal? Telling someone that they’ve broken the law? We’ve done nothing but inform you of something you already knew.”

“What do you want,” Aldertree gets out through gritted teeth.

“What do we want? That’s a bit like trying to close the barn door after the horse has escaped, isn’t it? But for sake of argument, I’ll tell you anyway.”

Smiling, Alec relaxes in his seat and considers the man in front of him. “I want to ruin you. I want to make you pay for hurting someone that I care very much about. No one is content with just me anymore,” Alec says drolly. “They’re going after those closest to me and that is something I will never tolerate.”

Alec’s expression is pleasant as he softly asks, “Do you want to know something, Aldertree? I get what I want. I suppose that your editor is reading an anonymous letter as we speak that tells just how you managed to piece together such an interesting story. Oh, and I lied about not knowing who you bribed-- he’s sitting in an interrogation room right now explaining why he hacked police records in The States and I’d imagine he’s singing like a bird right about now about just who asked him to do it.”

Alec watches as the realizations batter Aldertree and feels blazing satisfaction at the way he seems to deflate.

“You chose the wrong story, Aldertree. And now you’ll pay the price. By the time I'm finished with you, you won't be able to get a media job in Siberia.”

“You bastard,” Aldertree whispers furiously.

Alec shrugs negligently. “Don’t blame me for your own fuck-ups. Now get out. I don’t ever want to hear your name again.”

“This isn’t the last you’ll hear from me,” the reporter blusters.

Underhill stands, buttoning his jacket. “Is that a threat, Mr. Aldertree,” he asks coolly and Alec watches as Aldertree gnashes his teeth.

“Of course not,” the man gets out and sends them both a withering glance before he’s striding to the door and wrenching it open. The same bellman appears and Alec watches, amused, as Aldertree is ushered away by the hotel staff.

The door swings shut and Underhill blows out a breath. “What a bitch.”

Barking out a laugh, Alec stands and walks the few feet to the couch, collapsing on it with a groan. “It certainly wasn’t a hardship. Did you see his face when he realized I’d put the pieces together?”

“Priceless,” Underhill agrees and slouches in his chair, pouring a second glass of whiskey and throwing half of it back in one bracing swallow.

The two of them relax in the quiet of the room before Alec sighs heavily. “I have interviews this afternoon and a dinner with a few of the London executives from the label.”

“Woe is you,” Underhill mutters and just raises a brow at the narrow-eyed glance Alec throws him.

Looking at his watch, Underhill hums. “My flight’s scheduled for later this evening. I think I’ll do a little sightseeing before I have the driver take me to the airport.”

“Are you sure you don’t want to stay a few days? It seems a little excessive that you’d come all the way here just for a single meeting, without even taking advantage of a little vacation.”

“What can I say,” Underhill shrugs. “Adrian couldn’t get out of work on such short notice and I miss him.”

“Yeah, yeah.”

Alec waves his friend’s answer away and they both laugh as Alec stands and they shake hands, leaning in for a quick hug. “Go ahead and get out of here. I know you like to visit the National Gallery when you’re in town and go to that pub. I’ll see you back in New York.”

“Sounds good, boss.”

Rolling his eyes, Alec heads to the bedroom while Underhill gathers his papers. His friend leaves just a few minutes later and Alec sighs in the quiet now that he’s alone.

He has an hour until he needs to go downstairs and meet his driver for the next round of interviews and Alec spends that time texting Magnus. It’s nothing serious and Alec laughs out loud as they argue about who Peyton should have ended up with on One Tree Hill. Alec spares a few minutes to change into another outfit-- something a little more formal that will work well for wherever the label takes him tonight, and then he’s off again.

He’s definitely feeling the effects of his overnight flight and being on the go since he landed but he reasons that he only has a few hours left before he can crash for a solid eight hours-- ten if he’s lucky.

His room phone rings-- downstairs notifying him that his driver’s arrived-- and Alec runs a hand through his hair as he grabs his room key and wallet, shoving them into his pocket.

Alec walks out of his room, ready to face the lions.

Eager, even.

Because, as the elevator moves swiftly down to the lobby, Alec sits comfortable in the knowledge that he’s at the top of his game. His career has recovered quite nicely from the crisis earlier in the summer and he has a man back in The States that he’s crazy about.

Everything has worked out quite nicely-- better than he could’ve ever expected-- and Alec’s been playing this game so long that sometimes he wonders if he didn't invent it.

