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pebblysand · 10 months ago

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hello! you may find the entire playlist on spotify here. below is some more information on my song choices for part one.

Castle by Eminem: if you have finished the fic, you will understand. if you haven't, i don't want to spoil you :).

Things We Lost In The Fire by Bastille: it's funny, i'm a massive bastille fan but it didn't really hit me how castles that song is until i went to see them live last summer. i remember being in the crowd and thinking to myself: god this is so on point. i think the lyric that gets me most is: the future's in our hands and we will never be the same again. there's such a dichotomy to that and it's so representative of what is happening in this chapter, which is harry and the trio sort of reconning with the concept of time and the post-war state of things and: now what? the excitement of: we survived and the future's in our hands, but also we'll never be the same again because we lost all these things (people) in the fire (war). i just find it very apt.

O Children by Nick Cave & The Bad Seeds: firstly, i love that song, i thing it's beautiful and it just nails that post-war tone of the early chapters. the cleaners are coming one by one, they measure the room, they know the score, etc. secondly, this is obviously the harry& hermione song, which is a massive vibe and plot point of this chapter. i will defend the dance to my dying day, i think it's one of the most beautiful scenes in the whole film and those who don't like it because of the harmony vibes are wrong. that's it 😅.

UNHEALTHY by Anne-Marie: this is a more recent addition, but doesn't this song kind of have early harry/ginny vibes? i'll let you listen and be the judge.

Wonderwall by Oasis: harry mentions oasis in this chapter, so of course i had to add this. i have listened to this song so much in the past 20 years, i can't even tell if i like it or not. anyway, here's wonderwall 😅.

Pompeii by Bastille: ah. the infamous break down of everything. as i've already said, absolutely love bastille, and this one is a classic.

Shadow Preachers by Zella Day: i added this one more recently but i feel like it also had very strong early harry/ginny vibes. i also like that it sounds a bit similar-ish to pompeii in that sort of break down of everything vibe. there's a sort of desperation to that song that i feel really fits well.

Place de la République by Coeur de Pirate: firstly, if you think of coeur de pirate as comme des enfants and don't know anything else from her, i am begging you to open to your heart to her other songs/albums, she's incredible. secondly, i've always loved this song. it so well captures this sort of regretful break up situation where she is breaking up with someone because of distance and giving them one last chance to show up and they don't. i feel like it's very much a ginny song in chapter 3, this way she doesn't really want to break up with harry but has to. it's just 😫.

Someone You Loved by Lewis Capaldi: i've gone back and forth a lot on this song, whether to include it or not. it's almost Too Much. but, also, harry is a bit Too Much in this, so it just fits.

Achilles Come Down by Gang of Youths: this is... very literal, i don't think i need to explain. i will say, for a very long time, i didn't know where the french bits were from. it sounded like some sort of documentary about suicide, which i thought was odd, but it's actually a reading of the myth of sisyphus by albert camus. i've never read it because i've only ever read camus's fiction, but he is one of my favourite french authors, so i was happy to find that out. it works with the song incredibly well, obviously.

Hell or Highwater by Passenger: we're back with the break up songs. i love this one because it very much is about the confusion and the not knowing what caused the break up, which i think is very fitting for harry, here. i also just love the writing in this song, the way he uses the "hell or highwater" saying in a different way - it's a song i very much love, even outside of castles.

Six Degrees of Separation by The Script: idk, this song has such strong 2000s vibes, and it's so break-up-y dramatic - it just fits, you know? 😅.

Giants by Dermot Kennedy: this playlist supports irish artists! ✊🏻 jokes aside, i kind of see this song as having a bit of a double-meaning here. like, of course, it's hinny break up song and plays - again - to that lack of understanding (we used to be giants, when did we stop?) but i also see it as reflective of harry's broader state of mind. it's this post-war confusion of: we used to do these great, important things, and what is our purpose, now? obviously, this first arc is very much about finding a reason to live after the war, so i feel like this song works for both plotlines.

As It Was by Harry Styles: i'm not a massive harry styles fan so the first time i ever heard this song was when he was on tour and the 'LEAVE AMERICA' trend was all over tiktok. and, i don't know, the moment i heard the song as a whole i was like, 'fuck, this is such a castles song!' especially of that early, post-war, confused era of: 'harry what are you doing sitting at home on the floor, what kind of pills are you on?' it just had to be in this playlist.

Fear of Fear by Passenger: this song is just a mood. i feel like it could play over a montage of the weeks passing in chapter four, and harry just going to work, trying to sleep, and going running in the night.

Le vent nous portera by Noir Désir: there's two reasons why this song is here. firstly, i feel like it signifies healing and the passage of time, which works very well with this chapter. it's a gorgeous song and has this idea of the wind just blowing the hardships away, an "it'll be alright" motto that i love. but also, what my international audience might not know is that this song is highly controversial - bertrand cantat, the lead singer of the band, beat his girlfriend - french actress marie trintignant - to death in 2003. he was arrested, went to jail - if you are french, just know that i'm not going to get into the Debate of whether he should still played/be listened to, etc. we all have our opinions and whichever way you're leaning i'm not going to change yours but i just wanted to note that i wouldn't have put this song in the playlist for any other chapter. but with the added theme of DV in the case giulia and harry work on here, i felt it was fitting.

Brave by Sara Bareilles: this is obviously giulia's pep-talk song haha! harry, get out of your rut, and be brave. i love it.

You're Not Special, Babe by Orla Gartland: i love this song. and, again, it's very giulia. i feel like both of these last songs for this chapter have this vibe of her telling harry to just get off his arse and do something, which is what he needed at that point. quit moping around, quit blaming yourself, you're not that special. it's really the kick off, onto chapter five.

Insomnia by Ren: ah, ren. if you've been following the playlist for a while, you will have noticed that i had a major ren moment between the end of 2023 and the start of 2024 and added, like, fifteen millions of his songs to the playlist. i feel like castles generally has such a ren "vibe" to it, which is wild because i didn't find him until well into writing the story. this song has this incredible line: i used to use drinking as a way to stop thinking and my problems with drinking made me feel like i was sinking, so i dried up my drinking and then i couldn't sleep a wink, and now i'm thinking, now i'm thinking, now i'm thinking, now i'm thinking about nothing. fucking nothing. and everything and nothing - i hate not sleeping. this is so on point for this chapter, which has harry's insomnia stalking those post-war months, and i absolutely love it.

The Last Unicorn by Passenger: ah, the first mia song 😫. my child. this is so scarily on point.

J'écoute du Miles Davis by Navii: this is really one of the core, OG castles songs as far as i'm concerned. i remember listening to it on loop very early on, writing the early chapters. i love the chorus of 'Et le temps passe' (and time passes) - it's this factual statement that i feel is very castles. "Time just - passes."

The Way I Am by Eminem: i was so mad to find out i couldn't use this song in text because it came out in 2001. obviously, very related to the press, fame, etc. which are topical for this chapter.

Dominoes by Ren: i added this one fairly recently. it's one of those songs that isn't precisely topical to the chapter itself, but i really liked the riff of "we fall like dominoes, dominoes, falling". it echoes that thing harry says about how he's afraid to fold because if the "leader" falls, then everyone comes cascading down. i felt like there's an interconnection in that song that resonates, here. and also, i think the thing about public perception and body shaming is also somewhat related to the treatment of girls in harry's life in the press.

Read All About It, Part III by Emili Sandé: i thought most people would already know this song because it was featured so prominently in the 2012 London Olympics, but i suppose it still didn't make it to america, 'cause i've had quite a few comments from people saying the playlist was the first time they'd heard it. anyway, it's obviously about harry using his voice and finally talking to the press, and it's amazing :).

Babylon by Barns Courtney: the vibes of this song feel like the fall of a civilisation and "the walls are caving in, you're paying for your sins" and... yeah. idk, i see this as the theme song to the whole battle scene at the lace mill.

What He Wrote by Laura Marling: this was always Giulia's "song" in my head, i'm not even sure why. it's got nothing to do with her but just based on vibes. i listened to this on loop writing her death. and, also, the connection with Peaky Blinders, which heavily inspired the first act of castles.

Fourth of July by Sufjan Stevens: this is just... a beautiful song about death lol. how cheerful 😅.

All My Tears by Ane Brun: and... another one, lol. also, another connection to PB.

Jimmy by Moriarty: i only have two songs for this chapter, probably because it used to be paired with chapter six so i initially didn't think of it as an independent item. anyway, this is one of my favourite songs in the world, and it's recently come to my attention that it fit quite well in here, with this idea of "coming home" (to the burrow, in harry's case. i feel like it works well with the general mood of the chapter.

CORALINE by Måneskin: ah. coraline, coraline, di me la tua verita... this is the beginning of harry, and ginny, and the letters, really.

Zombie by The Cranberries: canonically, Mia is a fan and while two cranberries songs are mentioned in this chapter, i always felt like this one fit better. first, because it's about a civil war that, in many ways, resembled the wizarding war. second, because i've always sort of thought as amycus as a bit of a zombie. like, he's dead but he still plagues ginny (and later harry) with the things he's done and their ramifications.

Rather Die by Barns Courtney: obviously, i'm a massive fan of barns courtney and i've always felt this song is very ginny during the war. basically, 'i'd rather die than give in.'

Repeat After Me by KONGOS: this song is obviously about the absolutist christian faith and someone trying to escape it, but i think there's something so rhythmic about it. in my head, i could see it playing over a montage of the DA pulling off stunts, getting attacked, getting back up again, fighting again, losing again, etc. there's also the 'repeat after me' of indoctrination that could very much apply to the ministry's propaganda. i remember listening to this song so much as i was writing this chapter, just to remind myself of the relentless sort of pacing i wanted to achieve.

Dopamine by Barns Courtney: okay so. this is the song of this chapter. i know it feels like it's not really about this chapter (it's clearly about drug addiction) but you cannot possibly imagine the number of times i listened to it as i was writing. i don't know. i love everything about it. the loud rock and instrumentals, the production, the lyrics. if we end it all, at least you're by my side. we could never die. and this: it's always the same. see the drink couldn't wash out the taste of your name. i literally think it's one of my favourite songs ever, and one of my favourite sentences ever written. i think in my head it's a bit about ginny sinking, about amycus, about harry. about everything. i would say dopamine is probably one of the most important songs in this playlist. i am so attached to it.

Thirteen Thirtyfive by Dillon: and... the last song. i will say this: i have since learnt that this song is about a woman who has lost a child (either through miscarriage, abortion or death after birth, it's not clear) and is reminiscing about what her life could have been. that is... not how i initially interpreted it. you may listen and come to your own conclusions. if you interpret it like the above, maybe it fits with pansy's story. if you don't... well. you'd be thirteen, i'd be thirty-five, gone to find a place for us to hide. be together but alone, as the need for it has grown. make of that what you will.

#castles

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uh-velkommen · 3 years ago

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I love Bastille for such a peculiar reason

They make such smooth, easy listening music that I just feel happy listening to them. Like there’s not a single stressor in the world that could bother me with Dan’s voice in my headphones. It’s strange because Fall Out Boy is my favorite band for many reasons; their instrumentals hit all the marks when I was searching for emo bands to get into, the talent is there, the lyrics are so raw and relatable, their concepts are creative with the pop culture references and the soulful influences, not to mention the years of drama and history that followed that band leaving plenty of new things for me to discover over the years. Bastille, I couldn’t even tell you the names of the other members yet every time one of their songs pop up in my playlist, my brain goes “Omg my favorite band!” Now that I think of it, my discovering Bastille and Fall Out Boy almost happened in the same way. I heard the song for a second (Pompeii and My Songs Know What You Did in the Dark) and without hesitation went, “Who sings this I need to look into them” But when it happened with Fall Out Boy, I had the means to actually look into them. When it happened with Bastille (and I love telling people this story) the most I could do was turn my radio on every day at 3 p.m. exactly to catch the stations “Top ten hits” play Bastille until Pompeii was no longer a top ten hit. And just like that, they left my brain. Years later I got a job and with my first paycheck I didn’t go “Finally, I can get Fall Out Boy merch!” No, I bought a Bastille Album. It was Wild World and I love that album to death but still not more than Fall Out Boy...

As I write this post, I had finally listened to their new song (two months old now because it had been sitting in my “Watch Later” since it came out) Shut Off The Lights and it nearly had me in tears by the end. I wish I could tell you why. It’s such a simple song and Dan doesn’t do anything particularly amazing with his voice. But I was so happy that it was so good. I think I had started to fall off the band wagon when the album Doom Days came out. I thought, “Man I spent money on this band and now all their music is starting to sound the same.” I’ve only found one band that was able to switch up their sound but still sound like them and that was Pierce The Veil. Where each album feels fresh, new, and exciting but doesn’t feel like a part two to their previous album or an entirely different band (which Fall Out Boy had admittedly, fallen subject to). However, Pierce The Veil isn’t even in my top 3 favorite bands. But Doom Days man, I can’t remember if every song sounded way too similar to the next or if the album as a whole had reused too many sounds from their previous ones. It was such a let down and then the Goosebumps EP came out and by then I gave up my loyalty. I mean I really hate that EP. I’m really disappointed that they drifted away from that experimental indie-alternative band sound to songs that follow such a boring poppy song structure. Also, if a band pumps out a bunch of music too quickly (which is an issue I’ve found with Dance Gavin Dance whose music is also starting to sound all too similar) or consecutively bad music over the course of a long period (because imagine waiting years for new music just to be disappointed over and over again) then I get frustrated and eventually lose interest. 3 strikes. Now as I sit here listening to Give Me The Future for the first time, I’m not impressed.

First of all, is the amount of auto tune a stylistic choice? My favorite Bastille songs have been the ones with minimal music, Two Evils, Four Walls, even the orchestra version of Warmth because Dan’s voice is that good. That’s also why I hate Novocain by Fall Out Boy. I absolutely love Patrick Stump’s voice and the effects on top of it completely take me out of the experience. Don’t get me wrong, I like that some of the songs have a clear 80s influence (that’s a trope I’ll never get tired of) but that doesn’t automatically make the song good. So why is it that I got to Shut Off The Lights and I’m immediately made happy again. Is it the looming melancholic vibes of the instrumentals? The romantic lyrics? The passion you can actually hear in Dan’s voice? The clear harmonies or the easy bobbing of my head to the beat? What is this formula that Bastille is so good at achieving yet only does 50 percent of the time? Why is it that I always forget how much I like them until I play Wild World and immediately become enamored? How can they be so close to my favorite when I don’t even like half of their discography? I just don’t get it.

