#like the synthy 80s sound is so good

[thatsnoneofurdamnbiz]

the ace rimmer theme my beloved <333

[prettyoddfever]

Panic was named Spin's Artist of the Day on October 3, 2005... a little over a month after they started touring.

It's almost like Panic! at the Disco knew critics would be ready to hop on their dance punk bandwagon within a few synthy beats of their debut album. 'Well we're just a wet dream for the webzines,' wails Brendon Urie on "London Reckoned Songs About Money Written by Machines," the second track on A Fever You Can't Sweat Out. And they might be just that: Panic's uber-catchy melodies are quite literally some of the most likeable songs you will hear all year, which is hardly shocking considering that they sound like the bastard offspring of the Killers and Fall Out Boy. The comparison to Fall Out Boy is not surprising as it was actually FOB's Pete Wentz who made Panic the first signing to his label Decaydance, an offshoot of Fueled by Ramen. But Urie's emo-tastic vocals and the severity of the group's hooks are where the comparisons stop: Panic's songs are more '80s dance party than Warped Tour fodder. Formed in the Las Vegas suburbs (so the Killers comparison is not off base either), Panic's four members -- Urie on vocals and guitar, Ryan Ross on guitar, Spencer Smith on drums, and Brent Wilson on bass -- are all still remarkably young. While they admit to starting as a blink-182 cover band, Panic has since crafted a debut of smart, prancing songs with titles that would make Minus the Bear proud: 'The Only Difference Between Martyrdom and Suicide Is Press Coverage' and 'There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet.' Rather than writing all eleven songs exactly the same way, Panic split the album in two, with one half recorded using drum machines and synthesizers and other using Vaudevillian piano, strings, and accordion. That split, however, is not really noticeable unless you know to listen for it: The songs blend together into one seamless aural experience that worms its way into your head and mercilessly nests there. Between Panic's ruthless hooks and their clever, self-aware lyrics, it's pretty much impossible to argue with Urie when he sings, 'Swear we'll shake it up if you swear to listen.' Consider this our solemn promise, boys."

[holdmecloser-gandydancer]

@blupjeansweek May 29th: AU

[remember when I said I'd write the arcade date from Starblaster Lanes?]

“How have I never realized that this place was so close to my job?” Lup asks, following Barry through the front door of the arcade. A rush of air conditioning tumbles over them. It’s dark inside the arcade, the windows treated with a deep tint. The flooring isn’t the garish nightmare carpet Lup was expecting to see in an arcade, rather some dark tiles with faint specks of holographic glitter adorning it. A synthy 80s pop playlist plays quietly, under the sound effects from countless arcade cabinets.

Barry hands the guy by the door some cash and gets a nod in return. “It’s one of those things that either you know someone who goes here all the time and they drag you here, or you just never find out about it. It’s not the flashiest building, you know?”

And it’s true. The facade of the building is a dilapidated looking brick. No large sign like its neighboring businesses, just a peeling decal on the front that lists the hours and the price for an all-day entrance. 

“How’d you find this place, then?” Lup’s astounded at the sheer variety of cabinets. Lots she’s heard of, countless others she never could have even dreamed up. 

Barry moves through the arcade with a confident kind of comfort; he’s in his element and it’s clear to see. “I moved here when I was first starting grad school and I didn’t really have a ton in common with my classmates. They were nice enough in lecture and everything, I just never got around to really getting to know them. So, I took a lot of walks and stumbled into this place by accident, But it was like my paradise, you know?”

Lup stops in front of a game that features what looks like Godzilla, King-Kong, and a werewolf. She nods to Barry. They pick the Godzilla and werewolf, respectively. “I get that. Embarrassing as it is, that’s why Taako and I dig the bowling alley so much. We got into so much shit in middle school that our aunt just started dropping us there with some cash on days she was at work early. And now we work there. And it’s lame, probably, but it was a nice place to lay down some kind of roots.” She grimaces as her character bites into a piece of building that was concealing a toaster and falls down, defeated. 

“It’s not lame! It’s nice, feeling comfortable somewhere.” Not too long after the demise of Lup’s giant lizard, Barry’s werewolf falls victim to a similar fate. They both share a laugh about this and meander to other cabinets, idly playing a few, laughing when they lose. 

Lup eyes the massive mural in the back depicting all manner of pop culture icons, and she and Barry take time pointing out the best ones. Lup’s especially fond of what seems to be Dot Warner, though she appears bereft of her brothers.

At long last, they approach the Space Invaders cabinet. Being his home turf, Lup lets Barry take the first crack at the machine. He racks up quite the respectable score; nothing that takes down his personal best, but something to knock poor old Bob outta seventh spot. 

Lup claps and rubs her hands together like a villainous cartoon spider. "Alrighty, that was a pretty good showing but there's a new sheriff in town." She sidles up to the machine and meditatively hits the new game button.

She dies fairly quickly.

"Yeah, see that's what we in the biz call a trial run," Lup says casually, stretching her arms and rolling her shoulders. Barry laughs good naturedly. She bounces on her toes a few times before readying herself in front of the machine again.

She does markedly better this time, the trial run seeming to have worked magic. When she exhausts each of her lives, she's delighted to realize she's managed to snag a spot on the board. Near the bottom, but there nonetheless. 

"Just going easy on me, huh?" Barry asks, a grin pulling at the corner of his mouth.

"Exactly right. Couldn't unleash my full force right here. Then you might get turned to goo and I can't in good conscience subject the employees here to goo cleaning," Lup says seriously. 

"You're just so kind and thoughtful."

"I am. I'm like the Princess Diana of this arcade."

Barry looks at her, bewildered. "I certainly hope you're not," he sputters.

Lup grins. "Yeah, I guess that wouldn't bode well for either of us, huh?"

"It wouldn't!" Barry nods toward the tiny snack counter in the back corner, boasting two empty stools and delicious 80s prices. "How about I buy you a soda while we figure out how to muscle our way into the line for the N64 over there?"

"Think you could throw in one of those dubious hot dogs on the rollers?"

"You drive a hard bargain, but I think we can make that work."