This is the life he’s chosen for himself and he loves it-- thorns and all. As Alec runs through the news outlets and magazines that he’ll be talking to this afternoon, he smiles a little.

This life isn’t for everyone but it’s the only one Alec wants. The truth is, he’s always loved it, always enjoyed playing the game and thumbing his nose at anyone who said that he wouldn’t make it.

Magnus landed in his life unexpectedly but he fits in a way that surprises Alec. It’s unforgivably early, but Alec likes the space Magnus takes up in his life. Alec never thought something like this was meant for him but he knows he’d fight to keep it with everything he has.

Yeah, Alec thinks as he slides his sunglasses on and approaches the car with the driver holding the rear door open for him.

He wouldn’t change a thing.

[cjostrander]

The Devin Townsend Project: Sky Blue

Hello guys! Thank you for the response on my latest reviews. It tempts me to continue putting the newer ones out but today i am going to tackle a curiosity album that is also due for an anniversary review. I just started listening to this musician a few months ago and have taken quite a strong liking to his overall work. This album is by one of his full band projects and is technically part of a double release. The first being this disc and the second one being the follow up solo album to Ziltoid the Omniscient. I reviewed that one a month ago and found it to be a surprisingly solid release so here’s to hoping this is another solid review. It’s reached five years old so let’s see how its aged.

Rejoice: We begin with some metallica futuristic effects to set up an interesting ambiance. Muffled female vocals in the background begin over a rough rhythm section before Devin arrives with a nice sense of grit in his voice. The aggressive instrumentals will do well for fans of standard metal that focuses on rhythm. It does lack in terms of melodic catchiness since it lacks a full chorus. As an opener it doesn’t ease listeners in casually and takes them on very bluntly; risking losing a casual listener. I could see decent live potential due to its experimentation with backing vocal choirs and a rhythm focus that could keep an audience entertained. Aside from that it feels like its missing something to really latch onto the listener this early on in the album. 6/10

Fallout: The guitars begin with a more melodic tone over computerized female vocals. It takes its time in warming up before the female singer arrives to deliver some rather engaging vocals. She brings a sense of melodic catchiness that the previous track lacked. Devin does a solid job of delivering complex high notes that never seem to wear down. Its a nice dual role between him and the female vocalist that seems to be a common staple on his work with the Devin Townsend Project. It does a good job of avoiding the risk of smothering the listener with overproduction and really brings a sense of climatic ambition to the album; which will surely stand a strong chance of convincing the listener to continue on with their listen. 8/10

Midnight Sun: Acoustic riffs begin this track with an interesting surprise because based on his prior work i was expected some much heavier work; but this album seems to be showcasing a more classically melodic focus. Devin experiments with heavily layered harmonies that mesh with the full feeling instrumental melodies to create a strong sense of atmospheric depth. It certainly shifts a bit more towards the ballad side of music but does offer the listener a risky experiment that does well and showcases Devin’s consistent level of complexity; even if he goes overboard at times. The thing that i do appreciate about him is that he is fully indie with owning his own label and writes pretty much everything that he has released. It showcases a true sense of honesty and what his true vision in his music is; with all its positives and shortcomings attached. It makes it easier to connect with these tracks when looked at it as such. 8/10

A New Reign: Devin begins with a slightly darker but equally holistic set of vocal harmonies. The instrumentals bring forth a decent showing of melody while Devin and his female vocalist work together to create an emotionally powerful vocal duo. Their layered atmosphere is very beautiful and will do a great job of providing a therapeutic outlet to the listener during a time of frustration. They do bring in some tense moments in here with gloomy keys and guitar work and some spaced out growl vocals for added emphasis. I do wish that the drums had a little more complexity in the album so far since past albums have really showcased that guy’s talent; but these kind of songs are simplistic enough instrumentally to be understandable in that regard. It helps keep some smothering out of the mix and doesn’t throw off the tempo in it as well. 8/10

Universal Flame: This is a highlight track and as close to a single as there is on here. It begins with an immediate shout of powerful bliss and energetic instrumentals to proper it even higher. The backing female vocals give it a nice sense of beauty while avoiding smothering things. Devin takes on a slightly different style vocally and uses softer harmonies to create a nice texture for the listener to soak into. The lyrics will stick out a little bit more this time and should be nice to sing along during the chorus; which actually sticks out this time firmly. This would make for a decent live track and is a nice one to get slowly energized to; after waking up in the morning. Devin really showcases some power during the mid section with growl vocals that actually add emotional urgency to the vocals as opposed to direct aggression. The guitar solo is a great focal point that will further enhance it’s live appeal as well. Definitely recommend this track if you are just browsing; though his albums typically seem best enjoyed in sequence verses shuffle; due to their very complex structure. 9/10