#bastille #fall out boy #pierce the veil #dance gavin dance #music #emo #emo music

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omegalomania · 3 years ago

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I think tumblr ate my ask or it just didn't sent but what are your favorite Bastille songs / what are some songs you recommend?

i did NOT get this ask im very sorry anon.

it's genuinely hard for me to narrow down cause bastille is pretty up there in terms of favorite artists. i love all their shit, but a special mention goes out to their second studio album wild world since it's the one that made me a Fan

uh so here's a primer i guess i spent too much time on this lmao.

if you wanna listen to their big hits:

flaws - their first single in the uk. if you ever listened to ship playlists on 8tracks in like 2013-2015 then you've probably heard this song or a variant on it at some point.

pompeii - this is the song that really put them on the map and you definitely know it. it dominated the charts all over the place.

happier - the marshmello song that you've definitely heard before too. i think bastille wrote this for justin bieber or some shit but then decided they liked it too much to give it to him? lmao. anyway if you're not digging the version you hear on the radio all the time i recommend trying the stripped down version

good grief - their big hit off their second album. big in the uk, didn't really make as many waves elsewhere, but it's a really solid song anyway. one of those "upbeat tunes that's actually really fucking sad" ones

things we lost in the fire - another one off their first album. if you live in a wildfire area this might not be one to turn to. or maybe you'll find it cathartic idk i certainly do!!

quarter past midnight - a song about escapism, as was fitting when it was released in 2018 and equally fitting now. running away for a night of fucking around with friends, craving any kind of brief departure from the chaos of the modern world

skulls - this one was not a hit or a single and is technically a bonus track but i'm including it because once again if you ever clicked on a ship playlist on 8tracks in like 2013-2015 you've heard this one. and you know what that was justified this one is also good

if you wanna feel existentially depressed:

their whole discography. i mean i kid but i also don't. that's just kind of how bastille does it. BUT IN ALL SERIOUSNESS ones that hit me in particular would beeee

two evils - kind of a grim, haunting one introspecting about morality of the self.

oblivion - musing about the afterlife, love, and how time changes all of us.

those nights - contemplating what it is we seek when we plunge into reckless escapism, and the inherent loneliness of it; how even when surrounded by people there's still the pressure of the world outside, continuously coming to pieces

the draw - this one was written about the pull of pursuing a career in music vs. staying home with family and friends. in a broader sense, it can apply to a lot of things. i always felt it resonated with feelings of paranoia and displacement

winter of our youth - discusses childhood, nostalgia, and regret. if it feels like everything's slipping away, is it easier to relive the past, especially if the past is tinted rose?

sleepsong - loneliness, desperation, and the cyclical, abyss-like nature of all it encapsulates

if you want discussion of serious topics:

final hour - a bonus track off their second album that also became a bonus track off their third album? anyway this song talks about climate change and gun control. happy stuff

doom days - this one talks about, uh, everything! doomscrolling, political divides, escalating national tensions, climate change again, etc.

the currents - a song centered on political rhetoric and the power that figureheads have over the masses, the way they can orchestrate hate. basically it's not so subtly aimed at donald trump lmao, dan's literally sung it as much in a few live settings

WHAT YOU GONNA DO??? - social media addiction and the way capitalism and corporate interests have annexed our online experiences, fighting desperately for our attention as they seek to monetize every available aspect of our lives

four walls (the ballad of perry smith) - well this one is about uh. perry smith. who was charged with the death penalty for killing 4 people in the late 50's. but it's less directly about him and more a discussion of the morality of the death penalty and capital punishment

snakes - burgeoning anxieties and the impulse to turn to easy outs, like ignorance or alcoholism, to escape the world's global problems

if you want some pop culture sprinkled on top:

icarus - greek mythology. i like this one because it addresses something that i feel isn't addressed enough in discussions of this myth, which is that icarus is a very young lad. less about the pride of the fall, and more about the inherent tragedy of that.

laura palmer - the whole song is a david lynch shoutout. i've never seen twin peaks myself but the song still slaps.

daniel in the den - christian mythology. discusses the biblical tale of daniel in the lion's den and links that up to themes of betrayal and family.

poet - this one's a double feature, referencing both william shakespeare's sonnet 18 and edmund spencer's sonnet 75. also one of my favorites.

send them off! - this is another one of my favorites of theirs. it's also been described by dan as "othello meets the exorcist" and it very much delivers there

if you want something uplifting:

joy - while bastille (understandably) has a bit of reputation as a band that makes sad music about sad things, they've definitely got some happier songs in their catalogue. pun intended cha ching. this one's one of their more straightforwardly happy tunes

survivin' - this was a song they wrote while they were touring and then felt weird about releasing once the panini hit because it felt a bit on the nose. they ended up releasing it anyway and i am so glad they did cause it's a mood

act of kindness - the "happy" part here is debatable but i'm gonna include it anyway. it’s when someone does something nice for you and that impulse Changes you way down deep you know???

warmth - one of those "the world's going to shit but at least we have each other" kinds of tunes

the anchor - one of those "the world's going to shit but you're the one fucking thing that's still keeping me here" kinds of tunes

give me the future - their latest single as of this writing and one of the more optimistic tracks in their catalogue imo! it's yearning, but it's also with a genuine hope for the future.

and LASTLY. because im going to take every chance i can to plug this band. im going to throw some collabs and covers at you because there's one thing this band does SUPER well and it's collabs and covers.

of the night - this is the big one. it mashes up rhythm of the night by corona and rhythm is a dancer by SNAP! and it's so good they still do this one live and it goes off every time.

no angels - a mashup of "no scrubs" by TLC and "angels" by the xx, poured into a strangely mournful tune with clips from the hitchcock movie psycho. doesn't sound like it should work but it does. kinda really does.

torn apart - with GRADES and lizzo no less!!! it's got two parts but they're both excellent listen to them both

weapon - collab with angel haze, dan priddy, and F*U*G*Z and one of my absolute favorites

remains - remix of their song "skulls" but featuring rag'n'bone man and skunk anansie that adds an entire new dimension to the song, really fucking excellent

old town road mashup - lil nas x's old town road meets lizzo's good as hell meets radiohead's talk show host meets talking heads' road to nowhere meets the osmond's crazy horse. "what the fuck that shouldn't work" i KNOW and yet here it is!! BLATANTLY BANGING!!!

we can't stop - one of the few times dan smith subtly changes the lyrics of the song he's covering (most of the time he opts to keep the original pronouns and the like, which is very nice to see). anyway this one mixes miley cyrus's we can't stop with eminem's lose yourself and billy ray cyrus's achy breaky heart. and also the lion king's i just can't wait to be king is there. yes i know it sounds batshit especially because the whole thing is surprisingly melodic and heartfelt and you know what it works.

anyone but me x nightmares - mashing up joy crookes' anyone but me with easy life's nightmares and absolutely one of my favorites.

bad guy mashup - how many songs can they include with the word "bad" in the title? we've got bad guy (billie eilish), bad decisions (bastille), bad romance (lady gaga), and bad blood (taylor swift). bastille even has a song called bad blood and they didnt use it. they used taylor swift's version. also the distinctive guitar riff from dick dale's misirlou is there.

somebody mashup - how many songs can they include with the word "some" in the title? someone like you (adele), somebody told me (the killers), somebody to love (queen), use somebody (kings of leon), and someone you loved (lewis capaldi). seriously these guys take mashups to a new level.

final song - this is a cover of MØ's final song. it also adds in craig david's 7 days and, impossibly enough, europe's final countdown. how does it work. how.

ALL RIGHT. THATS ALL IVE GOT IN ME. HOPE THIS HELPED ANON AND IM SORRY IF THIS IS TOO MUCH

#askin hours #anon #bastille #ill put this in the bastille tag why not #this is predominantly a fall out boy blog but if any bastille bloggers are out there....all like 20 of you....#i see the work u do in this fandom and i love u for it

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shanethvarosa · 4 years ago

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Music Review: 2020

My blog has been a lot of things over the years, but it did originate as something I used to publicly review music; especially in the Visual Kei scene. Since I began the blog so many years ago, I had actually been hired to review Visual Kei and J-Rock music for an actual website: VKH-Press.com, work I am very, very proud of to this day. However, with not much news to comment on or work to critique, I haven’t been as active. Plus, personal issues always seem to stand in my way. However, I always take the time to discuss my passions at the end of the year. There were so many incredible releases, despite the COVID-19 pandemic, and so I wanted to take the time time to discuss my favorite releases and, maybe, the not-so-favorites as well. Quick shout out to Bastille’s Goosebumps EP and Megan Thee Stallion’s Good News LP as I did not get to listen to them before I wrote up my lists, but were still excellent releases. See my thoughts below!

Overall, there were about 75 albums or groupings of albums I listened to this year and split them between various tiers. Starting with the bad tier, there were actually only ten albums listed here and mostly just because they were seemingly unnecessary collection albums. For example, another Satsuki collection? Rides in ReVellion releasing two greatest hits LPs after only five years of work? Beyonce releasing The Lion King: The Gift again? None of those felt like necessary releases. There weren’t many albums that really screamed bad to me this year, but I really could not stand Vanessa Carlton’s “Love is an Art” or Justin Bieber’s “Changes.” The only other albums on this tier were just underwhelming compared to what I know the artist is capable of, but the “best bad tier album,” in my view, was The 1975′s “Notes on a Conditional Form.”

The mid-tier albums had all sorts of reasons for being only mid-tier. They weren’t quite bad or outright unnecessary, but are mostly by artists who put out work that was nowhere near the caliber of their usual work or were re-releases or other collection albums. For example, Tove Lo’s “Sunshine Kitty: Pawprint Edition” or Man With A Mission’s remixes/b-sides/covers albums. Nice to have with good quality music, but I wish we’d just have had brand new EPs or LPs.

The good-tier albums were all really excellent releases, but didn’t hit home the way anything on the “God-Tier” list did. Here, I’d like to share a quick top ten:

10. Taeyeon’s “Purpose: Repackage” & Japanese EP, “#GirlsSpkOut” 9. Charli XCX’s “How I’m Feeling Now” 8. Miyavi’s “Holy Nights” & “Holy Nights: 2020 Lockdown” 7. TK’s “Sainou” 6. PVRIS’s “Use Me” 5. Buck-Tick’s “Abracadabra” 4. Katy Perry’s “Smile” 3. Alicia Keys’ “Alicia” 2. Dua Lipa’s “Future Nostalgia” & “Club Future Nostalgia” 1. Ava Max’s “Heaven & Hell

Without furhter ado, though, the God Tier Top 25:

25. Acme’s We Are Visual Kei: Essentially a collection album of several songs that were b-sides that never made a full-blown album. This LP was loaded with some of Acme’s best work and shows that they are going to be here for a long time, despite Div not quite working out. Recommended tracks: Mononoke Requiem, Gekiyama Celluloid, Houkago no Shiiku

24. Alanis Morisette’s Such Pretty Forks in the Road: Admittedly, a huge fan in the 90′s and loved her cover of Seal’s Crazy. However, before this album I didn’t really listen to much of her body of work and I can see why today’s youth might not listen to this album. It is very “adult” insofar as it deals with her struggles in marriage, parenting, religion, etc. Her vocal performance is exceptional and her song writing remains some of the best in the business. Recommended tracks: Smiling, Nemesis, Reasons I Drink.

23. Niall Horan’s Heartbreak Weather: Not my usual cup of tea, but for some reason Niall’s music makes me feel softer than normal. He’s very cute and charming and his words are always so romantic. It feels more genuine than the music made by other members of One Direction and kind-of reminds me of earlier Taylor Swift writing, but from a male perspective. Recommended Tracks: Put A Little Love On Me, Arms of a Stranger, Still.

22. K/DA’s All Out: I don’t even really understand what this is, but I love it. There’s something to do with League of Legends? Cartoons? International pop stars? Whatever it is, I’m totally obsessed. These songs just completely slap. Recommended Tracks: The Baddest, More, Drum Go Dum.

21. Darrell’s Brilliant Death: This might even “officially” be a single, but there’s enough content to market it as an album. Darrell is a band formed from the ashes of Deathgaze and Ai’s solo project. Who knows why Ai didn’t just continue after his solo album, Confusion, but he decided to go back to the band-format with confusingly-named Darrell. This album is then, incidentally, mostly Deathgaze covers. It brings the production into the new era and gives you a lot of nostalgic love for old hits. Recommended Tracks: Brilliant Death, Evoke the World, Abyss.

20. Alice Nine’s Fuyajou Eden & Kuro to Wonderland: Neither album was particularly long, in fact these were glorified EPs that could’ve been merged to one two-sided LP, but in either case... Both albums had something really special to offer and felt like a true comeback after years of name changes and finally going back to their original, kanji-styled name. Recommended Tracks: Kakumei Kaika -Revolutionary Blooming-, Testament, Replica, Glow.

19. Mucc’s Aku: This album felt very long in the making after a series of weird singles that didn’t feel like they were going anywhere. Ultimately, a lot of those singles did not make the album including my favorite one: Taboo. The resulting album, though, did feel very cohesive and thematic and even featured one of this year’s heavy hitters: Hazuki. Recommended Tracks: Aku -Justice-, Memai, Ameria.

18. Miley Cyrus’s Plastic Hearts: This person is absolutely one of my favorite people in music. I’m pretty sure they have comeout as genderfluid/non-binary, so I want to stick with safe pronouns, just in case. However, they’ve always been a favorite and as they’ve come out as such a champion for the LGBT, I love them even more. The album though gave me a lot of hype for something very 80′s rock, but didn’t quite give me what I expected. All in all, the music was fantastic, just a little off-beat from expectations. Recommended Tracks: Gimme What I Want, Angels Like You, WTF Do I Know.

17. Rina Sawayama’s Sawayama: I didn’t expect to fall in love with this girl the way I did. My boyfriend recommended “STFU” to me as kind of a joke because the song discusses a lot of Asian racism that I’m always criticizing people in my life for falling into, but then the song was so bad ass I checked out the album. There were so many different types of music on it and she really did a good job with all of them. Then, with the deluxe edition coming out and the hardcore club banger “Lucid” being involved... Just really brought it all home. Recommended Tracks: Tokyo Love Hotel, Lucid, Fuck This World.

16. Amber Liu’s X: This was just an EP, but every song on it was great. Amber Liu was from f(x), a K-Pop Icon Group, but she always seemed like the odd one out. She was such a tomboy, so silly and funny all the time, and didn’t really behave like other Korean idols. I mean, really, she isn’t actually even Korean. I believe she’s Chinese American. In either case, the EP really noted some of her own personal strugles in the business and also remaining pretty fun at parts too. I saw her live in Philly before COVID-19 and she was truly excellent. Recommended Tracks: Numb, Stay Calm, Other People.

15. Blackpink’s The Album: Not much of an album at only 8 tracks, but that’s K-Pop for you. I bet next year I’ll be putting “Blackpink’s The Album: Repackage” on my top 25 list. The quality of the music was pretty dope though, all things considered. It was a very solid debut effort with all of their previous songs being somewhere in the same lane as this one. I still kind of believe they are a reminder of what 2NE1 could have been, but they’re doing well enough on their own. Recommended Tracks: Ice Cream, Lovesick Girls, Pretty Savage.

14. Hazuki’s Year Over All: Kind of a weird way to word it, but Hazuki basically released two albums this year in different formats. His work with his band, Lynch., was pretty magnificent. I’m not one to usually dwell on a Lynch. album. Their singles or featured tracks are what I usually get into, but the actual album (Ultima) really did a good job of showing how versatile Hazuki can be. His solo album, Souen -Funeral-, was an entirely stripped down, gothic orchestral album of Lynch. covers and other J-Hard Rock artists. Hearing it done like this was almost transcendental. Recommended Tracks: Xero, Idol, Ray, D.A.R.K.

13. Sam Smith’s Love Goes: They had me scared that their album wasn’t coming this year once they pushed it back, back in May. Then again, at the time, an album called “To Die For” was probably super tone deaf. In any case, literally every single released for this album had me in love. So, when they all got included in the final version, I was thrilled. Sam gave us a bonus song after the album as well, but I can see why that one didn’t get on. In any case, this is a huge step up from “The Thrill of it All,” which I didn’t really care for. Recommended Tracks: Another One, Dance (’Til You Love Someone Else), Forgive Myself.

12. Troye Sivan’s In A Dream: I love this kid. He’s so gay and so not shy about it and it really makes me smile. The EP comes after his last LP, Bloom, where the title track basically talks about bottoming for the first time and this new EP deals with a few other queer issues over weirdly produced beats that just... make sense. Recommended tracks: Stud, In A Dream, Easy.

11. Matenrou Opera’s Chronos: Unfortunately, this band just lost their guitarist again. Their original, Anzi, was basically the most consummate guitarist in the visual kei scene that wasn’t Hizaki and he left them. Their sound wasn’t quite right since and they seemed to just get it back with Chronos when Jay left them. I guess we’ll see what they do next, but I think Chronos could be their last great release. Recommended Tracks: Chronos, Silence, Reminiscence.

10. BoA’s Better: A very recent release that hasn’t had much time for me to digest. This is strange for me to put it so high on my list for that reason, but BoA is one of my all time favorites. She never disappoints me. This album was no different. It wasn’t exactly up to par with “Woman” or “Watashi Kono Mama de Ii no Kana,” but it definitely gave us some new and very iconic Queen BoA bangers. Recommended Tracks: Cut Me Off, Start Over, Temptations.