Lup grabs his hand as they slowly make their way to the counter.

[thefootnotes]

hit me hard and soft first listen

four step scale: skip, playlisted, green heart, life altering

SKINNY

beautiful melodies oml

"THE OLD ME IS STILL ME AND MAYBE THE REAL ME AND I THINK SHES PRETTY" HOLY SHIT BARS BARS BARS BARS BARSSSS

the vocals on "cry" are fucking beautiful

i get kind of jazz vibes from the instrumental of the bridge?? like. idk

just a beautiful and heartbreaking track

STRINGS?????

the gaspy breath in the background oml

life altering

LUNCH

already heard snippets of this one before (as in the chorus on tiktok mostly)

omg??? the transition is so smooth but they're such different vibes

well that's kind of gay

"it's a craving not a crush" is so. yes

the bass is sick

did i cringe at the rhyme of "enough" and "stuff"? just. just a lil

"you need a seat? i'll volunteer" gives me absolute throwbacks to the time my partner volunteered to be my vigilante shit chair (long story) bEFORE WE WERE DATING

the echo and then the the what the fuck is this synthy shit??? it's????? agh?????

the gasps at the end are. odd

playlisted

CHIHIRO

i've heard people talking about this one

the delivery of the run-on lyrics is beautiful

yOUouOUouOU (/pos)

oh wait that's a hard hitting lyric shit my b

the high vocals???? king shit

what's with all the gasping on this album is this a sex thing or a sad thing or just a billie thing

THE SYNTH THERE SHIT THIS IS A MASTERPIECE

okay lyrically SKINNY is my favourite so far but i'm loving the musicality on this one

the PAUSE gkdjejduufsjjsofjrje

green heart

BIRDS OF A FEATHER

wait i think i heard this on tiktok

"Til i rot away, dead and buried" 🤝noah kahans "til we're food for the worms to eat"

this is just a really beautiful "i fuckin love you" track and ughhhhhhhhhh

a lotta "hm"s in this second verse

you're so full of sHIT

all the overlaying vocals agh agh agh that's the good shit

playlisted

WILDFLOWER

so far it all flows together so beautiful agh

"things fall apart and time breaks your heart" first lyric of the track. prediction: i'm gonna cry

"i see her in the back of my mind, all the time, like a fever, like i'm burning alive" EVERYBODY GO HOME THIS IS FEELINGS™️

consulting genius because i'm losing some of the meanings here

THE BUILD UP TO THE CHORUS FUCK ME

outro???? beautiful vocals

just a very beautiful very sad very fjdksiucudhshsb song. yk

green heart

THE GREATEST

the big breath at the start djfjdijddn

the little plucking is beaut

"you don't wanna know how alone i've been" just take my heart and my will to live and also my soul

yes you are the greatest :(

the build up shit shit shit i'm gonna bawl

ALL THE TIMES I WAITED FOR YOU TO WANT ME NAKED MADE IT ALL LOOK PAINLESS MAN AM I THE GREATEEEEEEEEST

SHIT SHIT THE BEAT DROP AND THE FJDITIFJJRJRJEJDUDJDUJEJE

the backing vocals are beautiful and the drums and the snofirjwkdirhssjmsksjej

JUST WANTED PASSION FROM YOU JUST WANTED WHAT I GAVE YOU

this is sickening. i am sickened /pos

the- i- "man am i the greatest" -> "you could've been the greatest" is sickening spfmkrisjshdhe

life altering

L'AMOUR DE MA VIE

the sass in her tone lmaooo

"i said youuuuuu youuuuuuu were the love of my life"

is this just a "yeah fuck you i tried" song because that's the vibes i'm getting

WHO IS THIS SON OF A BITCH (i don't follow her personal life like. at all. i just know she dated that one really ugly dude who was way older than her)

"ITS NOT MY FAULT I DID WHAT I COULD YOU MADE IT SO HARD LIKE I KNEW YOU WOULD"

"i was the love of your life but you were not mine" ciritjdiuendiwisisjsjsjsjduududhdud

bestie what the fuck is happening the. vocoder??? okay sure bestie.

i'm ngl i don't love this bit but. solid track

oh shit wait the percussion and the- the 80s vibes the fuck what in the found heaven is this

woah there cowboy easy up on the vocal production this sounds like fckn barbie girl

okay not my fav. it was good but it got...really odd and two very different vibes and i just don't think they worked together for me personally. loved the first vibe but. not the second one

skip

THE DINER

okay so that's weird

the echoes are. weird. cool but weird

i don't know it's like. it's okay but it's not really my vibe

wait that's gay-?

"if something happens to him, you can bet that it was me" bestie??????????

did she just- dox the- okay. 8229931670 ass bitch.

yeah no it was alright ig but really just not my vibes

skip

BITTERSUITE

what is it with pop singers and 80s synth in 2024

oh???? oh!???????? the drop down to the bass and vocals is gorgeous

"i've been having dreams" reminds me of trampoline by someone (i don't remember her name. shayd maybe?) and zayn

the little beat in the back is gorgeous

that beep shit caught me the fuck off guard

brother what does lamour de ma vie mean-

oh oH OH ALRIGHT oliver stark is l'amour de ma vie

what is this- what is. okay

wait what did she say

playlisted

BLUE

WAIT IVE HEARD THIS ONE

fucking depressing no more to add

green heart

THE ALBUM

it's really beautiful how it all fits together and every track flows into the next

i don't know how i feel about so many different vibes packed into ten songs but the product is a solid album so i'll take it

lyrically some of my favourite work of hers

the bass throughout the whole album is really strong and beautiful

i forgot to do an introduction when i first listened so. no intro on this reaction. my bad

overall i didnt fall totally in love with the album, but there were some songs that really hit the mark for me.