Warrior: This middle track begins with more cheery guitar melodies and powerful vocal harmonies. The female vocallist arrive for slightly rougher instrumentals in the background. They create an interestingly chaotic rhythm that is nice to focus on for a bit before they shift into softer atmospheric melodies. As with the majority of the other tracks; the vocals are too layered to really make out what she is saying so unfortunately lyrics rarely seem to get the chance to ponder over and appreciate. It’s not a bad piece but definitely is a bit bumpier with just the female vocalist featured as opposed to her and Devin working together to strengthen each other up evenly. 7/10

Sky Blue: Devin arrives over a soft bass line to deliver low harmonies that will be easy to appreciate as the instrumentals slowly wake up in an effective manner. It’s a more electronically subtle track that gives the minimal instrumentation a nice sense of interest that outweighs the risk effectively. The female vocals continue to do a good job when focused on but this relaxing piece focuses pretty strongly on a sense of melodic bliss instrumentally. I could see it being an interesting piece to see played live since it would be a good piece to wind things down after more his heavily ambitious work. Not bad at all for a title track! 8.5/10

Silent Militia: A solo vocal call to arms begins over heavily muffled samples before the drums arrive with the guitars to slowly begin to energize the listener. It contains a more aggressive yet cautious rhythm that will showcase interestingly live. It uses softer transition segments to showcase the subtle electronic effects; bass lines; and female harmonies. Devin delivers a pretty powerful chorus that makes effective use of his growl vocals and could make this one of the heavier tracks on the album. It still isn’t heavy by the standards of his older solo work; but provides a gradual change of pace that still manages to fit neatly with the tone and focus of the previous tracks. 8/10

Rain City: This nearly 8 minute song begins with a shift towards calming key work that provides a soothing support for Devin’s gradual entry. He focuses on soft harmonies that gradually grow in emotional urgency as the electronic drums grow. The female vocals combine for a layered effect that will develop a strong level of complexity that is beautiful and extremely relaxing. This song brings forth a strong sense of melody that shaping it up to be one of the most interestingly effect tracks on the album; which will make its longer runtime eagerly worth the sit through. I’d be interested to see this live but considering it’s heavily dominance on electronica in the background and atmospheric flair; it’d be a challenge to reach this level of strength. 9/10

Forever: Devin begins with a layered vocal style that works over a soothing yet spaced key presence. It provides a holistic feeling that will continue to provide a sense of relaxation that helps to make this album different form most of his previous ones. It feels very heavily like a suitable pick for an album closer so considering there are two more tracks and one is 8 and a half minutes long; i’m curious how this is going to effect the flow of the album. 8/10

Before We Die: Drums begin this track with a nice sense of powerful ambition that makes the previous track understandable. It has a nice sense of emotional beauty and motivational energy to get the listener compelled to resolve whatever issue is troubling their mind. The drums deliver a slightly more energetic presence in the mix but remain in the background firmly still. choir vocals are used to a very pleasing effect that delivers a strong sense of emotional complexity to the track. They are a smart trait to add more interest to the listener this late into an hour long album. It also shapes it up to be another of the album’s highlight tracks. I could see it being a very solid live track that would deliver an ambitious performance while using the choir segment to garner a sing along moment with the audience. It would actually be a very beautiful sight to see live so i’ll have to look for live videos  when i get a chance. 10/10

The Ones Who Love: This finale track is only a minute and a half long and is basically a choir closing that feels like a continuation of the previous song. 0/0

Overall album rating: 8.1/10

Not a bad score for this album and it’s a good pick for when you want something that is softer while energetic verses his more aggressive material. It does a good job of avoiding the risk of being overdone; so i could see this being one of his more mainstream friendly albums that is a decent length listen but a smooth one at that. Other than that i hope you guys enjoyed the review; now i have to head out and get ready for a wine festival today.

[deadcactuswalking]

REVIEWING THE CHARTS: 19/12/2020

Mariah Carey’s “All I Want for Christmas is You” spends a second week at #1. It’s #1 in the States as well. We’ve got a week of Christmas music and a Taylor Swift album bomb so... God, let’s just get this over with. Welcome back to REVIEWING THE CHARTS.