9. Kesha’s High Road: A semi-step down from Rainbow, only because a lot of the same melodic elements and, sometimes, even beats were used on this album too. However, her vocal performance was outstanding and she even gave us a new dirty-pop song with some interesting indie-pop tracks to go with it. Plus, who doesn’t love a Big Freedia feature? Recommended Tracks: Resentment, Raising Hell, Tonight.

8. Lady Gaga’s Chromatica: Anyone who knows me knows I don’t really love Gaga anymore. After all the drama with Madonna and her experimentation with “Joanne” I didn’t think I’d ever like her music again. However, she definitely won back big points for me on Chromatica. It was finally fun, weird, dancey, and then simultaneously emotional and I was really able to get back into it. She’s always had the voice, but on this one it also showed us that she still has what made us love her. Recommended Tracks: Rain On Me, Plastic Doll, Enigma.

7. Koda Kumi’s My Name Is... Angel + Monster: She is, very likely, my Japanese Pop Queen. She always makes these absolutely outlandish bangers of dance tracks that have such a great attitude and beat and when she released re(CORD)... last year? 2018? Who can remember... I thought she could never outdo herself. Then she released “Lucky Star” and I was floored. I was a bit disappointed when they were only to promote a “My Name Is...” collection album, but then, to my surprise, a full set of new tracks came out just after that just blew me entirely away. Guess the last 6 albums must be pretty great, huh? Recommended tracks: Killer Monster, Work It!, Alarm.

6. Grimes’ Miss Anthropocene: I’ve never been a big fan of Grimes, but when Violence came out I was really looking forward to whatever album this was going to end up promoting. The song is actual fire, but then the LP ended up being some kind of experimental Gothic Pop with Asian Pop influences I never expected. I doubt I’ll ever find something she does this good ever again, but it was really a musical light in the darkness of this year. Recommended tracks: Darkseid, Delete Forever, Violence.

5. Kylie Minogue’s Disco: Admittedly, my draw to Kylie has always been that she is like some kind of Australian Madonna. Madonna being one of my all time favorite artists... In fact, number 2 for all women I listen to, Kylie has some big shoes to fill with her sometimes generic pop that she puts out. However, I haven’t really truly loved a Kylie song since “Get Outta My Way” and then this album comes out filled with tracks to love for the rest of time. Recommended Tracks: Miss A Thing, Till You Love Somebody, Magic.

4. Chanmina’s Notebook/Angel: I don’t have really any way of knowing how popular Chanmina is in Japan or if she is as popular in the Japanese Queer Scene as she should be, but god damn does she know what she’s doing. Her music is raunchy, bitchy, and condescending at it’s highest and deeply personal at it’s most mellow. There is no “lowest.” “Notebook” was a two-sided album and “Angel” a strong follow up EP, but all the recommended tracks are from “Notebook.” If you have not listened to “Picky”.... go do it now, I’ll wait. Recommended tracks: Picky, Baby, Lucy.

3. The Weeknd’s After Hours: Incidentally, I got into The Weeknd after someone said something shitty about him here on Tumblr! I took their likely-valid criticism and went to check him out for myself and I gotta say, I love his work. The beats are literally always on point and his voice is like silk. This album provided more than a few iconic songs and I always can’t wait to see what he does next. Recommended Tracks: Alone Again, Heartless, Blinding Lights.

2. Halsey’s Manic: The singles and features she did between Hopeless Fountain Kingdom and Manic gave me such insanely high hopes and I was not disappointed. HFK was a strong album of course, but this was near perfection for me. I think the production of this alt-pop album was the star of the show because it wasn’t all one way, there were heavy-bass songs, interesting piano riffs, striaght up punk rock, all of it. She really made an album quite like it’s namesake. Recommended Tracks: Ashley, Killing Boys, Still Learning.

1. Dexcore’s Metempsychosis: A newcomer to the visual kei and death metal scene, they’ve been putting out single after single for years in preparation for their extemeley long and multidaceted debut album. With a total of about 33 songs, the entire second disc was rerecorded singles from their early days and some even got new lyrical treatment. The main series of songs were, of course, also totally flooring and all of the recommended tracks are the new ones. If you haven’t checked them out by now, you have to! Recommended tracks: Cibus, Scribble, Period.

#personal #music #2020 #visual kei #k-pop #dexcore #halsey #the weeknd #chanmina #kylie minogue #grimes #koda kumi #lady gaga #kesha #BoA

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wearemostly · 4 years ago

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It’s Time for Musical Musings, a.k.a. Mus(ic)ings

When I was 12, I sang in my school talent show. Although it was not an outright failure, the memory of my so-so voice projected through the auditorium haunts me to this day. I just wasn’t great. I had no business belting out “Love Story” in front of all my classmates. I’m no musical expert. I’m not even a musician. There was a brief stint with the violin in fifth grade—that ended after, I’d say, three months—then about a year or so with an electric guitar...that my brother now owns. Needless to say, musical talent is just not a part of my life.

But I love music so much. My education actually began when I stopped playing guitar and started listening. Sickened by the fact that I only listened to pop and a bit of Fall Out Boy (because, what else does a 12-year-old in 2009 listen to?), my now-guitar-playing brother took it upon himself to expand my taste in music. He started with something he liked—hardcore Led Zeppelin, which, sorry, just wasn’t the move at the time. But then he showed me The Beatles. And honestly, my life has never been the same.

I don’t need to wax poetic about how listening to the fab four opened my mind to literally all the incredible music that exists in this world. (But, seriously, it really did). The Beatles are a gateway band for so many people, and I’m more than happy to count myself in that population. Not only were they the uniting factor between me and not one, but two of my romantic relationships, but The Beatles also strengthened my connection to my brother and my father. Okay, so I guess I did need to wax poetic just a little bit.

After I listened and listened and listened, my brother and I journeyed to other bands, other albums, other genres. I didn’t completely abandon pop—a frequent source of eye-rolls for my brother—but I now knew that it wasn’t the end-all-be-all of music. Listen, I won’t pretend I didn’t go through the One Direction phase and scream my head off at my fair share of Taylor Swift concerts. I just did so while also adding a lot of indie rock to my iTunes library (RIP).

And then. Then there was Bob Dylan. When I started listening to Dylan in high school, it was like looking back on a past life, or experiencing some alternate existence I was always meant to have. The king of reinvention, Dylan’s extensive library provided songs for every emotion, be it happy, sad or in between. He made me want to wander Greenwich Village in 1960 with the artists and dreamers. I was on stage with him, going from acoustic to electric, being heckled by angry fans. There was, and still is, plenty I don’t understand—plenty I’m not supposed to—but I felt it all so strongly.

Blood on the Tracks, in particular, has always meant something more to me. Released in ‘75 as Dylan was dealing with marriage troubles, the album has a folksy, heart twisting vibe I just can’t quit. Although Dylan avoids saying the album’s about his estrangement from his wife—and although I’ve never dealt with something so romantically terrible—I am unavoidably drawn to the vivid stories of love and loss that wind through the tracks.

I’ve also gone through other phases with my music taste. For truly no reason at all, I was a very angry teenager. Honestly, I’m probably just an angry person, but nowadays that anger has just morphed to...weariness. In high school, though, I sought out harder, louder songs to wrap myself in these raging emotions. Teachers ruthlessly unfair? Blasting The Rolling Stones on the ride home will fix that. Boss at work sexist? Let’s see if some Arctic Monkeys will cure that.

Clearly, music has always been a source of escape. It’s also been a way to cloak myself in feelings, emphasizing and heightening the similar thoughts already in my head. Recently, I’ve dived headfirst back into my devotion to Blood on the Tracks...but on steroids. When the pandemic first kicked off in my life, I hadn’t been as dedicated to any artist or genre in particular. But things got bad (duh) and I felt an innate need to surround myself with this fuzzy, retro, gut-wrenching sound. It started innocently enough, with me playing a combination of Carole King’s Tapestry plus James Taylor over and over again. Then I was researching the best ‘70s chill’ playlists full of folksy singer-songwriter hits and physically could not turn off John Denver.

Fast forward several months and I am...still listening to this playlist on repeat. I’ve tried returning to more modern selections, like Folklore and Haim and Harry Styles, but I keep going back in time. I just can’t get enough of that velvety sound—it’s like your favorite old t-shirt, so soft to the touch and rendered nearly vintage from countless runs through the washer. A warm embrace from your mom or your best friend or your partner after you haven’t seen them in a long time.

It’s not even that I was returning to some of these songs after not listening in months or years. I know that feeling, and it’s a completely different nostalgia—almost uncanny, like you’re reliving your past. It’s not that, because half the songs on this playlist are ones I’d barely ever listened to before. Some are completely new to me. Yet, just like with Bob Dylan, I knew I was always meant to hear this music. It just sits right with my soul.

And I think that’s why I can’t stop listening. Because it’s more than just music, comfort, catharsis—it’s home. In a time when quite literally everything is uncertain, and I’m feeling rootless in an entirely new way, these silky songs give me a sense of belonging. They blanket me in other lives lived and loves lost. I don’t feel so completely alone when I hear Neil Young croon about searching for a heart of gold, or Jim Croce wanting to put time in a bottle. Mama Cass humming about dreams of California can soothe me to sleep every dang night for all I’m concerned.

It doesn’t really make sense, considering I was born in 1997 and have barely experienced a world separate from 21st century technology, media and speed. But when I hear songs of this genre, this era, I know they belong to me, and I to them. It’s not to say I can’t get along with current songs—I can certainly strut through my neighborhood to Bastille and feel completely in power—but this time-worn playlist hits a different note.

I don’t know if there’s a future where I stop listening to my 70s chill playlist. I kind of, sort of, maybe don’t want it to end. Home is hard to find, whether it’s a person, place or thing, and I’d really like to continue living in this nostalgic bubble—even if it’s not my own nostalgia, not really. But it is my home.

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deadcactuswalking · 3 years ago

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REVIEWING THE CHARTS: 12/02/2022 (ArrDee/Aitch, Liam Gallagher, Juice WRLD)

As you may have expected, “We Don’t Talk About Bruno” by the Encanto cast spends its fourth week at #1 on the UK Singles Chart, with not that much competition in sight. Welcome back to REVIEWING THE CHARTS!

Rundown

Looking at the sales figures, it doesn’t seem like anything is beating “Bruno” for a while. With that said, we do have an interesting week so let’s start off as always with the notable dropouts, songs exiting the UK Top 75 – which is what I cover – after five weeks in the region or a peak in the top 40. This week, we have some really big ones, of course, not including “Acapulco” by Jason Derulo but we do see the exits for all of The Weeknd songs – “One Right Now” with Post Malone, “Moth to a Flame” with Swedish House Mafia and “Take My Breath”. I suppose that the Official Charts Company has finally enforced that three-song rule on Abel – see “Blinding Lights” returning at #73. Other than those, we say farewell to Taylor Swift’s re-recorded version of “All Too Well”, “My Universe” by Coldplay and BTS, “Meet Me at Our Spot” by THE ANXIETY, “Tell Me Something Good” by Ewan McVicar, “Woman” by Doja Cat, and finally, “Drive” by Clean Bandit and Topic featuring Wes Nelson. All of these are pretty big hits, so it does seem that we’re starting to make room for the new tracks to flood in.

What are those new tracks? Well, we’ll get to the new arrivals later, and we can skip “Mr. Brightside” back at #74 (yes, seriously), but as for our notable gains, songs up five spots or more from their position last week, we see boosts for “Lost” by Frank Ocean at #64, “All for Us” by Labrinth with or without Zendaya at #57, “TO THE MOON” by Jnr Choi and Sam Topkins at #51, which is really growing me, “Numb Little Bug” by Em Beihold at #38, and that’s actually pretty much it. Hey, I said it was interesting, not particularly that busy.

Our top 5 from bottom to top goes as follows: “Where Are You Now”, “abcdefu”, “Surface Pressure”, “Peru” and of course, “Bruno”. Now let’s get into some new albums that I heard last week that were decidedly never going to chart.

Off the Charts

Requiem – Korn

Korn sound exactly like they did 20 years ago. Good to know – at least it’s not brostep. My favourite track is “Lost in the Grandeur”.

Time Skiffs – Animal Collective

The newest album from AnCo just feels dreadfully pointless, meandering into the least interesting and inventive sonic textures it could have gone from the first track onwards. It sounds pretty but not damn near pretty enough. My favourite track is “Prester John”.

Dope Don’t Sell Itself – 2 Chainz

It’s a 2 Chainz album, and therefore, is inconsistent in quality but consistent in just about everything else. He’s still a fun if increasingly disinterested presence on the mic, but I’d have preferred if the whole album was boom bap because I can kind of tell he’s losing interest in trap bangers. My favourite track is “10 Bracelets” with YoungBoy Never Broke Again.

Cognitive Dissonance2: or, It’ll work out in the end – VHS Midnight Style

I really hoped that I’d have loved this but the texture of this British producer’s wavy electropop doesn’t become nearly as atmospheric as it should be until the tail-end, and feels kind of unfinished but still a decent, sleek listen. My favourite track is “This World is Good and We Belong Here”.

Few Good Things – Saba

The Chicago rapper’s highly-anticipated follow-up has an identity crisis between its heavy-hitting and clumsy trap, loose R&B stylings and at times kind of exhausting neo-soul production, with Saba not that exciting of a presence really to excuse it all. My favourite track is “Soldier” with the other members of Pivot Gang, especially Joseph Chilliams who kills his verse.

Give Me the Future – Bastille

Honestly, this album is freaking hilarious. Bastille come through with pretentious cyber-leftist bars on generic pop rock production that has just enough synth cheese to make it sound like simultaneously a success and complete failure of an 80s pastiche. I liked it overall, but it’s telling that my favourite song was the “Promises” interlude with Riz Ahmed.

Laurel Hell – Mitski

I’m not a Mitski fan, or at least I wasn’t until this album, but I was genuinely shocked with how much I loved this. Taking the 80s pop pastiche into dark wave territory is pretty inspired for this kind of crystallised cynicism that is especially crushing under this veil of outright perfect synthpop. My favourite tracks are “Heat Lightning” and “The Only Heartbreaker”.

Ants from Up There – Black Country, New Road

These guys debuted at #3 on the albums chart, and I’m so glad because this is a straight 10/10 record. Isaac Wood delivers some of the most devastatingly honest narratives, which sounds so much more stark when placed against some of the most massively symphonic indie rock instrumentation, masterful production and songs that have as much drive as they do melancholy. It’s hard to pick my favourite from this heart-wrenching experimental rock album that is the best of its year so far, but “The Place Where He Inserted the Blade” hits so damn hard. And now, the main attraction: songs that will likely not have much emotional resonance to speak of.

NEW ARRIVALS

#72 – “Notion” – The Rare Occasions

Produced by ???

You know, maybe I shouldn’t be so harsh. After all, at least five of our nine new arrivals here are honest to God rock songs, and if my heart lies in any genre, it’s going to be rock, and hell, the unreviewed Genius description for this song calls it “pretty much the coolest song ever”, so it’s got to be good, right? Well, yes, it actually kicks a lot more ass than I expected to, especially since the Rare Occasions are a band from Rhode Island who had essentially gone unnoticed until this song from 2018 blew up on TikTok. The slick orchestral sample that starts the song quickly dwindles into an afterthought for a pumping garage rock banger, for singer Brian McLaughlin to spray his nasal drawl onto, and whilst I do think that the impact of the... “chorus” is lessened by the lo-fi mixing, flattening the song to an extent and I do want to hear an updated mix, the drive is still absolutely there, especially in that constant slippery bassline and the borderline funky instrumental meanders between verses. I don’t know how an indie rock song from a no-name band with a heavy guitar riff instead of a repeating chorus got on TikTok in the first place, but I’m not complaining, especially not with that euphoric of a bridge where McLaughlin’s shaky falsetto feels at home on the summery almost 60s-esque percussion and sunshine guitars. If it reminds me of Weezer, it gets a positive review anyway, but I’m glad this one actually has some grit behind it, even if it has zero chance of actually sticking around.