[turntabless]

🔮 la folie - the stranglers 🔮

welcome back to turntable takes, folks!!! hope everyone’s doing wonderfully <3 this week (said so very loosely. i underestimated how hard it would be to do them every week but that’s on ME!) we have a gem <3 i know 2 songs off of it and they constantly occupy my mind! so! if you’re checking this out, thank you!! and hope you enjoy <3 once again i am very musically illiterate and don’t know theory!! this is me going AWOOGA!!!

also i’m not including the bonus tracks off the reissue because i’m TIRED. SLEEPY EVEN. but they’re also really good!

genres: new wave, punk rock, baroque pop

non stop

okay immediately loving the lil tippy tappy drums with a little echo that fade in! cute lil organ lick that is so fun!! i’m also a big fan of talk-singing when done in a sexy way and this is that! GUITAR crunchy echoing bass coming in. OH those drums fuck. this is just so fun!!! very sarcastic singing its scratching my brain!! and the guitars are so cheeky. layered vocals crescendo in volume cute like harmonies??? ooooo stripping it back then speeding up going louder again is such a choice i love it here. CHANGING TEMPO let’s go!!!

everybody loves you when you’re dead

ohhhhhh god i love the keys intro here. bass is sexy and so clear and i’m in love. the odd pitches with the guitar is so nice ! yummy drums!!! synthy business! punky talk vocals with layering going on is so good and these lyrics kinda make me feel insane. god that keyboard part and odd wavering synth in the background is so nice. harsh cymbal type sounds YUM! PICK IT UP LETS GOOOO cute lil tempo change and then right back to it!! ohhhhh slow little breakdown descending in pitch

tramp

OHHHH. flat guitar really interesting here. WITH BUZZING KEYBOARD AND BASS ????? drums are really!!! OOOOOH an instrumental soundscape baby!!! i love these vocals he’s got a great voice very punky and when he pitches up it’s really pretty??? also love the return to the darker sounds during the chorus? BASSSSSSS AH GOD !!!!! love the speed and the experimental nature of the chorus !!! 80s video game synth yummy. there’s something so dancy about this and god the vibrato and INSANELY nice drums????

let me introduce you to the family

OH FAST DRUMS LETS GO!!! ooooo this bass? is it bass? descending thing is so intriguing! faaaast guitar playing a really fun ear catching riff that’s like. this really is so experimental here. okay there’s some freddie m rasp at some parts which are really interesting and then the harmonies and layering of the vocals in the chorus are crazy! that bass is so consistent and so clear and great!!! ohhhh switch up that RIFF babes!!! it’s all very like buzzy fuzzy yum! ohhh TURN up the volume on the vocals add another lil keyboard thing this is sooooooo intricate!! ECHO on the voice for the fade-out ending with a drum beat to end everything!

ain’t nothin’ to it

ohhhhh that guitar is yummy. drums go hard in this beginning. BASS I HEAR YOU BABY YOU SHINE!! these vocals are so fun and sassy!! oh that odd lil dissonance in parts of this song is so cool??? and the lil changes in riffs and pitches sound really cool <3 ohhhhh BREAKDOWN lets gooooooo!!!! fuck it up instrumental section!!! BASS AND DRUMS ONLY OH LETS GO!!! this is really cool i’m obsessed. ohhhhh????? ohhhhhhhhhhhhh guitar little staccato notes??? this repeating instrumental part is so intriguing colour feel taste wise??? it’s so dark and a little unsettling with the occasional flatness but it’s nice????

the man they love to hate

BUZZY KEYS LETS GO !!! god. goddddd. that bass goes so hard. ohhhh crunchy soar on that guitar is so nice. drums going HARD. echoing lil keys are fun!! talk vocals as always are so fun !!! PITCH UP LETS GO !!! uplift meeee !!! back to the really punchy instrumentals on top of those buzzy keys that add such an interesting texture!! some little sweeping synthy kind of cymbal effect? ohhhhh. this is so fun !!! also the little whispered backing vox are fuuuuucking scrumptious! oh jesus it’s getting darker babes…… in tone in lyrics and then right back to light???? what in the world how is this this way. GUITAR FUCK IT UP cute lil solo! ohhhhh PLAYING WITH SHADE AGAIN THIS IS SO…… those lowest instrumental notes are so deep and fat and intriguing.

pin up

fucking insane drums i love you. ohhh??? xylophone-esque twinkly keys? GUITAR THERE YOU ARE BABY! sounds crunchy and thin but in such an atmospheric way! the “oooohhh”s are really nice with the bit of reverb on it??? this is such a fun little song? those twinkly xylophone sounds are back i love!!! the instruments are so so good at melding together so that those lil keys are picked out of the fold so well???

it only takes two to tango

ohhhhhhhh this is such a fun little intro… i don’t know what the name of this stylistic choice is but it’s like someone swinging you around with the drums bass guitar and then you get layered talk vocals with a BEAUTIFUL ascending like… quartet harmony going on. this is so fun!!! warbling keys again they’re so good at atmospheric sounds here. also sorry those harmonies are needed inside my bloodstream stat! OH KEY CHANGE! uh ohhhhh bestie the dissonance is back in the vocals but not in the instrumental i kinda love the effect??? faaaaaaat guitar just swingin around <3 OH the warbling is so interesting looking slightly more haunting as it progresses! LITTLE DRUMMER BOY GOING OFF WITH A FUN LIL HIGHER PLUCKED GUITAR RIFF? this is so….

golden brown

THIS IS MY BABY ONE OF MY FAVOURITE SONGS !!!!!! HARPSICHORD WHAT THE FUCK!!!! also with a bassy keyboard behind it! god his vocals in this are so buttery so yummy with just a hint of nasality? also god this fuckin time signature is all fucked the harpsichord is playing in a completely different time. bass and drums come into the fold so carefully subtly it’s beautiful. everything is just a little heavier but it’s still so light and mysterious and plain cool??? guitarrrrrrrrrrrr oh the reverby echo???? this solo always gets me !!!! ohhhhhh vocalisation that’s so echoey and sooooooo otherworldly is insane. the deepness and the layering of it is Fucked. this is truly such a soundscape AGAIN! chu bee fair idk how they’re so in sync when the times are so different.