Rundown

So let’s start as always with the drop-outs from the UK Top 75, which we have a few of but not as notable as the last few weeks, as the less interesting 2020 hits that just can’t leave the chart are slowly dropping off. We have some of the bigger hits like “Looking for Me” by Diplo, Paul Woodford and Kareen Lomax (Good song, by the way), “WAP” by Cardi B and Megan Thee Stallion, as well as some more recent and more moderate successes like “Princess Cuts” by Headie One featuring Young T & Bugsey, “i miss u” by Jax Jones and Au/Ra and “SO DONE” by The Kid LAROI. I can see this all rebounding after Christmas though, especially those last few. What I can’t see rebounding are the three Christmas songs that ironically dropped off from last week, particularly “Santa’s Coming for Us” by Sia which I do not remember being a top 20 hit. We do, of course, have some more fallers as well, like “34+35” by Ariana Grande at #14 and “Santa Tell Me” also by Ariana at #17 – not a good week for her, I suppose. I also find it funny that we have a couple Christmas songs that actually dropped places this week, not many of which are notable, but to give an example, due to three separate songs entering the top 10 this week, “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé dropped five spots to #12. On the course of fallers, we also have “Midnight Sky” by Miley Cyrus at #22, “Therefore I Am” by Billie Eilish at #28, “Holly Jolly Christmas” by Michael Bublé at #36, “Monster” by Shawn Mendes and Justin Bieber at #44, “Head & Heart” by Joel Corry and MNEK at #48, “Blinding Lights” by the Weeknd at #50, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #51, “you broke me first” by TateMcRae at #57 (the biggest fall this week), “Golden” by Harry Styles at #58, “Lonely” by Justin Bieber and benny blanco at #60, “Wonder” by Shawn Mendes at #63, “What You Know Bout Love” by the late Pop Smoke at #65, “See Nobody” by Wes Nelson and Hardy Caprio at #69, “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee at #70 and “A Little Love” by Celeste at #74. Of course, we also have some notable returning entries and gains, those returning entries being “Santa Claus is Coming to Town” by the Jackson 5 at #75 and “Baby it’s Cold Outside” by Adele Dazeem and Michael Bublé at #61. The most notable gains aren’t as plentiful this week because I feel like most songs, Christmas or not, are relatively stable if they’re not falling dramatically off the chart, so I’m not going to separate it into festive and non-festive tracks this time. We start off with “No Time for Tears” – the biggest climber this week – by Nathan Dawe and Little Mix up to #64, “Christmas Lights” by Coldplay at #43, “Get Out My Head” by Shane Codd at #32, and whilst that’s it for notably large gains, we do see “Whoopty” by CJ and “This Christmas” by Jess Glynne enter the top 10 at #10 and #9 respectively. Delightful. Well, we’re already done with the rundown – oddly quickly – so let’s get on with these new arrivals.

NEW ARRIVALS

#72 – “The Business” – Tiesto

Produced by Anton Rundberg and Tiesto

I have no time for umlauts. They’re simply not productive. Dutch DJ Tiesto has been at it for a while now and “The Business” is his new house-pop track with vocals from James Bell, probably propped up the chart by a remix with English DJ 220 KID. The original song charted though, so we’ll talk about that one and I do like the cold, bizarrely eerie strings for a song like this, even if the pitched-down vocals make it more comical than anything. The deep house groove here is cool but mostly cheap, especially whatever the hell those claps are. The bridge is aimless and James Bell gives a performance really not worthy of note. At least this has some essence of personality and artistic intent, unlike 220 KID’s usual output, who actually improves on the song by giving it more of a 90s Eurodance tinge, in my opinion at least. The 220 KID remix is a remix of a song that already felt like a remix though, so everything about this is unnatural and awkward, even for EDM.

#71 – “Cuddle Up, Cozy Down Christmas” – Dolly Parton and Michael Bublé

Produced by Kent Wells

The only time country music charts on the UK Singles Chart is when it’s barely country or Dolly Parton. Whilst a lot of country music is rarely appreciated out of the States, I feel like Dolly Parton is one of those singers that’s just universally loved. Michael Bublé on the other hand I have no patience for and I was dreading the time I’d have to review his songs again. The man made a career of off offensively inoffensive Christmas standards and his original music is painfully bad, so honestly, I’ll take it, but the man is clearly not interesting and whilst I understand why Dolly had him on her A Holly Dolly Christmas TV special in the vein of Mariah Carey’s this same year, I’m not excited to hear it. I’m not excited to talk about it either, because this is only vaguely country and is mostly just a jazz-adjacent traditional pop standard, except this is an original song. Neither Parton and Bublé have any chemistry, there’s a lot of empty space, and Bublé’s awkward attempts to add personality to what is and will always be a dull, painful slog of a track are just cringe worthy if anything. This song is barely about Christmas either or anything warm and intimate about cuddling up with family as I expected. It’s just the image of Dolly Parton banging Michael Bublé by the fireplace, and it goes on for about three minutes and 39 seconds too long. Next.