#52 – “emo girl” – Machine Gun Kelly and WILLOW

Produced by Dark Waves and Travis Barker

Okay, so when I said “honest to God rock songs”, it was always with the caveat that this one in particular, whilst just as much rock, and arguably just as much of a song, is decidedly less honest, and hell, probably a lot less closer to God, unless perhaps you’re going by the Nine Inch Nails definition. There are things to like about this song – WILLOW’s over-singing always blasts pretty hard over this kind of pop-punk, it’s a catchy enough blink-182-sounding track, albeit a little too clean production wise for Travis Barker’s drums to hit that hard, and you know, I like emo girls too, Mr. Kelly and Ms. Smith. After all, one of my favourite albums of last year had “emo girl” in the title – shout out to Rat Jesu – yet there’s nothing here that feels appreciative of female-fronted emo-pop bands as you’d think. Instead, it’s just pure lust. Machine Gun Kelly, sounding as bored as ever, especially in the verses, and having zero chemistry with WILLOW, runs through the physical features of said young woman whom enjoys emotionally-charged derivatives of punk rock music, and it’s almost like you forget that this dude is 31 when he says that he loves “thigh highs”. Hey, if she knows all the words to the trap songs, then perhaps she knows all of the words to “RAP DEVIL”, and if so, it’s not great when your girl is telling you that your beard is weird. Maybe it’d be funnier if she knew all the words to “Killshot”, and God, I hope she does. Hey, WILLOW, ignoring the Tumblr depresso bars, if your girl thinks that you won’t understand the music she listens to because it’s the “next shit”, I highly doubt she’s wearing a blink T-shirt. Hey, maybe she’s a Jeromes Dream fan. I’m impressed that I got this far without mentioning the worst rock chorus that I’ve heard in years, but really, I’ve said way too much about a misguided if not just frankly gross song that really doesn’t offer anything but a riff and some fetishism. Please, Travis Barker, provide your talents elsewhere because I am not sure this guy deserves it.

#43 – “Black Summer” – Red Hot Chili Peppers

Produced by Rick Rubin

Have I ever admitted on this blog the grave sin that I am a Red Hot Chili Peppers fan? Yeah, it’s not exactly easy to admit given some of their more recent output and generally having a sort of negative reputation as washed up dad rock, but they just are one of my favourite rock bands. Anthony Kiedis’ unique delivery and predictably unpredictable songwriting combined with Flea’s slick basslines has never not worked for me at least a little bit, and it was exciting for me to see that John Frusciante, the guitarist for many of the “classic” RHCP albums, was back in the mix as lead guitarist once again. They plan to release their first album in six years this April, and whilst I was mixed on The Getaway, I do think it has some great moments (see “Goodbye Angels”) so I’m cautiously optimistic. When they first dropped “Black Summer” last week, I was pretty hesitant, especially considering the intro where Kiedis’ demo-like vocals sound manipulated and kind of surreal over a droning guitar lick... but then I realised that “Warped” starts the same way, and whilst this song is nowhere near as able to exemplify that crushing desperateness as One Hot Minute is (and that’s their best album, and I won’t hear anything to the contrary), I do think this is a pretty great track. Frusciante and Flea sound just as home as they always have, and Kiedis’ more alien approach to his vocal take, with the audible Auto-Tune, and what some have called a pirate voice, really works considering the content. Bassist Flea was born in Australia, so naturally the “Black Summer” of the bushfire season from 2019 to 2020 in Australia, hit closer to home, and whilst RHCP albums have sometimes been somewhat indebted to Australian roots before, this is their first song really tackling modern Australia as a topic of interest. The first verse is largely about these devastating bushfires, and there’s a really interesting cynical tinge to how Kiedis views the wider world here, seeing animals as pure victims of a lack of celestial involvement. The song changes focus from that specific Black Summer to the constant Black Summers of 2020 onwards thanks to the general chaos that the world has been in thanks in large part to the COVID-19 pandemic, and with the amount of time that they have had to write about this, it does show that pandemic-related music can have a real emotional resonance outside of just virus talk. There’s part of Kiedis that feels lost, and he can no longer see the sunlight as anything more than a facade, especially when those put in place to protect us are instead censoring us, and that we have to set our hopes on a headless horse to get anywhere. It’s that longing and exhausted cynicism that sets this apart from the recent discography, and makes the infectious chorus that bit more compelling and dramatic. Yes, of course, the fluttering psychedelic guitar solo from John Frusciante is absolutely killer and I’m honestly just so glad to have these guys back together in the classic line-up and making music that really shows promise and a hint of that emotional care that they kind of lost past, say, 2006. Hopefully the album continues on this level of quality.

#40 – “Where Did You Go?” – Jax Jones featuring MNEK

Produced by Jax Jones

What, did I get too happy for you, Official Charts Company? Welp, here’s the newest track from Jax Jones, featuring at least a charismatic pop star in the form of MNEK. This one samples “9PM” by ATB because, hey, that hasn’t been done, right? Sarcasm aside, this song is actually fine, with a nice nostalgic trance atmosphere that isn’t fully disrupted by the overly loud vocals and rote modern house percussion that sounds kind of awkward in this mix. It is disrupted, however, by the anti-climactic bass drop that is just always boring – I seriously don’t know how these slap house DJs get away with it all the time. I like the sampled cutesy 90s guitar, and the fact that that’s enough to separate songs for me in this landscape makes me really sick of pop-EDM. The more drum and bass tunes we seem to get in to take the dregs of “house-pop” out of the charts, the better.

#37 – “Cigarettes” – Juice WRLD

Produced by Nick Mira

You know, I’m getting really sick of doing the whole “Juice WRLD is dead and his label is exploiting his death but it’s a tricky ethical situation” pre-amble, especially since the songs they release from his vault seem more and more finished and even more haunting in lyrical content. I’m surprised that this debuted so high, but this new posthumous cut is actually pretty good. The emo guitar riff has a lot of drive, and whilst I’d obviously prefer the percussion to fit that intensity, this barebones trap beat works to display the dejectedness of the lyrical content, where Juice desperately tries to keep the relationship going with his partner because he can’t stabilise himself, especially considering his addictions. Some of the writing is really generic and I can tell that the sole verse was really a first draft, but there’s a really interesting dissonance between the almost sweet lyrics and the harmful dependencies that they represent. It has been leaked for close to three years, so I suppose this is a release for the fans more than anything, and it’s a damn good song, but it disheartens me to see any Juice WRLD in the charts, so I think I’ll move on.

#31 – “Do We Have a Problem?” – Nicki Minaj and Lil Baby

Produced by Papi Yerr

Speaking of people that I am tired of tip-toeing around, I am not even going to mention COVID-19 misinformation, Cardi B, Jesy Nelson and 6ix9ine in this entry. Oops. Drama aside, let’s just talk about this as a song because much like her friend Kanye West, it is tiring discussing the bigger picture when it comes to Ms. Minaj. I really love this intense beat, layering trap percussion over the string pads that sound really hard, but Nicki Minaj seems out of space as whilst her singing sounds nice, it sounds like it is on the wrong beat and at the wrong tempo, with her more basic flow in the verses sounding kind of stunted, especially in that messy, awkward “pre-chorus”. Lil Baby’s signature frog-throat delivery sounds really excellent on here, as you’d expect as this is essentially a Lil Baby type beat, but neither he nor Nicki have much to speak of when it comes to content. The final verse from Nicki also just seems really unnecessary and a result, the song just feels kind of malformed. Nicki and Baby released another collaboration this week that is a hell of a lot worse – or better, I can’t tell yet – so be prepared for that next week.

#24 – “she’s all i wanna be” – Tate McRae

Produced by Greg Kurstin

Canadian songstress Tate McRae is back with a new single and that’s all the pre-amble you’re getting because this is actually pretty good. I’m still not a fan of her overly smoky, stylised voice but it’s definitely a uniquely subtle delivery for this kind of melodramatic pop rock, with a really fast-paced guitar and bass loop acting as a foundation for Ms. McRae to lament her jealousy in a really petty yet understandably effective way. The partner here seems to have ridiculous expectations for Tate given the comparisons to the other girl in the narrative, and whilst she can’t exactly express that this well in the new wave-influenced chorus, which really could have benefitted in all its 80s synth glory from a more expressive vocalist. The song it reminds me of, if anything, is “Always” by blink-182, since that band seems to be a recurring theme this week, in how it blends punkish energy with the daft up-in-the-clouds energy of much of both the 80s synthpop from that era and its flattened 2010s derivatives. I’d have preferred a more developed song, particularly one with a bridge or even a guitar solo, but this is pretty damn good and a great surprise from McRae. We’re not done with surprising pop rock though...

#18 – “Everything’s Electric” – Liam Gallagher

Produced by Greg Kurstin

We are, however, done with actually good pop rock, although it’s quite interesting to see that Greg Kurstin’s behind the boards for this one also. The former Oasis member, the more likeable one compared to Noel yet still not a man of much quality solo output, or rather anything good in the past 20 years, debuted the song during the BRIT Awards this year and it should tell you all you need to know that it was the lowest viewer count for the awards show in years and even I found it terribly dull. Speaking of dull... okay, I should stop being harsh to the man as this is actually not that bad of a song. His attempt at being Kasabian is admirable, especially with Dave Grohl on his best drum performance in years, and the groove is mastered in this really nice, vintage mix that makes the acoustic chorus pop even more. The songwriting feels pretty mature for a Gallagher too, as he realises that a relationship has met its dead end, with Gallagher sounding so exhausted on that sing-a-long chorus. I’m never going to be a fan of his vocals, of course, but I’ll give this Feeder type beat its deserved flowers for now. I can actually see this lasting considering how immediate and recognisable that chorus is, and how sweeping the guitars seem on that outro, so maybe we can prepare for a Britpop revival... yet grebo seemed to have missed its chance.

#6 – “War” – ArrDee and Aitch

Produced by LiTek and WhYJay

And what better way to end this chart parade, with a lot more heavy guitars than I really expected, to the point where I’d describe about six of these songs as some form of “rock” – praying this isn’t a fluke week – than with identical twins making a drill song? The brass loop sounds practically mashed in there like a badly-made Central Cee type beat under the heavy-hitting drill percussion and sliding 808s that do sound good albeit perhaps too distorted. They flip between rags to riches flexing and violent threats, without being particularly interesting, although ArrDee’s flow is much more convincing than Aitch could ever be. Outside of the bombast, I don’t really enjoy this one, though it’s really not bad at all.

Conclusion

In fact, I like most of these songs a fair bit. Worst of the Week will obviously go to “emo girl” by Machine Gun Kelly and WILLOW, with a Dishonourable Mention to Nicki Minaj and Lil Baby for just being awkward in “Do We Have a Problem?”. Best of the Week is tougher but I think it ultimately has to go to the Red Hot Chili Peppers for “Black Summer”, with a tied Honourable Mention between “Notion” by the Rare Occasions and “Cigarettes” by the late Juice WRLD.

I felt oddly at home writing this episode, given the songs that actually debuted, and I’m pretty happy with their quality too. Next week, we can expect Kanye West, Doja Cat and Becky Hill so maybe say goodbye to all the “I like the guitars!” talk. Thank you for reading and I’ll see you next week!

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pngnolan-blog · 7 years ago

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TASK 001: Q & A

“Hi. So, uh, my name’s Nolan and my job is essentially the producer. If you don’t recognize me that’s probably because I’m usually behind the camera. Well- Anyways- Let’s get started, I guess.”

1. Do you get along with everyone on the crew?

“I would say that I do, yeah. I can’t imagine not being good friends with all of them. That would make this whole thing pretty awkward in my opinion, and I’m awkward enough without the help.”

2. What would you say landed you the position of the producer?

“I think that it’s because I’m really organized and reliable. In high school I never handed anything in late. I did the homework that didn’t even count for a grade. I think that they all knew that about me, and it made me a good candidate. I guess I’m pretty good at it too, since the videos are always up in time.”

3. How tall are you?

”Last time I measured I was six foot three, I think.”

4. Do you believe in star signs and all of that?

“Sure. I mean- I guess there’s a reason that they’re so popular and so many people believe in it. I really don’t think I’m in a position to not believe that stars can have an effect on personality. I chase ghosts for a living.”

5. Is it hard for you to be away from your family?

“Yes. I figured I’d be used to it by now- but I guess that it’s one of things you never really get used to. I miss my parents all the time. At least we have technology nowadays. Facetime is a life saver.”

6. What is your favourite article of clothing?

“In general I guess I’m really fond of hoodies. They’re nice and warm, but it’s not like a jacket that’s cumbersome to wear. Specifcally I guess my high school hoodie. Like- The one with the logo on it and everything, because it’s nostalgic as well as cozy.”

7. What is your biggest regret?

“As much as I want to be one of those people who is like ‘oh I have no regrets because everything is a lesson’ I actually have a lot of regrets. I would say that the least deep one would probably getting drunk for the first time at age fourteen. That was a really messy night.”

8. What advice would you give your future self?

“Keep doing what makes you happy, even if it’s not what you expected.”

9. What would you be doing if you weren’t part of the crew?

“I guess I would be in school. I had some scholarship opportunities but I put them on the back burner to do this. Figured I could always just go back to school when I’m older, but this is a once in a lifetime opportunity.”

10. Are you happier behind the camera?

“Yes! Definitely. Whenever I have to be the one asking the questions or trying to keep people entertained I totally panic. I’m much much better behind the scenes.”

11. What are your hobbies?

“I would say that reading is my number one hobby. It’s easy, too, since we have so much free time on the road. I also quite enjoy the editting factor of making videos, and I find myself looking forward to editting the footage when I know we’re done filming. Other than that I guess I like watching TV and sometimes playing video games. I also love to learn, so whatever way I can factor that into my spare time I will.”

12. Can you recommend some of your favourite books?

“Anytime someone asks me this question my go-to answer is The Book Thief. I know it’s not exactly unpopular or anything, but there’s a reason that so many people like it so much. I think the true test of a good novel is if it can make you feel something, and the end of that book had me crying. I’m not ashamed to admit it. There’s also All the Light we Cannot See, which is another World War Two based novel. As far as Young Adult series go I would recommend The Hunger Games and The Fifth Wave, because they’re really good. Of Monsters and Men series is great. The Way we Fall is about a plague and it was really good. The Maze Runner. I could really go on forever, but I’m going to force myself to stop now.”

13. Favourite album of all time?

“This is really hard, but I guess it would have to be one of Bastille’s albums. I can listen to them all the way through over and over again and never get tired of them. Also, Hozier’s album from like 2014. I don’t even remember the name but it makes me feel some kind of way.”

14. Did you enjoy high school?

“Yes, but I feel like I enjoyed it for reasons that most people didn’t. It wasn’t really the social scene that made the other stuff tolerable for me. I genuinely loved the classes and learning new things and studying. I know that’s pretty unheard of. A kid who loves to study. Not that I’m trying to be a hispter or anything- I just- I’m willing to acknowledge that I’m a little weird for enjoying the actually school part of high school. I honestly probably wouldn’t have engaged in any of the social activities if it weren’t for my friends pushing me out of my comfort zone.”

15. Do you have any siblings?

“Nope. I always wanted a sibling but I guess my parents felt differently.”

#uinc:task #( task. )

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supernaturallymarvellous · 8 years ago

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Bad Blood: Things We Lost In The Fire

Author: @supernaturallymarvellous

Characters: Tony Stark x Reader, Steve Rogers, Thor, Hulk, Clint Barton, Nat Romanoff

Word Count: 960

Warnings: Angst, heartbreak

A/N: This is one of thirteen fics that will form part of my new series “Bad Blood”, inspired by the Bastille album of the same name and has been written for @mrs-squirrel-chester‘s Album Fanfic Writing Challenge. This installment was written for the second track on the album, Things We Lost In The Fire (listen to the song here).

Set against the backdrop of the Battle of New York, how does the reader cope with seeing the love of her life taking on the biggest challenge he might ever face?