how to find love and happiness in the present day

ohhhhhh this is different. screechy little synthy things going on to more spoken vocals with an insane lil bass trying going on? so sectioned with the vocals and instruments it’s really cool!!! the layering of the guitar pitches are so nice. AH TWANGY GUITAR mixed with some bongo vibes!!!! nah this is so fun!!! ohhhh these lil drum things sound like trickling raindrops. not sure what exactly they are but it adds such a cool effect. god that high frequency synth solo what the fuck !!!!! so insane so sick!!! ohhhh it fluctuates so nicely and smoothly between notes. descending vocal line with fuzz and partially covered by the instrumentals TO A FADEOUT

la folie

Oh This Is Grand. this intro is so beautiful???? what sounds like strings (made with keyboard) with a high smooth guitar part with echoey reverb and bass. OH ITS A SPOKEN PART IN FRENCH. beautiful. these words are so lonely and beautiful too and that’s conveyed so well with the effects placed on the voice itself? drums………. god this is so twin peaks right now !!!! DEEP SUNG VOCALS WHISPERING. back to spoken word with the bass getting a deeper sweeping moment??? oh beautiful deep staccato notes. there’s such a cool effect put on his voice this is….. really cool. the stringy synths really paint the background of this with colour. OHHHH high synthy parts joining the mix in a fun little flourish!!!! that bass…….. is so genuinely yummy holy goooood. spoken word so cinematic and lovely. the “la folie” being sung so deeply and whispery is so nice and comforting….. i love this. beauty guitar part at the end so soft so nice so echoey. drums holding down the fort so well UGH.

thoughts: okay. okay. i was genuinely surprised at how varied and genuinely INTERESTING this album was? like the tempo variations the key changes the instruments used the shifting parts the vocals and the USE of all of it to set tone? the tone itself was also so insane and has to be mentioned because there was so much interplay with shadow and light in each song?????????? incredible. i know talk-singing isn’t for everyone but i think it’s cinematic and cheeky and fun so i loved it. l o v e d. genuinely surprised at this guys!!!

[randomvarious]

Today's compilation:

Old School 1993 Funk / Hip Hop / Electro

I think what's most striking about this very dope collection of mostly 80s party jams is that, when this album was originally released in 1993, people were *already* referring to this music as being representative of the "old school." I mean, the latest song on this thing is Rob Base & DJ E-Z Rock's 1988 classic, "It Takes Two," and while that's universally regarded as a hands-down old school party-rap standard today, it's wild to think that people were willing to call it "old school" *just five years after* it first came out. Like, imagine considering literally any song from 2018 old school right now?! Crazy, right?

But this fantastic release seems to have already known the deal: three years after the 80s had ended, and still to this day, we were going to refer to a lot of that decade's output as definitively old school. And the brass at Thump Records were clearly proven right by this notion, because, even in these current 2020s, we still refer to this album's overall sound—that electro-synthy-fat keyboard bassline-post-disco-boogie-funk stuff—as 100% old school; not much of the material that preceded it, and no agreed-upon opinion about anything that came after it, either; but one thing that we all seem to know for certain is that the 80s were definitely a part of the old school era.

So, if you're looking for some of those vintage clap-and-stomp old school block party grooves, then this CD is simply essential listening. We've got total classic good-time party-rockers all throughout this thing, like Parliament's "Flashlight," George Clinton's "Atomic Dog," and the Rick James-produced "All Night Long," by the Mary Jane Girls. Also another big hit that topped Billboard's Hot Soul Singles chart in 1981 with Frankie Smith's "Double Dutch Bus," which famously featured a bunch of Ebonic lyrics that would later go on to be sampled by Missy Elliott in her own 2002 rap smash, "Gossip Folks":

Teena Marie comes through with her #3 R&B hit, "Square Biz" as well, and pioneering Brooklyn rap crew, Whodini, deliver two cuts off of their 1984 platinum-selling LP, Escape, with one of their biggest singles, "Friends"—whose spine-tingling electro keys would find their way into Nas' "If I Ruled the World," and whose chorus would also get interpolated by Everlast during his rootsy folk-blues phase on "Ends"—and its B-side, "Five Minutes of Funk."

And, really, I could've picked pretty much any other random handful of songs from this album and written as glowingly about them as I did the ones above, but I don't wanna overload this post. So just know that just because I didn't end up devoting a few words to most of these songs, that doesn't mean that they don't deserve an equal amount of praise, because they definitely do.

A terrific CD, from top to bottom, that makes for an awesome way to channel 70 minutes of some of those beloved and bygone 80s old school party vibes.

And if you want *3 and a half more hours* of 80s goodness like this, I also have my very own Spotify playlist that's of a slightly different stripe, which includes more dance-pop and freestyle on it, along with classic electro, hip hop, and a little bit of new wave too 😊.

Highlights:

Frankie Smith - "Double Dutch Bus" D-Train - "You're the One for Me" Tom Browne - "Funkin for Jamaica" Parliament - "Flashlight" Whodini - "Five Minutes of Funk" George Clinton - "Atomic Dog" Mary Jane Girls - "All Night Long" One Way - "Cutie Pie" Rob Base & DJ E-Z Rock - "It Takes Two" Teena Marie - "Square Biz" Whodini - "Friends" The Gap Band - "You Dropped a Bomb on Me" Spyder-D - "Smerphies Dance"

[busstop-on-cornelia]

Ok, 1989tv is HERE and, as promised, there are thoughts (and observations). The songs of course slap, but this is about things that are NEW. New observations and red-string thoughts.

RAINBOWS:

Style has rainbow colored rain on the pavement.

Out Of The Woods: “screaming color” flashes rainbow, but so does “oh I remember” before the final chorus

I Wish You Would: rainbows pulsing in circles around the lyrics of its bridge. The light swooshes are white with rainbows. Also the thing is made of blue and pink and purple accents and words (bi colors).

How You Get The Girl: the whole thing. Multicolored and rainbowed up.

There’s a TON of galaxy/celestial imagery. The men’s faces in I Know Places are starry, the moon is everywhere (specifically in the Out Of The Woods video), Wonderland, AYHTDWS, IWYW, and SIO (to a smaller extent). Additionally, there’s a lot of eyes turning into galaxies (Clean, AYHTDWS).