#66 – “Baby it’s Cold Outside” – Brett Eldredge featuring Meghan Trainor

Produced by Ron Mousey and Jay Newland

“Baby it’s Cold Outside” spews controversy nowadays, and whilst I never found a reason to be mad at what is clearly a dated but to me pretty innocuous and satirical Christmas standard, I never found a reason to like the song. Even the classic Dean Martin version is pretty much a slog, but that doesn’t mean I can stomach John Legend’s “politically correct” version either, which is probably the worst rendition I’ve heard, although Bublé’s is close. I don’t mind Tom Jones’ attempt, I guess. Regardless, this version from 2016 is by another country singer, but it did just chart because Meghan Trainor’s here. These two might have even less chemistry than Dolly and Bublé; at least they tried, whilst here despite the song being a back-and-forth, they seem to be on completely different ideas on how to tackle the song. Admittedly, I like this flat, jazzy rendition of the track fine but if anything Trainor is an inconvenience to my enjoyment of this lounge track. She shows off her vocal strength a bit too much for it to work until that awkward burst of energy at the end. Also, Brett Eldredge exists. How unfortunate. It may also be insensitive in retrospect, and maybe ironic, that the song ends with Eldredge warning her she might catch pneumonia if she went outside. Huh.

#55 – “Forever Young” – Becky Hill

Produced by Charlie Hugall

“Forever Young” by Alphaville is one of those classic 1980s synth-pop tracks that sounds so obviously 1980s but is far from dated, with the lyrics being a take on contemporaneous political issues covered in optimistic calls for action and gorgeous strings that undercut Marian Gold’s longing, belting delivery and of course, that horn section at the end that sadly fades out instead of coming to a genuine climax but would be brilliant either way. The song has a legacy indeed, and is continuously topical, being covered by One Direction, Kim Wilde and Imagine Dragons, and being sampled or interpolated by Dorian Electra, JAY-Z, Maroon 5 and even Tangerine Dream. The song has had so many reimaginings that it’s hard to imagine what new can be done with a classic track that didn’t really need much reworking in the first place... so naturally, Becky Hill made an acoustic cover for a McDonald’s commercial. It’s just her singing it vaguely competently over an unimaginative piano rendition of the original, but it does offend me in how it strips everything out of the original song to replace it with a vague orchestral swell and exhaustingly boring delivery from Becky Hill. Sure, the original song sounds cheaper now but if anything, this sounds even cheaper, with mixing drenched in reverb that makes everything sound a lot uglier than it’s supposed to. JAY-Z screwed “Forever Young” up to hell and back on his track with Mr Hudson but at least he rapped over it and had a bit of a sample flip, instead of just reciting the lyrics and chord structure without realising what made the song so biting and anthemic in the first place. This isn’t REVIEWING THE ADVERTS though, even though most of the time it ends up being, so I won’t bore you much longer with this.

#37 – “Show Out” – Kid Cudi, Skepta and Pop Smoke

Produced by Dot da Genius, Plain Pat, Heavy Mellow and Gravez

I knew this would be the highest-charting track from the Cudi album as soon as I saw the feature credit, but I didn’t expect it to be the only one charting. Regardless, I should probably talk about the album because I have listened to Man on the Moon III: The Chosen, Cudi’s highly-anticipated follow-up to his last two Man on the Moon records, both of which are pretty damn great, and this one isn’t far from it either. I liked it a fair bit and even if its derivative first few tracks means it gets off to a slow start, there are absolutely moments on this album where we see a classic Cudi matured and aged, and able to talk about mental health in shallow detail as always but from a perspective where we see a Scott Mescudi that has settled down and is happy with life. While it’s far from a perfect album, I won’t lie and say it wasn’t heart-warming to hear Cudi like this considering how much he’s struggled in his decade-long career, and it’s backed by great, psychedelic production as always. “Show Out” is a complete abandonment of all of that, acting as a shallow turn-up drill track with a massive posthumous hook from the late Pop Smoke’s booming voice, accompanied by an Auto-Tuned Cudi mumbling over gorgeous string samples, which don’t feel like they’re watered-down by the overwhelming drill beat and instead accentuated, which I think is missing from a lot of UK drill. It helps that Skepta is here to slide effortlessly in his verse. He’s selling out shows and shooting guns “the same size as Kevin Hart”, and whilst the verse feels a little short, he absolutely steals the show when he’s there. That’s not to say Cudi doesn’t spit endlessly on his verse, which is also fire, before an atmospheric bridge where, in the midst of the gang violence and hedonism, he calls out to God to ask what the cost of it is. It’s the one part of the song that makes it make any lick of sense in the context of the album, but it’s also the one part I’m never so sure on. It sounds pretty jarring between Cudi’s verse and the hook, and it’s not cathartic when Pop Smoke comes back in so I think it could have been better used as an outro if anything. Other than that, the song is still really hard-hitting and one of my favourites from Man on the Moon III. Songs like “The Void” and “Rockstar Knights” with Trippie Redd blow it out of the water though.