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New York is in ruins. Buildings that once stood proud and tall lie in piles of rubble, great metal girders poking out of now unrecognisable pieces of masonry. It seems as though everything has been turned into debris. So much has been lost already – lost to the flames and the fires that are slowly turning entire city blocks into ash.

While we were previously scattered throughout the city, the team has now mostly regrouped. I’m standing on the ground with Steve and Thor at my side. Barton and Hulk are nearby, taking out a few rogue enemy combatants that are insistent on continuing their attack. We’re only missing two members of our group but we know where they are; Nat is several storeys above us, trying to bring an end to the chaos that surrounds us, while Tony is even higher than that…..holding onto a nuclear missile that could easily wipe out the entire state.

Those of us at ground level are exhausted. My powers are all by spent….I can only keep using my ‘abilities’ for so long before I need to recharge! Steve stands next to me, letting me lean into him for support – both emotional and physical – but I’m all too aware that he’s just as drained as I am. He’s holding it together better than me though….he isn’t the one that’s crying.

Through the tears that are now streaming freely down my face, I can see Tony climbing higher and higher, on a one-way voyage that is going to take him away from me, rip him out of my life forever. Against the blackness of the portal that is looming above as, I can see flashes of red and gold as his suit gleams in the sun.

And then he’s gone. As he disappears from view, I sink to the ground, my legs finally giving way as though they somehow know that I can’t stay upright any longer. Steve comes down with me, his arm tight across my shoulders, holding me close and trying to offer some sort of comfort to me.

I suddenly become painfully aware of the sound of my own voice. Over the comms systems, I can hear myself begging Nat not to use the sceptre to close the portal, screaming at her to just give Tony a few more minutes….pleading with her, almost bartering for his life. The thought of losing him is too much to bear and all I can do is sit and watch. I can’t do anything now but hope and pray to a god that I don’t even believe in. My heart feels like a block of concrete, a dead weight in my chest – almost as though it’s given up, decided that it’s simply going to stop beating the instant that the portal closes.

Steve finally makes the call, tells Nat to shut it down. As much as I disagree with his decision and want to stop him from making it, I understand his reasoning. There are bigger things at stake here than my emotional wellbeing. He’s done what needed to be done and has made the decision that none of us wanted to make. He leaves go of me and stands, Thor moving closer to us at the same time, and they both look up just as the portal snaps shut. I however can’t raise my eyes from the ground, choosing instead to stare at a piece of a manhole cover that is sitting a few feet away from me.

I can barely register the voices of my team mates as they talk in panicked tones and hushed voices. It isn’t until I hear the sudden crumbling of bricks and the shattering of glass that I look up – more of a survival instinct than a desire to see what’s happening – and realise that Tony made it back. I can see him dangling limping in the huge hands of our ‘friendly’ green giant and for a second….just a second….I think that he might be ok.

As soon as they’re both on the ground, I’m back on my feet, running over to where they are, Steve and Barton and Thor hot on my heels. But he’s just lying there not moving, not breathing. I don’t know what to do; every single lesson on resuscitation has left my mind and all I can do is stare at the lifeless body of the man I love. Then a deafening roar splits the air around us as Hulk takes matters into his own hands. He screams in Tony’s face and after a few tense seconds, a gasp erupts from Tony’s throat and his eyes snap open. I scramble towards him and my heart feels full again as emotions suddenly flood my system.

We all stay there for a while. Nat slowly makes her way back to us from her rooftop perch. Police and fire crews continue to assist civilians in freeing themselves from the wreckages of buildings. Sirens wail, alarms blare out of almost every building that surrounds us, the flashes and clicks of camera phones and the voices of people draw nearer to us as they try to get a glimpse of the people who saved them.

But none of that matters. All that matters is that we’re alive. Our bodies are bruised and our hands are stained with blood. We may be injured, traumatised and damaged but we’re alive. We will never be the same again, nobody will. We’ve taken a look into the future and we need to make some changes but we can do that – we will do that! Together we made a difference today…..we saved lives and as soon as we’ve recovered, we’ll do it all over again. It’s what we do – after all, we are the Avengers.

Tag List: : @waywardimpalawriter, @eileenlikesyou-maybe, @hexparker, @purgatoan, @zepppie, @helvonasche, @mysteriouslyme81, @chainez-8, @everything-but-the-not-natural, @iron-winter, @redlipstickandplaid, @sarazzprime, @growningupgeek, @mamapeterson, @eternalanxious, @ofdragonsanddreams16, @perksofbeingasassterpiece, @hellahornyvirgin

#album fanfic writing challenge #bad blood #tony stark x reader #marvel reader insert #marvel #avengers #tony stark #iron man #steve rogers #captain america #thor #hulk #bruce banner #natasha romanoff #black widow #clint barton #hawkeye

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mattiehawkins · 8 years ago

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All of the questions😎😎

I have a feeling that, because all these questions are quite complex I won’t be able to give massively satisfying answers. But I’ll do my best, and this is just for fun, and to have a little look at how I’m feeling right now…

(Also all of them?????? Megan, really???? jkjk ily babe x)

(This did take me an exceedingly long time though… I think I overthought it…)

1. what album do you feel best describes your mood

My mood right now? That’s difficult…

I don’t think I can give an answer that fully satisfies myself for this question - but it’s somewhere around Wild World by Bastille, maybe?

(Idk, feelings are hard to interpret and express sometimes.)

2. if your name had to be a song title which song would it be

Arabella - Arctic Monkeys

3. what is your go to sad song when you need to cry

Me & Magdelena by The Monkees (although, it isn’t necessarily sad, but it almost always makes me cry) and sometimes, when I’m a special type of sad, Thought I Was A Spaceman by Blur.

4. what band would you want as the rest of your superhero team

Gorillaz, mainly just because Noodle could survive the apocalypse, and that’s the kind of power any superhero team needs.

5. if you had to live in the world of an album which one would it be and why

This for me is a really hard question; it’s difficult to choose an album when so many albums that have a theme and build a world aren’t the nicest places to live (or at least the ones I listen to).

My first thought was MEKAKUCITYDAYS by Jin, but even though I love the Kagerou Project and always will, those kids have gone through a lot and I don’t want that.

So then I thought of Modern Life Is Rubbish and Parklife by Blur, but my life wouldn’t really change that much, other than living in a slightly more idealistic London.

So I’ll settle on those, I suppose…

(Unless film soundtracks count, in which case I firmly choose How to Train Your Dragon, give me a dragon, please!)

6. what song best describes the person you think your soulmate would be

I really don’t know… (It doesn’t help that I don’t listen to a lot of overly romantic love songs.)

7. create a poem out of song titles

(Can I only use song titles? Okay, I’m gonna do this my way - Capitalised is a title, lowercase is just linking words)

This Town Called Malice, where The Beautiful Ones and The Drowners live,

I Walk The Line along The Edge Of Heaven.

I Broadcast my thoughts, Go Out, walk this Lonesome Street,

In The Heat Of The Moment, clutching my Heart Of Glass.

Strange Birds on a Cliff’s Edge,

Wild & Free, flying on Wings like Icarus towards the Crystal Sky,

and Strange News From Another Star.

Snap Out Of It, we’re all just an Echo, a Lost Boy, Nomads, the Last Living Souls.

Run Away With Me, Sweet Young Thing,

You & Me could have the Adventure Of A Lifetime.

(artists in order: The Jam, Suede, Suede, Halsey, Wham!, Blur, Blur, Blur, Noel Gallagher’s High Flying Birds, Blondie, Birdy, Hayley Kiyoko, Lena, Birdy, Lena, Blur, Arctic Monkeys, AmaLee, Ruth B, Highs, Gorillaz, Carly Rae Jepsen, The Monkees, Damon Albarn, Coldplay.)

I’m actually pretty proud of that.

8. which album art would you get tattooed

Aaaaaaaaaaahhhhhh, I don’t really know! That’s a big commitment, and I’d have to love the album so so much, and the cover would have to be pretty, and be a good tattoo.

I guess AM by Arctic Monkeys, or The Magic Whip by Blur.

9. is there a song that you feel could have been written about you

Sleepsong by Bastille.

(And at times, Tell It Like It Is by Graham Coxon.)

But also! Other really happy songs! (I can’t think of any right now, and I just want this done tbh.)

10. if you could only speak in the song lyrics of one artist who would it be

Oh man, that’s a Commitment™

I guess Damon Albarn, because then I get his solo stuff, Gorillaz, and Blur, so that’s a fairly wide range.

11. if you could have your favorite artist sing one of their songs to you which song would it be

I’d 100% have to choose Gorillaz, because as far as bands go, they were literally my first love - the first band I listened to every recording of every song of theirs I could get my hands on; the first band that I listened to the discography of all the time, for month-long stretches playing the same album; the first band that I went out and bought the music of myself, without being given it or my mum paying for it; they were the first band that for me the music was bigger than just a few catchy singles by some people I was aware of, but didn’t actively want to know more about. And they still, after all these years, make me feel the same strength of emotions as that very first time I saw the video for On Melancholy Hill on the Top 40.

So Gorillaz, but that brings me onto the question: what song?

My favourite Gorillaz song is probably Empire Ants, but would that be the one I’d most want to have performed to me? I guess I could ask for a track from the new album, but if I didn’t like it as much as Empire Ants, I might regret it. But I really love how Hong Kong sounds performed live, so maybe that? Or Don’t Get Lost In Heaven? Dirty Harry?

12. describe where you want to be in ten years with a song title

This is so difficult!

The Scientist - Coldplay

13. which song would be the national anthem of your country if you ruled one

Oh man, I have no idea. But White Flag seems by Gorillaz seems at least somewhat appropriate, and I swear I can never tire of Kano’s voice.

(Also I’m getting tired now, and this is the last question left to answer and this is all I can think of #LetMeLive)

14. what is your go to happy song when you need to feel better

On of the really poppy singles by the Spice Girls, or Alright by Supergrass.

Also, on occassion, I Bet That You Look Good On The Dancefloor by Arctic Monkeys.

15. is there an album that feels like a friend to you

A couple, but other than Headquarters by The Monkees, listing the others here feels a little uncomfortable… It feels like kind of a private question, idk

16. what is the album that you always blast too loud

Gorillaz, Demon Days, Plastic Beach - Gorillaz

(What’s The Story) Morning Glory? - Oasis

Whatever People Say I Am, That’s What I’m Not - Arctic Monkeys

17. which album do you always listen to with headphones

This Is Hardcore - Pulp

Queen of the Clouds - Tove Lo

Art Angels - Grimes

18. what song are you unable to resist dancing to

so very many - if I love a song, no matter where I am, I’m always moving about (I’m terrible to go shopping with because I have a terrible habit of dancing subtly/singing quitely if a song I love comes on)

But I guess I should list a few (this is in no way the entire list):

Alright - Supergrass

I Bet That You Look Good On The Dancefloor - Arctic Monkeys

Dolly Dagger - Jimi Hendrix

19. what song do you always have to sing along to

see above

But here’s a few:

Don’t Look Back In Anger - Oasis

Fluorescent Adolescent - Arctic Monkeys

Daydream Believer - The Monkees

20. what song do feel would be a beautiful painting

This Side of Paradise - Hayley Kiyoko

21. what album do you wish you could unhear and discover again

I don’t know? There’s definitely albums I wish I could’ve had better appreciation for when they had just come out, but I’m not sure which I wish I could just experience all over again.

Sgt. Pepper’s Lonely Hearts Club Band, maybe? Possibly a Blur album from Modern Life Is Rubbish, Parklife, Blur, 13, or The Magic Whip? Or a Gorillaz album?

I really honestly don’t know.

22. which album do you want to be the soundtrack to your life

Bad Blood - Bastille is very likely my soundtrack, it has a good range of themes which I have encountered, or likely will in the future.

23. which band would you want to be your family

I don’t think I’d want any band as my family?

24. what song do you think of in association with beauty

Quite a few, but none that spring to mind immediately? (Other than that one by James Blunt, which I heard on a TV show the other day.)

25. what song do you think of in association with pain

Very many, but possibly To Binge by Gorillaz has the strongest association.

26. what lyrics do you feel were written especially for you

I’m just going to pass this one, I don’t have the time, and it could be kind of personal.

27. what lyrics do you want to doodle on every piece of paper

Oh man, so many, I have a list. But the one that springs to mind is: “All of which makes me anxious, at times unbearably so.”

28. what music do you listen to at 3 am

Very soft music - I clear my mind and just let it wash over and through me.

29. pick three albums to take with you into the afterlife

Another Commitment (this is why I could never go on Desert Island Discs).

I’m going to just plunge myself in the deep end for this question, and just pick three that right now I’m feeling I would need:

Demon Days - Gorillaz

Make It Big - Wham!

(What’s The Story) Morning Glory? - Oasis

(I can 110% assuredly tell you that I’ll be kicking myself over my choice in like 3 hours thinking “This album! You idiot! How did you possibly think you could survive without this album!”)

30. what is music to you in one word

hope

#about me #this took so bloody long rip me

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sugarmusicnews · 4 years ago

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From Jive Talking and Eyeballing Facebook Group

It all began with a band called Zennith in Brakpan near Johannesburg in 1977. Dutch born Lucien Windrich began playing with school friends which included bassist Benjy Mudie, the future South African music custodian. The band changed its name to Void and the following year was joined by Lucien’s younger brother, Erik also born in Holland. Even though the band had won a battle of the bands in Joburg in 1978 they were battling to find paying gigs in South Africa. The band found the opening they needed in Rhodesia, now Zimbabwe, on the live circuit. The guys spent 8 months there together with drummer Danny de Wet (Petit Cheval & Wonderboom) and bassist Terry Andalis. In 1979 the band recorded a cover of the Knack’s smash hit My Sharona but it was the B-Side Magicia that took off and reached number 4 on the country’s charts. Here is My Sharona, Void style…

youtube

Can’t seem to find a copy of Magicia. Lucien? Q. Hi Lucien, thanks so much for Jive Talking with us in South Africa. So, one could say that you had your first taste of success in Rhodesia. It is obvious that you had your African spin right from the start, even with Void, and your version of My Sharona has that tribal influence. Did you listen to tribal music and was this the main influence on your music? Who were you listening to at the time? A. In the late 70’s I was listening to rock bands like Grand Funk and Bad Company and prog rock bands like Wishbone Ash and Genesis and learning to play guitar like all the guitar players back then. The local South African influence came later in the early 80’s during our residency in East London when we started afresh as a three-piece.

I don’t think we had an obvious tribal influence back in the 70’s. We were just experimenting with various rock and pop idioms. As ‘Void’ we went from one extreme to the other. We composed and performed a 17 min prog rock epic called How Calm the Storm which people would sit and listen to quietly throughout. And then we put a middle-of-the-road song called Magicia on the B-side of My Sharona. It was an eclectic mix of stuff.

Going to Bulawayo in 1979 was the first professional residency gig for the four of us, me Erik, Danny and Terry. We told ourselves from the outset that we would only do residencies playing cover songs as long as we could write and perform our own stuff as well. So it was a real boost when people requested our own stuff. It gave us the confidence to continue writing. Those early residency gigs were an invaluable learning curve for us towards developing our own original style and sound.

We had our first success in Rhodesia with a cover version of My Sharona because the original wasn’t allowed to be played due to sanctions. It was fun watching everyone do ‘the pogo’ when we played the song in the club. There’s even a video of us doing the pogo in the Zimbabwean TV vaults somewhere. What we never expected was to be playing to young soldiers who had been in the bush for six weeks shooting and killing people, and then coming into the club to dispel their tensions. We quickly learnt to keep them entertained with our music and performances which helped to prevent outbreaks of violence suddenly erupting inside the club. And believe me, it did erupt. We threatened to stop playing if they didn’t stop fighting. Sometimes it worked, sometimes it didn’t. One of the cover versions we did at the time was a song by Rush called Bastille Day which strained Erik’s voice so much he had to have an operation to remove the nodules on his vocal chords.