Storms where you wouldn’t expect them: the road in Style and the bridge, and the background in New Romantics.

Out Of The Woods: LOVE the video. I’m down with those wolf and moon t-shirts, and this video is like that brought to life with some paparazzi/media frenzy symbolism. Gorgeous video—one of my faves.

New Romantics: the song itself inspired by the New Romantics movement (itself based on denying you were a part of it), which was known for its gender-fuckery and queer similarities. This video shows the lyrics on an art-deco stage in bisexual lighting—which I’m not saying is a reference to how many queer people are in the entertainment industry and the arts, but it could be.

Say Don’t ago is SOO FUCKING GOOD YOU GUYS. It’s like if Clean and AYHTDWS had a baby.

Now That We Don’t Talk: she “can’t pretend it’s platonic” and kept herself “shrouded in mystery” to “protect [her] dignity.” Sounds very much like closeting. Also, her ex grew out their hair—something men can do, but something Taylor’s exes haven’t really done. And Harry had longer hair while they were dating.

Suburban Legends: filled with high school references, and the very notion of living a suburban is such a small-town, high-school-sweethearts things. Very Dianna coded with the Glee-ness of it all.

Is It Over Now? sounds a little like Labyrinth and OOTW; also, Tay mentions having the “decency” to “keep her nights hidden,” which also sounds very closeting-coded.

Over all:

The sound is fairly faithful to the original, but the guitars sound a little wonky, like too bright and synthy. Less warm and like someone noodling around, and more like an electric guitar someone forgot to plug in. However, I can look past that. I appreciate they kept the synth riffs at the end of the HYGTG chorus, though.

The production on the Vault Tracks sounds much more Midnights than 1989–glossy new production that sounds a little unpolished.

She’s really leaned into an 80s vaporwave aesthetic with some videos—SIO, IWYW, New Romantics.

The visuals are just gorgeous—all these videos with dynamic, high-quality video. And a lot of more obscure/artsy visuals, too.

I love the album (obvs, 1989 is one of my old faves). Some do the vault tracks I wasn’t too keen on, but I’ll have to listen more than once to form a proper opinion.

To close out:

[kingofmyborrowedheart]

My reactions to 1989 (Taylor’s Version)

WTNY-Oh she’s crisp, a little more pulsaty, there’s some effect on her vocals on the chorus, her voice sounds so good

Blank Space- a little extra umph in that ay, I feel like I hear the guitar a little more than the og

Style-That intro sounds a little different, not as hard hitting, that mmm was a little more flourishy, not sure how I feel about the backing vocals on the bridge :/

OOTW-The little synthy sound in the production reminds me of the Stranger Things score, oh her voice at the end of the bridge is so nice

AYHTDWS- Damn that intro is identical to the original, her STAY! vocal is so much stronger

SIO-It feels a little more echo-y on the vocal, her little giggle!!!!, her laugh going into the bridge is adorable

IWYW- Very clear “stand back where you stood” those backing vocals are nice, love the way she sings “dark,” those little vocals in the background during the final chorus sound new

BB-Her voice sounds so good on this

HYGTG- I don’t know how I feel about that little cymbal like sound in the background in my left ear, the chorus production is a little different a little thumpier, backing vocals “ohs” are nice and fun

IKP-Oh she sounds so good on this, is there an added “I know places” whisper in the background of that last chorus?

Clean-That’s a new little sound in the intro there, her voice is so gorgeous on this

Wonderland-Those “ays” are so nice, that was so good

YAIL-The way she sings “touch” is so pleasing

NR- There’s a little sass to her voice that I love

“Slut!”-Interesting very light, like the usage of colors in, ooh the way she sings handprints, rose!, sticks and stones!, this is wasn’t what I was expecting, her vocals are so lovely, “this is luxury->your lips are my idea of luxury,” like the yells on the final chorus

Say Don’t Go- Synthy, kinda reminds me of Clean’s production, it’s building up, reminds of The Outfield’s “Your Love” a little bit, like her shouty bits, this feels 80s, there’s so many getaway car parallels, she really needed the word situationship huh, card motif!, I can see this growing on me even more, yikes 😳, I like the guitar at the end there

Now That We Don’t Talk- Okay Terminator, ooh interesting effect on her voice, again we’re building, she sounds mad on that talk, this reminds me of “Don’t You Want Me” by The Human League, Shout out Andrea Swift!, LH parallels!, not the yacht!! Oh I want her to be longer

Suburban Legends-Ooh that imagery, gorgeous parallel, I like the way she sings the title, another high school metaphor like MAATHP, second verse is very John Hughes imagery/movie like, ooh vocals!

Is It Over Now?- Was that “I Wish” in the background?, that’s the noise I make when I surprise myself, more roses!, very IBYTAM, scandalous!!, not the fucking boat again!, Wonderland parallel, OOTW backing oh like on that second chorus, kinda “Boys Of Summer” like in the synth, reminds me of Foolish One with mixed muses

[blackchantilly]

I was tagged by @rivetgoth to list 10 songs I like this month. I'm going to try to pick a few other songs I haven't been talking about as much, probably with a couple of repetitive exceptions, lol. Most I've been listening to on my summer playlist, but a few have made it on my not-yet-finalized fall playlist. In no particular order...

"Tall in My Room" by Public Memory: The album this is on just came out at the beginning of the month and it's FANTASTIC! This is probably my favorite song from it, but it's pretty much flawless all the way through. I've been describing it as haunted house trip hop (so like...darkwave/trip hop, but in a very specific way). We're going to see them live later this month. 😁

"The Skin and the Glove" by Drab Majesty: Definitely their best song on the kind of disappointing EP they just put out. They've delved into '90s shoegaze recently, and this is the best example, with some nice psychedelic influences that I don't hear enough in modern goth music.

"Hunger Cries" by High-Functioning Flesh: I honestly thought this song was from the '80s when I first heard it. They really nailed the Remission-era Skinny Puppy sound. I enjoyed the entire album.