#19 – “no body, no crime” – Taylor Swift featuring HAIM

Produced by Taylor Swift and Aaron Dessner

As you probably know, Taylor Swift dropped a new album last week called Evermore, which is basically a much weaker collection of B-sides from the Folklore sessions. I’ll discuss my gripes with the album more as we get onto “willow”, so I’ll give some short individual reviews here. This is one of my favourite tracks on the record, mostly because of how it takes Taylor back to her country roots but in sharp contrast to the original bubblegum country-pop style she had on her first few albums, she and HAIM of all people perform a pretty convincing true crime story about a missing persons case that might just end up being a murder. With a catchy chorus, oddly eerie and menacing delivery from Taylor Swift that sounds determined and honestly kind of badass with those electric guitars in the post-chorus, as well as some descending melodies in the verses I admittedly love, this is one of the best tracks on the album without hesitation for me. It’s one of the few tracks on Evermore that feels like Swift’s storytelling, knacks for infectious choruses, and the more serious, rootsy acoustic guitar-based instrumentation, are in perfect harmony, even if it is a bit short and much like the rest of the album, it falls victim to the meandering nature of these songs and their aimless bridges or outros. Either way, it’s good. Check it out if you haven’t already. It’s cool to see HAIM back on the chart too, by the way.

#15 – “champagne problems” – Taylor Swift

Produced by Taylor Swift and Aaron Dessner

When I was listening to Kid Cudi, Avalanches and Taylor last Friday all in one session, I was constantly engaged even through the duller parts of the second half of We Will Always Love You or the most rote, derivative Travis Scott rip-offs present on Man on the Moon III. I was only awake for about three and a half hours when I first went through Evermore, but you know that feeling you get in your eyes when you start feeling tired or exhausted? Maybe that’s just a me thing, but “champagne problems” is that feeling when your eyes start to sore a bit and you start blinking a bit more. The storytelling isn’t as engaging as it usually is on this track, and although I do like the main narrative, it takes a detour and doesn’t decide whether it wants to focus on that or a vaguer metaphor about mental illness and how it’s affected Taylor as a celebrity. I care about that on Reputation but I do not give a damn when it’s presented with this uninteresting chasm of piano melodies and a really awkward, pointless outro, once again, that’s out-of-place if anything. I wish anything on Evermore was as good as “seven” but that’s wishful thinking. Anyway, let’s start rambling, because it’s the big-boy debut time now.