And what should have been a highlight for us was when Bob Marley came to play at Independence Day, April 1980. We were literally in the next town. We asked the manager Marjorie if we could have the night off and she said no. Can you believe it? Like good Catholic school boys we did as we were told. WTF! Void returned to South Africa and decided to change their identity after Terry Andalis, José “Aggi” de Aguiar and Danny de Wet departure in 1982. Lucien, Erik and third brother Karl, the band’s manager, changed their name to éVoid and it became a three piece with Georg Voros on drums who was replaced by Wayne Harker early in 1983. éVoid built up a large, loyal following which started in East London and then spread like a forest fire over the next 4 years. The band were creating a highly original and subtle fusion of Afro-rock (which they christened ethnotronics), which was different from the more traditional sounds of their contemporaries, Juluka and Hotline, or the rock-based Tribe After Tribe, Ella Mental, Via Afrika, Flash Harry and Neill Solomon’s Passengers. éVoid conveyed immediacy, simplicity and warmth of spirit of other Afro-rock bands with their newly painted faces, tribal dances and South African jive rhythms. Q. Your style, was it based on any one African culture like the Ndebele patterns and the Zulu bracelets and beeds or a combination of those and others. Who made your outfits and what did the African people think of it? Did they give you their blessing? A. The eVoid style was developed in East London when we were faced with becoming a three-piece. It was a deliberate attempt to create what Aggi called Soweto New Wave – a fusion of rock & mbanga grooves, jangly guitars, punchy keyboard riffs and a local South African influenced image. But vocally we were still mainly European sounding. We weren’t interested in being as indigenous as Johnny Clegg much as we respected him. We wanted to create our own punky afro-pop style. Plus we were into the nu-romantic image at the time.

My ex-wife Kay designed and made the clothes and Erik’s ex-wife Linda helped make them. They were called K-rags and we loved wearing them. It really helped define our local white South African image at the time. We commissioned a whole lot of African women to make the Ndebele beadwork merchandise for us. We gave them the eVoid logo and told them to incorporate it into the designs as they wish. Yes I admit it was a cultural appropriation but we never exploited anyone. Our feeling at the time was that we were promoting local music and images. And we were financially supporting groups of women who were happy to be given the business. Did they give us their blessing? Well, at no time did anyone of them refuse the work. As to what they actually thought of us, I don’t really know. We told them they were making merchandise for the band and they never objected. Success arrived when WEA (now Tusk) signed them to a recording contract. The band released their debut self titled album éVoid in August 1983 which yielded their first single Shadows. It was backed by the infectious Dun Kalusin Ta Va, which had become a hallmark of their sound. Shadows peaked at number three on the national charts in November and, to this day, remains a staple of South African rock and pop-oriented radio stations. Here is that classic single performed to adoring fans at Ellis Park in 1985.

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Q. That was probably one of the greatest era’s in South African music and those concerts at Ellis Park were magical. Can you recall any special moments at the Concert in the Park? A. It was an emotional high for us. Three weeks after playing the biggest and most prestigious concert in Joburg we left for the UK. Towards the end of playing Shadows it dawned on me that it may be the last time we ever played in SA again. And what a gig to be ending it on. I have been known to be melodramatic.

It was magical stepping out on stage early in the evening and seeing a sea of faces stretching out and upwards towards the top of Ellis Park stadium. I will never forget that. Amazing! People often ask what it feels like, and to be honest once you’re actually playing all you can see are lots of tiny heads bobbing up and down. You’re really just performing to the front rows with whom you can have some kind of connection. And then when Erik starts waving his hands in the air from side to side, and you see 100’000 people responding, there’s nothing quite like it. It’s a huge high!

I can remember being backstage with Johnny Clegg on the day, along with some other musicians getting ready. We hadn’t met or spoken before and we exchanged pleasantries about how wonderful this gig was. He complimented us on Shadows which was a lovely thing to do. That whole day and everything leading up to it was a sign that we were at the top of our game. And we were about to leave that all behind.

The weird thing is we nearly didn’t even do the gig. We were offered the gig a few months earlier knowing it was for a worthwhile cause but we had already booked our flights to the UK so we turned it down. The organisers offered it to us a second time and by then the hype was building about how momentous the gig was going to be, featuring 25 of the top acts in South Africa at the time. So we agreed. Thank God we did. Imagine if we had turned it down? It would’ve been our ‘Dylan misses Woodstock’ moment. For us, I mean.

What we’re really proud of is the fact that the SA organisers conceived and actually pulled off this benefit gig for Operation Hunger six months before Bob Geldof launched Live Aid. Yesss! éVoid had found their niche and this time found them at the peak of their creative spirit. The follow-up single Taximan was released in February 1984 and it got to number 6 on the national charts..

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Later that year, I Am a Fadget became the band’s third single. This version was performed live at At The Half Moon , Putney in 2015….

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and here are the lyrics…. https://genius.com/Evoid-i-am-a-fadget-lyrics Q. So good to see you still playing this after all these years. I would assume that it is mostly old ex South Africans jumping around or are the true Brits also getting into that now? Would you like to comment on where the name Fadget came from as there have been a number of different theories and it is maybe time to set the record straight so to speak. A. Are there many theories about what a Fadget is, really? I’d love to hear them. Erik and I wrote the song in a rehearsal room one day, and when it got to looking for lyrics for a particular section I blurted out ‘I am a Fadget’ and we burst out laughing because it obviously sounded like ‘faggot’ which was a ridiculous choice and not what I had intended. You see, I liked this British artist called Fad Gadget, and whilst developing our pseudo African image, to be seen as fashion icons or ‘fad gadgets’ must have been at the back of my mind. So when I blurted it out as a possible lyric it came out as ‘fadget’. We weren’t seriously going to use it cause people might think we’re calling ourselves ‘faggots’ which as you well know is a derogatory term for gay men. But as so often happens when you try and replace it with something else, the song loses something. So we went with it in the end. Our colourful jive image now had a name.

When we arrived in London we played at the Springbok Bar for many years, first in Paddington then Shepherds Bush and finally in Covent Garden. And yes like you say mainly all ex-pats. eVOID then was just Erik and I with a drum machine and bass loops. Every now and then Colin, one of the ex-pats would organise a booze cruise on the river Thames and we would experience a few hours of absolute mayhem on board. We also played on the Queen Elizabeth cruise ship which was docked at Victoria Embankment. It was a lot of fun.

Did the Brits get into our music? Yes they did. We played at some smaller pubs and clubs and sold loads of CDs but without an international album and English management we couldn’t get onto bigger venues and tours. We did a gig at the Astoria in Tottenham Court Road, and a small tour of Germany in the late 80’s with Ilne Hofmeyr on bass and Richard Devey on drums. That was great. In fact I remember this German guy coming up to me afterwards saying ‘that guitar, is INXS, ja? He was referring to my Junk Jive riff of course. ‘No it’s not’ I replied. ‘It’s just some Aussie shits stealing our thunder!’ éVoid were performing with not for dedicated fans — “fadgets”, as they were known — dressed in almost equally outrageous and colourful ethno-gypsy garb, who queued for hundreds of metres to see them. We all used to go and see them at the Chelsea Hotel in Berea, near Hillbrow and the venue was always packed. I can recall going to one of éVoid’s gigs at the Chelsea only to be told the club was full and I had to go clubbing elsewhere… “Oooh La la Laa, I like it ” Q. Do you remember those Chelsea Hotel gigs? I only managed to go to a few but heard that you played there many times…. Like how many? A. Can’t remember how many gigs we did there but without a doubt the Chelsea Hotel years were legendary. It was 1983, the same year we recorded our first album, and fadgets were queuing round the block to come and see us. It was an extraordinary sight. We lived round the corner so we couldn’t even go to the shop to get some milk for fear of being caught without our fadget gear and make-up on. I remember our drummer Wayne being stoned a lot; Karl our brother/manager was running the door and it was where we wrote Shadows. We used to rehearse in the club during the daytime which was handy. I don’t know if you know the story about Shadows nearly not making it on the album. What happened was we had already decided with WEA Records which songs we were going to record and put on the album. And then we wrote this new song called Shadows and I remember saying to Benji we have to include this new song we’ve just written and he said no, the track listing had already been agreed, and that he couldn’t change it so late in the day. Erik and I pleaded with him and he eventually agreed. But that’s not the end of it. Whilst recording the song, the studio engineer told us the song would never make it. Well you were wrong, Richard. Every night we played at the Chelsea Hotel the dance floor would dip inwards and creak from the weight of people jumping up and down to Shadows. I thought the floor was going to break and we’d have a catastrophe on our hands. Which did happen when we were on tour at Stellenbosch University; the floor collapsed and a group of people tumbled and disappeared. And then people pushing from behind caused an even bigger pile-up. Crazy stuff. They eventually laid a couple of tables across the hole for people to dance on. Luckily it never happened at the Chelsea. Occasionally the Chelsea party would spill out onto the streets though. That was fun. I particularly liked the State of Lumo theme we designed for the stage. Nic Hauser helped design and build a lot of the sets, and he also designed the cover for the 12-inch version of ‘I am a Fadget’. What’s happened to Nic, I wonder? The band went on a gruelling 3-week national tour playing to packed venues on the Durban University Campus, Bloemfontein, Cape Town but they ran into problems before the start of their Eastern Cape leg of the tour. In Grahamstown military police arrested drummer Wayne Harker for being on AWOL since December 1982 from his 2 year national service. Original drummer Danny de Wet was hurriedly recruited to complete the tour. Harker was discharged in March 1984 and the band was back in business. In September 1984 their debut album was high in the national charts which was rare for a local band competing with the big international acts of the time. While this was happening their three-track 12″ maxi single Kwela Walk/I am a Fadget/Tellem and Gordon, was receiving rave reviews.

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Q. This song and in fact a lot of your music had a definite crossover appeal. Is that what you were hoping for and did you play to many mixed-race crowds? Did you have many “black” fans and friends at the time? Kwela Walk was a great tune. Erik wrote it with crossover appeal in mind but we didn’t get to play to many mixed race audiences. We once did an outdoor township gig and were viewed with amusement. There were more people sniggering in the crowd than actually grooving to the music. Which pretty much says it all. We were a white nu-romantic pop band not an African groove machine, much as I would have liked to have had more of that in our music.

Having said that, I was exposed to mbaqanga music whilst working in an African record shop which came out later in my guitar playing. Junk Jive comes directly from my early attempt to create a hybrid mbaqanga punk sound. Taximan was another example of creating an interlocking groove. Baghiti Khumalo loved playing the bass on it. We bumped into him in London a few years later when he was gigging with Paul Simon and he said how much he enjoyed doing the track. He asked why we weren’t doing what Paul Simon was doing. That was our intention, I said, when we left SA. But It’s not as simple as that. In South Africa we were big fish in a small pond and in the UK it’s the exact opposite. Plus we’re white South Africans. During the three prominent years of our career from the end of 1982 to the beginning of 1985 we played to young white audiences. That’s who the management and record companies targeted, and that’s the demographic we attracted. Not many clubs were multiracial back then. I had more relationships with black people in the 70’s when I was working in an African record bar called ‘American Music’, and when I frequented black music clubs in downtown Jo’burg. In terms of lasting friendships back then, not many. We lived our whirlwind lifestyle in a bubble. That’s what it was like. The band usually attracted good press coverage though éVoid were on occasion labelled as androgynous misfits, pretentious white boys in beads, and shallow-minded slaves to fashion and rhythm. In 1984 the group won a prestigious Sarie Award for “best arrangement and production of an album”, and the single I Am a Fadget landed them the “best contemporary artist” award. On Saturday 12 January 1985, the band performed at the Concert In The Park in support of Operation Hunger to an estimated 100,000 people, along with Hotline, Via Afrika, Juluka, All Night Radio, Ella Mental, Steve Kekana, Harari, Mara Louw and The Rockets. This is Junk Jive live at the Concert in the Park…

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Q. How did you get along with your contemporary bands at the time? A. That’s a good question. Um…at some point from 1982 onwards we were totally focussed on our music and on developing our sound and we rarely met up with any other bands. Although I have to admit that when a fire gutted our equipment in 1982, well before we had any success, many local bands did a benefit gig for us to raise money so we could replace our equipment. It was such a touching thing to do and we really appreciated it. But generally speaking we didn’t mix with other bands that much. In the early days as Void we did a gig at the Polo Club in Springs with our East Rand contemporaries The Radio Rats. That was a big deal at the time, and Ozzie went on to play for them years later. And I also developed a close bond with Wonderboom in 2006 which came about when Danny de Wet asked me to fly out and produce the City Of Gold album. That was a great experience. Not only did we produce an album together I even got to skydive with the boys. But during the eVOID heyday in the early 80’s we didn’t have much contact with other bands. I mean, I Ioved Ellamental and Via Afrika but we didn’t move in the same circles, so we never got to meet and chat much. We certainly didn’t hang out at clubs all night, that sort of thing. And neither did we do any drugs or heavy drinking at the time. I’m talking about Erik and I. Wayne was a law unto himself. But no, really. I smoked dope when I was younger but not during the eVOID years. And the same for Erik. We were the Nerdy Fadgets! Oh dear, maybe you shouldn’t print that. We were also both in serious relationships at the time which probably had something to do with it. In intervening years the Windrich brothers were going through a period of personal introspection: they had reached the pinnacle of their career in South Africa and perhaps it was time to head overseas. They were not happy with the production of their first album and Eric had received his call up from the SANDF. Wayne Harker quit éVoid to join the Cape Town band, Askari and in 1985 the brothers left for London where they set up an eight-track studio in their garage and performed as a four-piece with fellow South Africans, Ilne Hofmeyr on bass and Richard Devey on drums. For most of 1986 they worked on their second album: Here Comes the Rot from which WEA released the single Dance the Instinct/Sergeant Major. This is the demo for Dance the Instinct…

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Q. So the original plan was that this was to be released as a single in South Africa but that never happened? Your decision or WEA? A. Dance the Instinct was definitely released as a single in SA. Actually I’m glad you put up the demo of Dance the Instinct in the link. I prefer that version. The band learned that their infectious Afro sounds did not appeal to British A&R executives and no new opportunities presented themselves. Meanwhile back in South Africa, WEA released . . . Here Comes the Rot in December 1986, to coincide with éVoid’s six-week nationwide tour of the country. This is Altar Pop which contained the line “Here Comes the Rot”

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Q. That tour went very well didn’t it and you were playing to packed houses again. perhaps it may have been a better option to stay and plan a strategy to invade the USA instead? Were your albums released in the USA and if so how did they fare? No. There was no penetration into the US market. Sometime in 1983 Mutt Lange saw us playing at the Chelsea Hotel and he told Zomba Records about this young band he had seen in SA. Zomba records offered us a 9 year deal, the same deal that was offered to The Stone Roses who accepted it. Karl, our older brother/manager advised us not to go for the deal as it was tying us up for too long. Had we accepted the deal we would have become international artists for a few years before ending up in court, like The Stone Roses did fighting to get out of the contract. Do we have any regrets? It’s always nice to have your music heard and appreciated far and wide but it wasn’t to be. We will never know what might’ve happened. It’s a toss of the coin as to what the future holds … I wasn’t doing much astrology back then.