"Normalized" by Vision Video: I heard this on the above-tagged dude's blog and enjoyed it! The chorus kind of reminds me of "Vicious Pastimes" by House of Harm but with a more classic goth rock sound. I had avoided checking out this group because I think they're kind of a TikTok thing, so I was pleasantly surprised to realize that they are actually good.

"Model Citizen" by Male Tears: I've been listening to them a fair amount lately, and this has been my favorite. Just a really fun darkwave song. Their song about Skinamarink is good too, but I haven't listened to it as much (yet).

"I Been Young" by George Clanton: Another '90s throwback. He said it was supposed to be a '90s adult contemporary song, lol. It's a fantastic pop song even if you didn't spend your childhood listening to "Come Undone" by Duran Duran on the radio constantly...but I think that helps.

"Vanity" by Nuovo Testamento: I don't like all of their material, but this song is infectious as hell. It's more synthpop and less pop-pop than some of their other songs. Really fun to sing along to. We saw them live with Molchat Doma this past spring and this was my favorite that they played.

"Never Ever" by Body of Light: Another really good album. I can't get enough of this song in particular. The fretless bass and saxophone solo make this a convincing throwback to early-'80s Japan or Gary Numan circa 1981 (very specific!). The vibe is strong here. Also very fun to sing along to.

"The Machineries of Joy" by Die Krupps feat. Nitzer Ebb: 100% my song of the summer. The platonic ideal of EBM. It gets me super pumped, so I've been listening to it at the gym a lot. This is one of many new favorites I heard on this excellent playlist created by a very obscure synthpop duo I like on my friend's record label, haha.

"Rigor Mortis" by A Split-Second: An older Wax Trax favorite that was recently added to Spotify. Yay! I promptly added it to like six different playlists and have been happy not to have to go out of my way to hear it.

Two recent runners-up are "Anywhere" by A Projection and "Always More" by Autokratz -- slightly less memorable but both really fun, synthy, and danceable, albeit in different ways.

[marxistswiftieism]

its how i felt about so it goes as well. the way the fandom hypes up august is so ridiculous, its truly one of the most boring songs on the album. i agree with u, the production is nothing special. i truly wish taylor would work with more people than just JA tbh, he's not that good at producing her music.

Its honestly not even that I feel that jack isn't a good producer - I think some tracks are actually enhanced by his style of production because they're made to be synthy with big percussive sounds and explosive choruses (all of the tracks he produced for 1989, getaway car, and cruel summer are GREAT examples of this) and he can also do a really good job on creating that soft intimate soundscape that really focuses on light strings and clean vocals, like with new year's day and betty. I think the problem is sometimes he really tries to put his signature 80's inspired electropop touch on songs that would really benefit from a more laid back production style AND he has a tendency to sort of cut and paste the production styles of his hits onto different songs - the thing is that august doesn't suffer from either of these.

I think the problem with august is that it doesn't lean into either of Jack's signature production styles - it tries to make a middle ground between 80s synth jack and acoustic strings jack which just leaves it feeling boring and generally empty? if that makes sense? I really think if he had gone harder in either direction I would've liked it more. Also, I'm not a music producer and I barely know anything about music production! These are just my thoughts on the matter <3

[monsata]

5 of 1001

Today's album: Tracy Chapman - Tracy Chapman (1988)

Right here, this is the heart of why i started this project.

An excellent album that I've never heard. I know the one song that everybody knows by Tracy Chapman.

Yeah, the one that's playing in your head right now as you are reading this.

And it would have been such a shame to have never given this album its due, because it speaks to a lot of things that are very near and dear to my heart.

That Things are Not Good. That Things Could Be Better. That Love is not nearly as easy (or as complicated) as it seems in the movies.

Simply put: this album really blew me away, and here, only 5 days in, I'm so glad i decided to try this insane 3 year long musical odyssey.

Talkin' Bout a Revolution- I really, seriously wish Tracy's revolution had come to pass. What a beautiful sentiment: the uplifting of the downtrodden, everybody getting their fair share. But nowadays, it mostly sounds to me like something that would be used as an ironic backdrop for footage of anti-fascist and anti-police riots from the last decade.

Fast Car- The only Tracy Chapman song that i could name off the top of my head. What more can be said that thang been said dozens of times already? It's such a pretty, sad song about how Life is what happens while you're busy making other plans.

Across the Lines- same basic sentiment as Talkin' Bout a Revolution, but not ironic this time. Prescient, in that this album came out a few years before the Rodney King beating would prove her 100% correct.

Behind the Wall- Cops have always been fucking useless parasites.

Baby Can I Hold You- so far the most dated song in instrumentation, this feels VERY late 80s. That said, WAIT, HOLD UP, IS THAT A SITAR!? Nice.

Mountains O'Things- feels very much like "in your eyes"-era Peter Gabriel with all the layered and intricate percussion with synthy "world music"-style woodwinds. "All of those rich guys better watch out once i'm finally one of them!"

Also, in a moment of serendipity, i listened to a podcast about Citizen Kane earlier today (shoutout to The Worst of All Possible Worlds) and i can't help but draw a few parallels to "depressed and unfulfilled poor rich people".

She's Got Her Ticket- wasn't expecting a reggae song today, but it works really well with her voice. That said, there's definitely a recurring theme of "she's gonna get the fuck out of here" throughout the album.

Why?- The other recurring theme on this album: EVERYTHING IS ABSOLUTELY FUCKING TERRIBLE, WHY ISN'T ANYBODY DOING ANYTHING ABOUT *ANYTHING*? WHAT THE FUCK ARE THE PEOPLE IN CHARGE EVEN DOING!? Damn, i wish Tracy's revolution had been more than a whisper.

For My Lover- honestly, feels like an anthem for the battered, and that feeling of "if i leave them, I'll have nobody."

If Not Now...- "now loves the only thing that's free, we must take it where it's found, pretty soon it may be costly" damn, what a line.

For You- a beautiful song about being truly lost in love for someone.