#3 – “willow” – Taylor Swift

Produced by Aaron Dessner

I have nothing to go off when judging Aaron Dessner’s production. He’s the frontman behind The National and he does contribute to the album vocally on one of the worst tracks but usually takes a backseat in production. On Folklore, although Dessner was still greatly involved, it felt a lot more varied and interesting from Taylor particularly, who went on unexpected songwriting angles and some melodies I genuinely love. I’m not a fan of the indie-folk direction for her – I think her style of writing and vocals actually fits better on pop tunes, which might be a hot take but I mean, my favourite album from her is Reputation so I’m full of those when it comes to Taylor. I can appreciate when it’s done well, though, and I like her storytelling abilities most of the time, unless of course the song itself is nothing to be interested in... and, I’m sorry, but half of Folklore was aggressively dull, particularly the back half, and I can barely make it through songs like “exile”. Maybe I just don’t “get” it, maybe I’m just not “listening hard enough”, or maybe, perhaps, I’m just not a fan of Taylor doing exactly what she usually doesn’t do on her albums, which is bore me. Say what you want about Red, 1989 or even Reputation, and ESPECIALLY Lover, but they take risks, intriguing ones at that and whether they’re successful or not is obviously up to listener’s interpretation, but regardless, it makes for a listen that is unpredictable and often fascinating. Lover is an absolute mess full of pretty mediocre attempts to do... well, anything, but it’s a better listen than Evermore out of sheer intrigue alone. It’s interesting to hear Taylor try all of these different musical ideas, whether it’s her trying obnoxious bubblegum-pop on “ME!”, ballads with the Dixie Chicks, 1980s-style synth-pop on “Getaway Car” and the majority of 1989, or even industrial-pop rapping on “...Ready for It?”. It’s not interesting to hear her make 16 quite similar songs and less than half of them have a unique flavour to them that makes the hour-long listen feel like you gained anything from it. It’s not just the album experience either that Folklore and Evermore lack, but it’s also the songs themselves, particularly in Evermore. Let’s look at “cardigan”, one of the best songs on Folklore, with Swift’s pretty low-key but emotive delivery, a noticeable and profound refrain, songwriting that evokes a pretty sweet metaphor and tells the start of a story that runs throughout the record in a way that can detach itself from the rest of the record, infectious choruses (even if they are cribbed somewhat from “Wildest Dreams”) and that subtle drum machine with pretty intricate percussion patterns covered by gorgeous string compositions, and a four-minute runtime that feels worth it, especially for that last chorus and verse, an effortless switch-up. Now let’s compare it to its equivalent lead single “willow”, a track with a checked-out Taylor singing pretty janky, awkward melodies over a cluttered mess of guitar strumming, with absolutely none of the very few ideas Taylor has musically actually succeeding. The song has to drop out entirely because Taylor and Dessner apparently can’t handle the three over-lapping ideas just in the first two verses and choruses, and whilst it still has that switch-up for the third verse/bridge, it does not feel worth it because there is another, over-long chorus with no lyrical adjustments to the hook that made the subtleties in “cardigan” so special. The song is 20 seconds or so shorter than “cardigan” but feels a lot longer because of how directionless the outro is, and none of it feels like anything other than a pretty folk-pop tune (which is barely qualifies as anyway because of how ugly these acoustics are, and how meandering Taylor’s cadence is throughout). She tries out the chorus with and without the falsetto for no reason other than to extend the song by the end and it makes effectively no change to how the chorus feels like it’s delivered. I’ll give “willow” credit that it’s listenable and a lot less boring than other tracks on Evermore but I can’t see this as anything more than a failed attempt that should be met with a “game over, try again” screen. I’d accept the musical chaos of misshapen ideas if I ever felt it was genuinely warranted. On Evermore, nothing Taylor does is what the audience deserves accompanying – or maybe even improving on – Folklore. Sorry.

Conclusion

Yeah, “no body, no crime” by Taylor Swift featuring HAIM takes the Best of the Week, but it was a toss-up between her and Kid Cudi, who gets the Honourable Mention for “Show Out” with Skepta and Pop Smoke. For the Worst of the Week, it’s really picking your poison between sickly Christmas duets, but I’ll ignore them and give it to Becky Hill for absolutely butchering “Forever Young”, with a Dishonourable Mention also going to Taylor Swift and “willow”. Here’s the top 10 for this week:

You can follow me on Twitter @cactusinthebank for more ramblings and Taylor Swift hot takes, if you’d want to see that. I won’t post another episode before the 25th so, if you’re reading this, merry Christmas, everyone, and I’ll see you on Boxing Day!

[aion-rsa]

How Hulu’s Books of Blood Movie Taps The Mind of Clive Barker

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The arrival of Clive Barker’s Books of Blood in 1984 and 1985 was an earthshaking event in horror literature. No less an authority than Stephen King called Barker “the future of horror,” leading to a tsunami of acclaim for the six volumes of collected short stories. Barker’s vast imagination, his creation of new monsters that eclipsed standard fare like vampires and witches, and his visceral, blood-soaked prose were a jolt for the horror genre that probably influenced a generation of writers and filmmakers.

Speaking of the latter, a number of stories from the books were adapted for the screen, including the title tale itself (which acted as a framing device for all the stories), “The Midnight Meat Train,” “Dread,” and “The Forbidden,” the latter of which formed the basis of the soon-to-be-rebooted Candyman franchise. Barker himself directed Lord of Illusions, based on the Books of Blood story “The Last Illusion.”