In the blurb leading up to this you mention that our ‘infectious Afro sounds did not appeal to British A&R executives’. It wasn’t so much the music as us being white South Africans and our bizarrely colourful image that they objected to. I’ll tell you a story. It was snowing in the UK in Feb 1985, and Erik and I went to our first and only appointment with Warner Brothers dressed like African warriors. We were excited but nervous. The young A&R man who met us, dressed as a Deutschpunk in black underground gear, took one look at us and said ‘you guys are like a canary amongst sparrows’. Erik I looked confused. ‘The sparrows’, he said ‘will kill the canary’. Charming. We weren’t off to a great start. ‘Aren’t all white South Africans murderers? he asked. We left soon afterwards. Without a UK record deal of course. In 1993, the group released a compilation called, éVoid – Over the Years, and made it available on cassette for limited distribution at the Springbok Bar in London. Q. Was this tape made up of songs from your first 2 albums or was this a live tape made in London? Any way to get one of these? A. The songs on the cassette tape are available on Spotify under a new title – London Kazet. Have a look. They’re not songs from any of our previous albums. In 2006 we re-recorded a few of them (Mix it Up, Language of Love and Ikologi) and put them on Graffiti Lounge. But the original versions still exist on London Kazet. I still have one or two of the original cassettes somewhere. Lucien and his wife and family live in East London while Erik, wife and family live in North West London. Erik has stated that since arriving in London in 1985 and trying to earn a living as respected musicians has never been easy, and éVoid’s arrival in London at the time of South Africa’s State of Emergency made people suspicious of them. The brothers did benefit from some lucky breaks and, over the next decade, played many clubs and festivals in the UK and Europe especially Germany. Q. I believe you are a qualified astrologer now Lucien and Eric is a Creative And Performance Manager at an English high school? Can you tell us about your work and the “lucky breaks” you have had in London since 1985? A. We’ve both been immersed in work and family life since we arrived in the UK. Erik has worked at that high school for many years developing projects and set designs. And I’ve been helping my wife, a midwife, run her health remedies business whilst doing my astrological research. Family life is important to us, in our own separate ways.

In the late 80’s Erik did quite a bit of film music and we worked together on a film called ‘On the Wire’. Erik had a solo venture called The Vision Thing and he recorded a solo album. I’ve played in two other bands since being in the UK, The Redemption Blues Band and a punky gypsy instrumental band called Victor Menace. Both are now defunct.

My ‘lucky break’ was meeting my gorgeous wife, Cath, on New Year’s Eve, 1992 at the Springbok bar in Paddington. I was on stage, she was in the crowd. I walked off stage to say hello and we hugged each like we had known each for years. I remember it like it was yesterday.

Erik’s ‘lucky breaks’ include meeting his wife Alix in 1991, performing in Paris as “The Vision Thing” and having a permanent job since 2004. Following the demise of Askari in Cape Town Wayne Harker was summoned to rejoin the band (with Ilne Hofmeyr) and record new material. He stayed with the band for for years in the late 1980’s and early 1990’s which included a 6 week German tour. Obtaining a work permit Harker met and married a German girl and settled in Cologne. He developed musically and apart from drums now plays bass guitar, and keyboards and in 2006 he finally released his debut solo album Culture Shock under the Sea Weed monicker and turning it into a live act.

https://www.discogs.com/Seaweed-Culture-Shock-/release/14663113 Q. Do you still hear from Wayne and is he still recording and performing in Cologne? A. No, we have no contact with Wayne. I messaged him on Facebook a few years ago and he never got back to me. But, speak of the devil because today (17 June) he commented for the first time on an eVOID post on Facebook. Someone put up a clip of Shadows at Concert in the Park and his comment was ‘oh ja…those brothers who dropped me like a piece of shit’. Wayne created his own problems in SA and we were forced to use other drummers. So yes we had to dump him. We briefly joined up again in England but then he met a German girl and went with her to Germany. As Erik explains ‘he never said eVOID was his ultimate goal – he just drifted away’. In 2008, after a long hiatus, the brothers Windrich and original drummer Georg Voros released another éVoid album, Graffiti Lounge. This is Under Blue skies with it’s message of hope..

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Q. Your music on this album is more folkish if one can say that? Your new direction? I believe you and Erik lived a family life and then in 2014 you released your greatest hits album; éVoid – Classics. I know you did a small South African tour to promote that CD and that was to visit your parents who are in their 80’s… A. No it’s not a new direction. The only folkish sounding song is Not in my Name although I agree some of the others are more mellow. We really wanted to do another album so Erik suggested we invite Georg Voros and YoYo on bass to join us. Georg flew over and stayed with Erik during the recording of the album in East London. I’d been wanting to record Under Blue Skies for some time and I was really pleased with the way it came out. It’s a nice album. The tour in 2014 was to commemorate 30 years since the release of our first album. It was more a tour of the Barnyard Theatres, too short really. We only did about 7 dates in two weeks. Lots of people complained they didn’t even know we were touring. We did one other outdoor Marquee gig in East London organised by Des Buys (R.I.P) and Themi, old friends of ours since the early days of eVOID. That was great, more like the gigs we prefer doing. And yes it was great spending time with our elderly parents who are now in their nineties and who, believe it or not, are about to emigrate back to the Netherlands in July 2020. What a thing to do at their age. This is an event booklet from éVoid’s LIVE in East London 2014 show..

https://issuu.com/loomweb/docs/mga_-_evoid_27_aug_2014_-_opt Q. Are you and Eric currently working on anything and when I contacted you, you mentioned something about a live video? Could you please share for all the Fadgets who still love your sounds in South Africa? Any plans to come back and tour here any time soon? Any last words for those that may not have read your tweets? A. No we’re not working on anything at the moment but we still have unreleased material in storage that we need to go through. Easily an album’s worth of material.

We don’t have any immediate plans to tour. I’m not even sure if the Johnny Clegg tribute gig is still happening in July.

Any last words? For the brief period of eVoid’s success (1983 -85) there were many years of blood, sweat and tears up to that point. I know it sounds like a cliché but you have to stick at it. I’m talking about young bands who are starting out. Be prepared to take risks and trust your intuition. How you overcome adversity is also important. Always be willing to bounce back and continue the journey no matter what. It’s a privilege to have our music being played even to this day. And that isn’t something you can plan. All you can do is live in the moment. If you want to make an impact on the world around you do it in a joyous and positive way. And never diss your audience. I also want to take this opportunity to thank the many musicians who have been involved in the making of Void – Aden Carter, Terry Andalis, Ozzie Theron and Danny de Wet without whom our inspirational start may never have got off the ground. There were other Void incarnations with line-ups including Neville Holmes (R.I.P.), Benji Mudie, Aggi de Aguiar, Ernie Parker and Kiki. And in the making of eVOID thanks to Ilne Hofmeyr (R.I.P.), Richard Devey, Georg Voros and Wayne Harker, and the session drummer who did Concert in the Park with us whose name I forget. I’ve probably missed out someone. Oh yes, Kevin Gibson the drummer who helped us out of a pickle in Durban when Wayne had to flee the club because the Military Police were after him. Thanks everyone for making it all happen. It would not have happened without your invaluable input and contributions.

Cheers Lucien, Ernesto Garcia Marques 24/06/2020

Great Local Musicians – éVOID – for all the Fadgets | Jive Talking and Eyeballing From Jive Talking and Eyeballing Facebook Group It all began with a band called Zennith in Brakpan near Johannesburg in 1977.

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g-castel · 8 years ago

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My Top 10 Albums of 2016

I've been wanting to post this since January 1st lol, but I never got around to it haha. I need to be better about blogging. Well, I figured that since we are halfway through 2017 it would be good to share, once again, my top 10 albums of the year (last year). I've been doing this annually for a while now and it's been fun for me. Take a read if you'd like!

Top 10 + Honorable Mentions

Honorable Mentions

-Signs of Light (Head and the Heart)

-24K Magic (Bruno Mars)

-A Seat at the Table (Solange Knowles)

-WALLS (Kings of Leon)

-The Hamilton Mixtape (Various Artists)

-The Life of Pablo (Kanye West)

-Coming Home (Leon Bridges)

-Views (Drake)

-This is Acting (Sia)

-There’s A Lot Going On (Vic Mensa)

-22, A Million (Bon Iver)

-Telluric (Matt Corby)

-Wild World (Bastille)

-Bobby Tarantino (Logic)

-Oh My My (OneRepublic)

-Stranger Things, Vol. 1 (Kyle Dixon and Michael Stein)

Passion, Pain, and Demon Slayin’ (Kid Cudi)

A Moonshaped Pool (Radiohead)

Farewell, Starlite (Francis and the Lights)

Starboy (The Weeknd)

Sunlit Youth (The Local Natives)

indicates nearly making my list haha

Top 10

10. Home of the Strange

Young the Giant

The third studio album for Young the Giant, Home of the Strange, to me has pushed the band to become one that I will continue to listen to for the rest of my life. They are able to create a good range of styles. I think HOTS is able to listened to in so many different settings.

This California band has focused on the phenomenon of the diversity in ethnicity that the band possesses. The lead singer being, Indian-American, and other members being from across the globe plays a part in the album’s theme and dynamic.

I was super happy with songs like “Something to Believe In” (which sounds so perfect for a live performance) and “Titus Was Born”. If you are about to take a listen to Young the Giant for your first times, start from their first pieces of art and move towards their latest piece of art and you will see a fitting a beautiful revolution.

Also, go ahead and head to their Youtube channel where they post the “In the Open” videos that are stripped versions of their music and it’s record so raw and simple. Those videos have inspired me to do video work for music as well!

9. The Colour in Anything

James Blake

The music in James Blake’s album, just like before, is the some of the most unique current music. I have not found other songs out there that sound anything like his other than Bon Iver and Radiohead’s music this year.

So, so, so weird. if you’re gonna go listen this, because I said I like it, please be warned, it doesn’t mean you will, like you might hate it actually, and that’s okay. We tend to adhere to sounds that’s familiar and that coincides with our minds. This album, if you haven’t been a listener of James Blake’s previous works, will not do that for you. There are some odd sounds, weird time signatures changes, and he sings once again with beast vocoder vocals! Sometimes there are some horror silences behind nasally high frequency vocals.

It sounds like I am somewhat shoving you away from listening to this. However, do not get me wrong, I love The Colour in Anything!

Favorite Songs:

Meet You In the Maze

Points.

The random interruptions of repeated lyrics into silence are interesting and I think they reflect perhaps the character of Blake or the anybody out there who shares the stories and feelings written in his lyrics. They’re brash and the noises are loud. & I DIG it.

8. Georgica Pond

Johnnyswim

Johnnyswim. The (Latin) American folk soul pop-duo have returned this year with a banger of an album. I think personally that this is the best work that they have done. This couple are two incredibly talented musicians and they’re chemistry in and out of the booth is something like the dynamic of a Shaq and Kobe.

“The longer you’re out on the road, it gets nicer to have [Abner Ramirez] there. Because he’s the closest thing to home I have,” Johnnyswim’s Amanda Sudano says. “Home is where he is.”

I watched the videos that they shared on Youtube giving commentary on a couple of the songs that were a part of the album. They talked about the process in the studio and the inspirations behind songs like “Drunks” and “Touching Heaven”. One thing I picked up from what they attempt to maintain is the loyalty to the authenticity of the craft.

This was an album that I listened continuously for maybe three straight weeks. I went through phases were song after song became my new favorite. That happens a lot of times when the record is good from start to finish.

I want to be friends with them, simple as that.

#goals

7. THREE

Phantogram

I was introduced to them years ago by my brother, who I could honestly give credit to for a lot of the music I listen to now. This album, THREE, yes, in all caps, was music that I had no clue they had in them.

I definitely used a few tracks on this album for workouts. This is the album that this year I felt comfortable bumpin with both my more conserved buddies and also with some of my hood friends. After Phantogram released some music with as Big Grams in the past, you can surely feel the influence of Big Boi, a former member of the hip hop legendary group, OutKast. The 808s on songs like “You’re Mine” and “Cruel World” are so fulfilling.

One song from this album you’ve probably heard if you haven’t heard of any of the songs on the list is the song “You Don’t Get Me High Anymore” They collaborated with other people to produce such a fire beat. The lyrics are weird and polarizing but that’s what’s great about it

On release day, I went through the entire record as I usually do with music and immediately sent Phantogram a fan girl tweet. I just had to tell them that they nailed this one and it is probably their best work yet.

6. Birds in the Trap Sing McKnight

Travis Scott

S’il vous plais. Those in favor of auto-tune, or at least okay with listening to it and not being baffled by the off-the-(traditional hip-hop)-wall that it is, take your time to listen to a few tracks of this album by the G.O.O.D. Music prodigy, Travis Scott.

I just know in 2017, this man Travis is going to blow UP! I do not know in what way, whether it’s with his music, or with his involvement with big name fashion clothing lines, he will find his way into having you know his name. It’s just the loud and abrasive nature that he possesses.

Birds in the Trap Sing McKnight to me was like a real intro to the world, though it isn’t his first album. When Ye signed him, he was doing a bunch of writing and waiting his turn to get on the map. Kanye finally did what he does best and gave him more pushes and connections. I’ve never seen someone with so much energy. Hip hop gone be alright.

Usually, I listen to albums from front to back, but I know that’s not how everyone does it. So, if you do not have much time and want to take a peek of the record, check out these three, “goosebumps, through the late night, and way back”.

5. The Human Condition

Jon Bellion

Mr. Jon Bellion, out of New York, is the next Chad Hugo, No I.D., and Timberland, all put together, who also sings and raps on the music he produces. Riding that “come up wave”, he will be a name that pretty soon will have a bigger font size on next summer’s festival lineups, guaranteed.

This early 20s MC, is just a pure talent to say the least, and outside his talent, is seemingly a phenomenal character. He has worked so hard to make it to where he is in his music career, but has managed to stay as humble as he was when he was making beats in his college dorm room. The Human Condition was crafted and along with Bellion is the band, A Beautiful Mind, who were all buddies who have all committed to sticking together if one of them made it big in the industry which is such a noble thing to see. They have a natural chemistry.

Bellion says a lot of the people who inspired his sounds were the Neptunes, Kanye, and derivation.

So I can’t write this without giving one person credit for introducing me to him. My roommate Jeff did everything he could that season to make sure the whole world new about Jon Bellion. He played songs from previous EPs to prepare for the album release over and over. While he showered, I could here the songs including the pre-release singles. We ended up seeing Bellion live…twice actually.

I’m excited for his future, collaborations, and ideas he execute to change the way people see music. He’s got that much potential in my opinion. The dude is straight out of New York. If you haven’t heard the album yet, let me just tell you it is very evident. Jon Bellion is a multitalented artist. He’s got his hands on everything, being well-versed with the keys, vocals, and he’s got some bars too. He’ll break it down with the MPC pad too like his idol Kanye. Even on stage during his tour, homie would bring the pad to center stage and loop up the layers of his songs and the sing over the top of it brilliantly.

Bellion’s, like many of us, is also a closet nerd and loves cartoons and animation. One of his big dreams, which he might as well soon see come into fruition is to work with Pixar on scoring a film. I hope this happens! He’s a dreamer, he’s got a newfound faith, and has got a colossal muse. This artist is someone who is just peeking his head out of his egg and we have no idea what he will do once he starts flying.

4. 4 Your Eyez Only

J. Cole

This album is the cure.

Mr. Jermaine Cole. He is such an people’s person. I liked the fact that after he finished touring for 2014 Forest Hills Drive, he said “I’m out.” He had a withdrawal from the public eye. Just wanting to have a normal human experience here in America, he laid low, didn’t really share much on social media and rode his bike around the city. It gave him a fresh mind to intake life and be creative, especially in a tough all-around year like 2016. Seeing artists do that is a breath of fresh air to me. Fame is just something he doesn’t care about.

In the album, there’s a few times Cole rhymes from different perspectives apart from himself. What we have here is a real lyricist, and wordsmith. He chops up words perfectly to make them fit meter after meter. I honestly think he’s getting better and apart from Kendrick, no one out there is stopping him from being the most influential lyricist in urban culture. His mass appeal comes naturally, though he does not care about it or give into it.

Ed Sheeran said in an interview recently on the Breakfast Club that in the likes of the hip hop genre, right now he is really liking this J.Cole album. Reason why I say this is cause, Ed, too took a page from this book and, took a year off from music and celebrity living and just vacationed and traveled.

You can feel it in these songs. The calmness in the beats. There is something retro about the drums, the flows are mellow, and the vibes make me want to go for a soothing walk with headphones, or take a subway into a city like NY. I don’t know if any of that makes sense, but once you listen to a song like “Ville Mentality”, you’ll know.

3. We Got it From Here…Thank You 4 your service

A Tribe Called Quest

They’re Back! Mr. Abstract, Phife the Five Footer, Ali! The return of the historic and legendary hip hop group, the pioneers for all current rappers today, the one, the only, TRIBE CALLED QUEST.