Favorite Track: oh it's still gotta be Fast Car. I can see why it was the single, and i can see why it exploded. Incredibly relatable, soulful, coming from a place of hurt, but damn it were gonna make the best of this hurt because it's all we've got.

Least Favorite Track: She's Got Her Ticket. While it's still a good song, it's really the odd one out of the album. The reggae styling kinda sticks out like a sore thumb here, and there isn't much in this song that doesn't get covered in a better way in other songs on the album.

[dailykoreanpop]

Ateez review – hard not to be wowed by this 22-song K-pop endurance test

O2 Arena, London Even if you’re not a young ‘Atiny’, the hard graft of the eight band members, the seamless mix of EDM, 80s ballads and emo and the lead’s powerful voice all impress

It’s 7.30, long before the headline act usually takes the stage – and the devotees of the latest Korean pop sensations are out in force. Ateez’s fans call themselves Atinys – pronounced “a-teenies” – and are younger and dress more gothic than those recently drawn to the O2 by fellow K-pop sensations Blackpink: Ateez’s own look leans towards black clothes, eyeshadow and lipstick, which leaves the eight members looking both androgynous and strikingly pretty. But they’re just as susceptible to the lure of the merch stand. The hot ticket item is the Ateez lightstick, which illuminates in different colours in time to the band’s performance, like the wristbands at a Coldplay gig, and sells for – get this – £63, plus £3 for batteries.

Still, no one could complain they’re not getting their money’s worth when it comes to the show itself. It starts at 7.30 because it goes on for two-and-a-half hours. Some of that is taken up with interstitial videos, including one that features the members of Ateez spray-painting anarchy symbols on walls, devotees of Bakunin and Discharge to a man. And more of it still is taken up with between-song chat. Because there are eight of them, and they all get to have their say, the banter takes forever, a sensation heightened by the fact that the screaming that occurs every time one of Ateez puts a microphone near their mouth renders most of it incomprehensible.

But even with breaks, its sheer length – 22 songs, none of them compressed into medleys – makes it an extraordinary show purely in terms of the band’s physical endurance. The choreography is so precisely done that the big screens can repeatedly fast-cut from showing them onstage to showing them doing the same routine on video, in different costumes, completely seamlessly, a neat trick that underlines how well-staged the show is: the opening sequence, which features the band members illuminated by neon tube lights held up by the dancers, is a really simple but incredibly striking idea. The ballads are rooted in the 80s – synthy soft rock on Dazzling Light, R&B slow jam on Mist – but Ateez’s speciality is in sounding epic.

Their signature sound borrows EDM’s vast, fizzing synthesisers and its penchant for dramatic dynamics – immense builds and drops - while the drums boom even when they’re replicating the cantering rhythm of an old Stock, Aitken and Waterman single on Cyberpunk. During Wonderland, they shift unexpectedly into sea-shanty-ish 6/8 time, the better to bellow along to. More unexpected still, Guerilla’s climax comes overlaid with raw-throated vocals derived from emo. It’s not the only time Ateez recall the harder end of rock. Chief vocalist Choi Jong-ho has a remarkably powerful voice, but it’s a remarkably powerful voice that you could easily imagine soaring over heavy guitars: unbelievable as this sounds, something about his strident vibrato faintly recalls Iron Maiden’s Bruce Dickinson.

On and on it goes. There are more songs and more costume changes (at one juncture into something approximating PVC fetishwear), more interstitial videos, and there’s more between-song chat. The aforementioned lightsticks are shilled, the audience is teased with the suggestion that it’s the last song when it clearly isn’t.

If you’re not a paid-up Atiny, it’s the dictionary definition of too much of a good thing, but on another level, it’s hard not to be impressed. So much pop music aimed at tweens and young teens is tainted with the dismissive whiff of short-changing and will-this-do?, particularly in its live incarnation. You could never accuse Ateez of that: thought has gone into giving their music a USP and they’re working incredibly hard up there. They seem to believe that you get out what you put in, which is both laudable and a strategy that’s paying off handsomely.

Credit: The Guardian 

[crustswamp]

My inner teen contrarian would be upset with how much I have come to like and appreciate Taylor Swift as an artist ever since she released Folklore, even now as an adult who inhabits alternative subcultures it's an automatic dismissal amidst peers.

Sorry, but if an artist I didnt have any pre-conceived notions about came out with an album called Tortured Poets Department, with moody synthy post-punk 80s pop sound, looking like Clara Bow dressed as Bella Baxter in a German Expressionist music video, with honestly pretty good lyrics, and referencing Patti Smith's memoir?

I'd be unhesitatingly into it, but because she's a longstanding mainstream pop artist with country roots and a fanbase of "basic" normie girls I'm supposed to feel some kind of rivalry because of my misfit adolescence, I still feel the need to wince and justify with some embrassment, how I like her new releases.

It's good. Sometimes things that are popular in the mainstream are also good. She's talented, she deserves the recognition she's recieved through her career. I need to stop feeling so embarassed stating that opinion as if it revokes any of my alternative tastes.

[chorusfm]

Space Fight – “Is It All” (Song Premiere)