Now a new original movie, also called Books of Blood, is premiering on Hulu after initially being developed as a possible TV series. Directed by Brannon Braga (Star Trek: The Next Generation, Salem), written by Braga and Adam Simon (Salem), and executive produced by Seth MacFarlane (The Orville) and Barker himself, the film is an anthology inspired by Barker’s books that features two mostly original storylines and a third loosely based on the story “Book of Blood.”

“It came about after decades of dreaming about being involved in some adaptation of the Books of Blood as an anthology piece,” says Braga when asked alongside Barker about the genesis of the project during a Zoom chat. “Eventually, several years ago, I was introduced to Clive, and Clive was open to the idea. And then, of course, we set out together on a weekly basis for several hours every week, starting to talk about what stories we would like to do.”

Braga does admit that the initial idea was for a TV series featuring different stories every week. “It did start, very initially and very briefly, as a TV anthology concept,” he says. “But we realized that these stories would work better in slightly shorter form as an anthological film. Then it was about choosing the three stories that we wanted to do, and picking an anthological structure. We kind of looked to Pulp Fiction, which is not a horror movie, but an anthology movie, in terms of how the stories could standalone, cross-pollinate, and make it cohesive as a film.”

Barker chimes in, “Even though it’s several stories, it’s really one narrative, if that makes sense. The story begins, and you think you’ve left that character and that situation behind. You move on to something else, only to find out you haven’t left that character behind at all. Everybody is somehow connected to somebody else. You’re at six degrees of separation, for people who are going to die.”

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In the first story, Yul Vasquez plays a professional assassin sent out to retrieve a valuable relic called “The Book of Blood” for his benefactor, prepared to kill anyone who stands in his way (there are aspects of the Barker story “On Jerusalem Street” in this tale). The next segment follows Britt Robertson (Tomorrowland) as a troubled young woman with a sound phobia, who leaves home on a cross-country journey that leads her into a terrifying trap.

The third story is the one based on “Book of Blood,” in which a grief-stricken researcher (Anna Friel) thinks she’s met a man (Rafi Gavron) who can legitimately speak with the dead. As Braga indicates, the movie has a sort of circular or inside-out structure, with the pieces falling into place by the end.

“A lot of characters, we meet them, we meet again, and then they come to some sticky end or another,” continues Barker. “There should always be an element to visual surprise. What was great is you don’t really encounter the material, which is the ‘Books of Blood’ literally, until quite a ways into the narrative. When the shocks really start to come along, where the blood really starts to get shed, is not in the conventional place in a horror movie.”

As for incorporating an original story with existing Barker material, Braga says that even that emerged out of his conversations with the author. “Imagine sitting in a room, one-on-one with Clive Barker, and him telling you that he has some Books of Blood stories that you haven’t heard yet,” he reveals. “And that’s what happened. Two of the stories are Clive Barker originals that we developed together, and one has been absolute necessary to the movie, because it’s the origin story of the Book of Blood.”

“I feel as though I, as a creator, owe my readers surprises,” adds Barker. “Part of the fun of all of this, I think, is the stuff in there that you’ve read before, I should say. But there’s also a lot which comes out of nowhere. It’s really only the story of the physical Book of Blood, which is something which had already existed. The rest of it’s new.”

Barker goes on to praise his collaboration with Braga on developing the stories for the movie. “Part of the fun of the two of us working together, honestly, is he has got an amazing imagination, and he’s an incredible developer,” enthuses the author. “It’s bizarre, because very often we find that we have almost lines in common, in our heads. I hope Brannon feels the same. He’s my favorite collaborator. He’s the guy. I’ve said that to him already, he knows that. I hope we’ll be able to do many of these.”

There are plenty of stories yet to be adapted from the Books of Blood (including our favorite, the classic, “In the Hills, the Cities”), so the possibility of doing more movies–or going back to the original idea of an anthology TV series–seems like an obvious way to go if this first entry is a success. Some 35 years after they were first published, Barker’s Books of Blood still set a gold standard for short-form, original horror stories that stand the test of time.

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“I hope this movie introduces a new generation to these books,” says Braga. “It was kind of like the Beatles releasing all their albums on the same day. I couldn’t believe it (when I first read them). I was like, ‘There’s another volume of this? How did this guy…?’ The stories had no vampires, they had no werewolves, none of the traditional horror elements. These were images you never thought of. Every story is so original, and so different in tone. Some were funny. And it made me realize what horror could be, for really the first time.”

Books of Blood is streaming on Hulu starting today, Oct. 7.

The post How Hulu’s Books of Blood Movie Taps The Mind of Clive Barker appeared first on Den of Geek.

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