Today I’m excited to bring everyone the latest single from indie-pop synth band, Space Fight, called “Is It All.” On this vibey lead single from their upcoming EP, Hyperspeed, the band channels their love for big hooks and dazzling vocals in a crowd-pleasing package. Band member Miles said, ”Allem Iversom’s lo-fi remix of ‘Is It All’ embellishes the 80s synthy goodness of the original, seeming to transport us through time to the synth-soaked sounds of yesteryear. The track was produced by Allem Iversom and Space Fight, mixed by Iversom, and closes out our Hyperspeed EP with a sense of longing, a nod to the past, and a tinge of uncertainty towards the future.” If you’re enjoying the latest track, please consider visiting their Bandcamp page here. I was also able to catch up with this talented band for a brief interview below. Space Fight · Is It All (Allem Iversom remix) How did you and Allem Iversom meet, and what did the beginnings of this collaboration look like? I can’t get into how we met. Allem Iversom is a pseudonym for a producer I knew, but for contractual reasons, I can’t reveal his true identity or how I know him. He’s basically the Batman of lo-fi music. But as far as the collaboration goes, it was really unique. Usually, when I’ve worked with remixers, or remixed songs myself, you trade the stems, and get back a new take on the song. But with this, there was quite a bit more back and forth, he really wanted my input as he went along with the production. Most of the final song is similar to his first draft, but a few of my little ideas made it into the remix. I thought that was pretty cool, he really saw it as a collaboration. You have an upcoming show in NYC on March 30th, what does a live show from Space Fight look like? We’re playing as a trio again. Our show in 2022, I didn’t play bass and just focused on singing, but I’ve been gearing up to do double duty on bass and vox again now, which is much more challenging but also more fun. This will be our second show of 2024, the first one was a bit of a warm-up, kick-the-dust-off-the-tires kinda show. But this one is the real deal. New York City on a Saturday night. Pianos, one of my favorite venues I’ve ever played, and seen some incredible music. We’re playing with Emerson Hill, and making his NYC debut, Sama the God. These are 2 amazing artists I really dig, and we’re lucky to share the night with them. I’m hoping there will be a bit of electricity in the air. We have a few surprises planned, and basically we’re gonna hit the stage like it’s our last performance, because honestly I have no idea what happens after this. That alone makes it pretty exciting to me. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/space-fight-is-it-all-song-premiere/

[trinkerichi]

For the ask !! Favorite Care Bear ? :o

OH YAY OK!!! Well uh, I think i'll answer this as like, what i like about the series as a whole instead of a specific care bear. Because I love them to bits but the bears themselves dont really... HAVE much personality at all. The new one is probably better about that but I haven't really watched it, so here goes!

favorite thing about them

NOSTALGIA. That's the gist of it. The first care bear movie is the most comforting thing in the world to me and ALWAYS has been since my earliest memories. The sleepy soft music, clouds and rainbows everywhere, the twinkly 80's synthy sound effects, half the characters speak in this sweet whispery voice the whole time, it's SO saccharine sweet for a story about a kid being emotionally manipulated by a demon in a haunted book. BUT then that leads into a very simple but sweetly intentioned ending about being kind to others and believing that you deserve love, and how you'll meet people who care about you even if you've been hurt before. LOVE it.

least favorite thing about them

IT'S about as corporate as you can get and the moral messages ring pretty hollow most of the time. Even with how nostalgia blind I am abt it I can't pretend like the care bears are meant to teach anything all that meaningful to kids. But it's just supposed to be comforting and mindless so it's effective in that way. But it's important to tell kids that ALL emotions are okay, even negative ones. They do that a tiny bit with grumpy bear but eh. I got a lot of good out of it even if it was just made to sell toys.

favorite line

There are some really funny lines if you take them out of context but the first thing I thought of wasn't even something funny. it was

"It makes bubbles! SQUARE BUBBLES!"

brOTP

Umm Tenderheart and Braveheart being friends in the show was really cute from what I remember!

OTP

Uhhhhhh pbbbt nothing?

Though the old couple at the end of the first movie were totally Kim and Nicholas right? I'm pretty sure that was implied? Thats pretty cute.

nOTP

Bears can date whoever they want, who am I to judge them.

random headcanon

I made a WHOLE story in my head when I was a kid connecting the first two movies, where the bears were all toys come to life. Someday when I buy the rights to the franchise I'll make a movie about that.

unpopular opinion

I love how innocent and GENUINE it is. I KNOW it's just a toy commercial but I mean more in it's attitude. I've noticed how modern media for kids so often has this ironic-ness to it. like "wink wink to the camera we KNOW we're stupid! take that cinemasins" Like yeah I love making fun of goofy stuff in media but if they try to do that FOR me it comes off as insecure. I appreciate stuff that's just unapologetically silly and is fine with it.

song i associate with them

Besides songs that are actually from the thing, what else besides Lemon Demon's "EVERYBODY LIKES YOU!!!"

favorite picture of them

THE MOVIE POSTERS! I never see these posted but I love how cute they are while having this.. spacey darkness to them. Theyre cool.

[hometownrockstar]

If it’s alright with you, do you have any recommendations for songs or bands/albums to listen to? Been wanting to expand and enjoy more!

lemme just recommend some of my top albums i would generally rec to people if they ask (i avoid mentioning the weirdest stuff for broad appeal but if u want weird music lmk) i generally like these bands' entire discography as well. these are all youtube links btw. also i love of Montreal but they have like different eras of sounds so it depends on what you're into (90's-2000s are their indie twee era, everything after it is a mix of dance/electro/rock stuff)

All Girl Summer Fun Band - Summer of '98 (twee pop/indie rock)

Cub - Betti-Cola (twee pop/indie rock, similar lyrical/rock sound to the above)

The Pains of Being Pure at Heart - Self Titled (twee pop/indie rock, more garage-y sounding. their later albums are on the more pop synthy side of twee pop if you're into that, not my thing personally)

Joanna Gruesome - Weird Sister (noise rock, sounds a lot like the above album)

Rocketship - A Certain Smile, A Certain Sadness (a quintessential twee lofi rock album)

i was just abt to list like 50 more twee pop albums bc i find them very easy listening compared to the indie rock and hyperpop stuff i like so instead i'll link my Obscure Twee Pop spotify playlist. if u like a song in here check out the band.

Bubbly Mommy Gun - Sand Roses (whatever genre jack stauber is, this album is like 80% of that genre)

The Symposium - Self Titled (like psychedelic rock i think? but like lofi-ish. its chill i like chilling to the symposium theyre very chillable)

Sleigh Bells - Bitter Rivals (noise pop/rock)

The Go! Team ‎- Proof Of Youth (noise pop)

Chocolate USA - Smoke Machine (lofi indie rock but like, weird elephant 6 indie rock)

Beulah - Handsome Western States (indie rock, kinda folky but mostly only for this album)

Car Seat Headrest - Monomania (lofi indie rock. the album little pieces of paper with "No" written on them is my fav csh album but i think its a little too weird to recommend first. either monomania or twin fantasy is a good starting point but everyone would say twin fantasy first)