Here is Phife Dawg. The Five Foot Assassin is what he used to go by. He founded this group back with Q-Tip I believe when they were in high school. Hip Hop was already on the rise and established, but it had no real characters that were unique and funky. Them comes along these gentlemen along with other members of the Native Tongues who brought a energy to the hip hop scene that was crazy and untouched. They weren’t talking about money and drinking. It was all conscious writing and fun creativity. This band is why I am a hip hop fan today.

Tribe to me is like the mantle of the earth if Hip Hop was looked at as the planet. And the core would be jazz. We hear it in all of their records, and after the band split in 1998 and after 18 years…it took the death of co-Founder Phife, for the men to get into a studio and make some powerful music for the people, for themselves, and for their lost brother, Phife.

I think it takes bravery to return. They’re a bunch of old men. They know there’s a new audience of hip hop lovers out there who don’t even know them. They know that a lot of people aren’t really gonna feel their music and rhythm. So, I commend their boldness in return and with their humility in asking a great conglomerate of artists from Jack White to Talib Kweli to help join them create their final album to send strong messages on things as simple as how it is to be a black man in America.

This band has left an impeccable legacy and imprint on hip hop music forever.

2. i like it when you sleep for you are so beautiful, yet so unaware

The 1975

You’re probably like.

Wait, what…huh?!?

And I’m sorry to put them so high, but I am not at the same time. I keep finding myself DRAWN to each and every track on this record. For a sophomore album, they definitely found the best way to expand but at the same time stay inside the realm that they created for the fans that is kind of the this imaginary “1975” world.

Kickstarting with a perfect “first single” in Love Me, to being the iliwysfyasbysu era was a pretty cool statement made because we just knew that they were bursting forth with a different brand. You’ll know what I mean if you go ahead and watch the music video. Musically, they’re was some experiments and that is always fun for me to hear. I wish I could know the terminology for what is being used to make that sort of grungy, wavy, synthy guitar sound to start and end the song, but it’s sexy and reminds me for some reason of Halloween?

Matty said that their London shows this year in the O2 were the biggest shows they did and since Vevo put on a sweet video production for it up on Youtube, I had to lay down and watch the hour-long concert. shows.

I found myself listening to the record over and over. Music doesn’t just make it into my top three just that. I really have got to like it. And I enjoy the music, simple as that. All visuals for the album certain vibe. They made a change to their brand and new look to their socials, beginning with a complete 180 of all their black and white monochrome look. It was hit with a hard flavor of flamboyant, loud, pink. That’s right, pink.

(Which, quick input, 2016 was the year of pink. Big year for pink)

Previously, on their first studio album, though they’ve been doing music for over a decade, the artwork of the album, singles, and live show light show were all bright whites and black contrasts.

Then at the end of May, we were introduced to the regeneration of the young (not-so-young) band, the 1975.

The lyrics, on almost every song, so vulnerable and loud, are what mostly impresses me about the record. Matty writes about a lot of things he deals and is trying to make sense of in morality, psychology, drugs, religion and love. Though the song titles are not as obviously direct with the messages like the first album, this album hit at so many questions that we as humans ask, or should ask.

Matty Healy’s intellect kills me. I would definitely put him in my top ten with musicians I would desire to have one or two tea time conversations with. I feel like there would be things we could teach each other. Just listening to what he has to say in interviews became quite a hobby of mine, especially the interviews where he was sober. He has interesting things to input about, love, politics, Jesus, and whatever makes the world go round. I found every lyric and every emotion put into the musically was very intentional.

They have definitely built an experience surrounding what is deemed, the 1975. It’s their own world. Everything about it. The social mediums. The twisted yet attractive persona of the lead. The sounds of the guitar that you hear in “She’s American”. It’s not much different than what you hear in “Settle Down” or even “Chocolate”. My point is, you know you’re entering the 1975, when you enter the 1975; it’s distinct.

There’s something special about that.

These are my lads.

my pics from the show*

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1. Coloring Book

Chance the Rapper

Mixtape? Album? Whatever you call it, this body of work takes the crown for me of this year’s best musical work. Gospel and hip hop are the largest influences in my musical upbringing so, for others, this was just a good album. For me, however, this hit me in my heart strings, where my hair rises, and the bumps on my skin appear. The horns and the choir vocals are what told me that I was home.

The evolution of this young Chicago artist is major as I’ve been following Chancellor since 2013 to who he’s become today as a Grammy-nominated star. When he jump started his musical career with his 10 Day mixtape, he was just a shorty making beats in his city, snatching stages at the open mics. He released his first song on Soundcloud in 2011. The 2013 XXL freshmen article is where I realized this man was gonna blow up one day. He and his overalls, nose piercing, and whippersnapper attitude is what drew me. He was put on by Gambino, when he asked Chance to go on tour with him when Gambino had nothing but Royalty and was working on Because of the Internet.

Back then, lil Chano was a little more immature, a high school dreamer who opted out on college and grew on his experimentation of drugs. So many things has changed in a matter of three years lemme tell you.

He and his girl now have a DAUGHTER. Which he just recently is letting the world get to know through his social media platforms. “My daughter look just like Sia, yah can’t see her.” He and his friends who have been working on music producing and writing for other artist called “The Social Experiment” compiled an album for free called SURF, which ended up being a top three album for me last year if you read blog post last year. Finally, he’s cut down on the trippy drugs; he used to think that they would be his thing and something to be known for, but realized it was not something of value to him anymore. The growth mostly is shown in the music by far.

After the mixtape dropped and while Chano and his gang went of tour, they announced the Magnificent Coloring Day Festival, a festival in Chicago to end the tour. It was a day where he invited many of his musical friends, including Francis and the Lights, Alicia Keys, John Legend, Skrillex, Chicago’s own Common, Lil Uzi Vert, and his mentor Kanye West. He had the city of Chicago ‘doing front-flips’!

Undoubtedly, it can be said at least in hip hop, that the is his year. It’s definitely Chance the Rapper’s season in hip hop as much as it can be denied. Last year was Drake season, this year is Chance’s season, maybe next year is someone else’s. Chano had one of the HOTTEST VERSES ON arguably biggest song in hip hop in 2016, Ultralight Beam. He helped heavily on Hamilton mixtape. He has sold out stadiums, became the first independent artist to do Saturday Night Live, performed at ESPYS for the late Muhammad Ali, and got the Grammys to open up categories for non-selling, stream only artists. 2016, as you can see below, was his year.

I’ll get to the main reason why Chance is my guy later, for right now let’s quickly talk about the music. Diversity in his features is what I thought was cool with him at first. In ’13, he spit a verse on James Blake’s, “Life ‘Round Here” and I was like, shoot this new cat messes with people like James Blake AND Action Bronson?!? I need hop on this train before it’s too crowded. Chancellor, along with his brother and other Chicago rappers, has a way with the way he says his words. Poetically he makes them fit into patterns of time rhythms that sets a unique flow almost every time. But there’s also a slight Chicago twang to his voice, especially when he was younger.

One thing I respect is that, this man was blowing up while still being flat out broke in relation to how big of a name he was becoming. He was only making his cash off of merchandise and touring, and doing features I guess. I mean maybe not anymore, I’m sure he’s well off, but it was just cool to see that someone could continue independence and be like, nah it’s really not about the money, Imma give this here music for free.

The Social Experiment.

These guys right here are the Social Experiment. #SoX

They stuck it out with along with Chance, not as a surrounding band, but as a group with equal say into decisions. Head by Nico Segal on the left aka Donnie Trumpet, they made music for the people and were a collection of songwriters for man artists out there and did it for fun. They are now the band of friends that Chance plays, and probably will always play with on tour.

Aint that something! :’)

He’s Happier. It’s evident. If you listened the drug-influenced, young whippersnapper Chance the Rapper was during 10 Day, and his Acid Rap era, and dug deep into the reasonings for his anxiety and hurt in his young life, you’d see a difference in who we’re being blessed with today. He, growing up in Chicago, has seen lots of violence including the murder of one of his friends. Chance has rededicated his life to the Lord and has changed abundantly. It’s so obvious in his tone and poise nowadays. He’s still fun and buck, but man Chano is a transformed person.

So one of the real reasons I love this dude is his social involvement. Time and time again you’ll read that he has had a upbringing with educators and strong women in his life. His father worked in politics and was part of being running the campaign for Barak Obama to get into the presidential office. So, Chance learned a thing or too about how to meet peoples’ needs. He has donated and promoted giving warm, thick coats to the homeless during the winter through an organization in Detroit. These coats turn into a sleeping bag so it is designed especially for those who have no homes. He speaks up against violence like we all do, however, I love seeing someone with a platform like his, give a nonviolent voice of reason. In his community, the city of Chicago, Chance also hosts an open mic night every month called, Open Mike, which is near and dear to him because that’s how he began and how he realized he wanted to pursue music. He wants to give other young kids to opportunity to dream as well.

Anyways, that’s all.

I realized I’ve talked about him for a while now…I’ve tried to be very unpretentious over the year with Coloring Book…but personal blog so.

Anticipating Albums

Colony House

John Mayer

Lorde

Drake

Ed Sheeran

Lupe Fiasco

Paramore

Snubs (the eh’s)

Joanne (Gaga)

Lemonade (Beyonce)

ANTI (Riri)

Awaken, My Love (Bino)

JEFFREY (Thug)

matty and chancellor.

bye.

0 notes

sketcheeguy · 8 years ago

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Happy Anthems: Songs That Boost My Mood

Here’s my list of 229 songs I love when I need to make my day a little better. They remind me to have fun. Let go. Feel connected to others. Be myself.

Any songs you’d add? Do any of these seem weird to you?

Open this playlist in Google Play Music

Updated 1/4/2020

“A 2010 study published by the Association for Psychological Science linked creativity most with positive moods. Using music and video clips, participants were primed for certain moods by researchers of the University of Western Ontario. Those who listened to the happiest music or watched an cheerful video were most able to recognize creative patterns. The happy volunteers were better at learning the rules behind patterns than those in neutral or sad moods.” Read more about how mood impacts creativity.

Title Artist Stop Trying Sia Lucky Day Hunter Hunted Lil’ Star (f. Cee-Loo) Kelis Shake It Off Taylor Swift Ready to Go (Get Me Out Of My Mind) Panic! At The Disco Hard Out Here Lily Allen Safe And Sound Capital Cities New Perspective Panic! at the Disco Good Life OneRepublic So Yesterday Hilary Duff Candy Robbie Williams Party In The USA Miley Cyrus The Way Ariana Grande The Voice Within Christina Aguilera The Climb Miley Cyrus Let It Go Idina Menzel Raise Your Glass P!nk Wordplay Jason Mraz Burn The Pages Sia The Starting Line Keane Unwritten Natasha Bedingfield Defying Gravity Idina Menzel/Kristin Chenoweth Titanium David Guetta Feat Sia You’ve Changed Sia Firework Katy Perry New soul Yael Naim The Remedy (I Won’t Worry) Jason Mraz Stop For A Minute (feat K’naan) Keane A Moment Like This Kelly Clarkson Thankful Kelly Clarkson Schumacher The Champagne The Wombats The Fight Sia Complicated Avril Lavigne Realize Colbie Caillat Kids MGMT Something Good Can Work Two Door Cinema Club Popular Song MIKA Diamonds Rihanna Coming Up Strong Karmin I Am Not A Robot Marina And The Diamonds Camisado Panic! at the Disco Everything’s Gonna Be Alright Aaliyah Try Again (f. Timbaland) Aaliyah Journey To The Past Aaliyah I Care 4 U Aaliyah Drag Me Down One Direction Nine In The Afternoon Panic at the Disco That Green Gentlemen Panic! at the Disco Pas de Cheval Panic! at the Disco Brave Sara Bareilles Kindness Bad Veins The State of Dreaming Marina And The Diamonds King of Anything Sara Bareilles Keeps Gettin’ Better Christina Aguilera Declare Independence Bjork Dog Days Are Over Florence + The Machine Circus Britney Spears Oh No! Marina And The Diamonds Brighter Than the Sun Colbie Caillat Cannonball Lea Michele What Makes You Beautiful One Direction Best Day of My Life American Authors Don’t Let Me Be Misunderstood Lana Del Rey Fight Song Rachel Platten Confident Demi Lovato Right As Rain Adele Happy Pharrell Williams Hallelujah Panic! At the Disco Emperor’s New Clothes Panic! At The Disco Victorious Panic! At The Disco Bird Set Free Sia Breakaway Kelly Clarkson Optimistic Radiohead (We Are) Champions The Cool Kids x Hey Champ Born This Way Lady GaGa Just Dance Lady GaGa Chandelier Sia Try Pink Roar Katy Perry Keep Your Head Up Andy Grammer Blackout Breathe Carolina Who Says Selena Gomez & The Scene Stronger Britney Spears Thank You Alanis Morissette You Learn Alanis Morissette That I Would Be Good Alanis Morissette Hand in My Pocket Alanis Morissette The Happy Song The Aliens Ready to Start Arcade Fire Not Myself Tonight Christina Aguilera Alive Sia Time To Pretend (High Contrast Remix) MGMT Shower Becky G I’m In Love With My Life PHASES Blue Marina And The Diamonds Carried Away Passion Pit This Is The Life Two Door Cinema Club Love Myself Hailee Steinfeld Don’t Worry (f. Ray Dalton) Madcon We R Who We R Ke$ha Single Natasha Bedingfield Guts Over Fear (f. Sia) Eminem Beautiful Now (feat. Jon Bellion) Zedd Bang My Head (Feat. Sia) David Guetta Everything Is AWESOME!!! (feat. The Lonely Island) Tegan & Sara Fancy (feat. Charli XCX) Iggy Azalea Unpretty Tlc Survivor Destiny’s Child Do My Thang Miley Cyrus Victorious Panic! At The Disco Don’t Threaten Me With A Good Time Panic! At The Disco Hallelujah Panic! At The Disco Appreciate Me Kelis LA Devotee Panic! At The Disco The Good, The Bad And The Dirty Panic! At The Disco Drive Cars So Happy I Could Die Lady GaGa Beautiful Christina Aguilera You Are What You Are [Beautiful] Christina Aguilera For Good Idina Menzel/Kristin Chenoweth Hurricane Panic! at the Disco Tongue Tied Grouplove Rooting For My Baby Miley Cyrus When You Believe Whitney Houston Bottle It Up Sara Bareilles Ironic Alanis Morissette Rather Be (Original Mix) Clean Bandit Ft. Jess Glynne Geronimo (Matoma Remix) Sheppard Let Go Frou Frou Human Christina Perri Invincible Kelly Clarkson The Middle Jimmy Eat World We Can’t Stop Miley Cyrus Stronger (What Doesn’t Kill You) Kelly Clarkson Get the Party Started Pink Let’s Dance To Joy Division The Wombats ***Flawless (feat. Chimamanda Ngozi Adiche) BeyoncÃ© Superheroes The Script Same Love (feat. Mary Lambert) Macklemore & Ryan Lewis Can’t Hold Us (feat. Ray Dalton) Macklemore & Ryan Lewis Electric Feel MGMT Time to Pretend MGMT Try Everything (From Zootopia”)” Shakira The Last Laugh Of The Laughter Travis When You Believe Whitney Houston I’m Good The Mowgli’s The Rainbow Connection Sarah McLachlan Good Time Owl City I Won’t Give Up Jason Mraz Pay No Mind Madeon feat. Passion Pit Adia Sarah McLachlan Tonight Tonight Hot Chelle Rae Smile Lily Allen Kill Em With Kindness Selena Gomez Rise Selena Gomez Imagine (Remastered) John Lennon Express Yourself Madonna Kill Em With Kindness Selena Gomez Listen (From the Motion Picture Dreamgirls”)” BeyoncÃ© I Wanna Be Like Me Sara Bareilles The Heart Of The Matter India.Arie We Are Young (Feat. Janelle Monae) Fun. On Top Of The World Imagine Dragons Beautiful Life Ace Of Base Bad Reputation Kelly Clarkson I Like You Morrissey Celebrate (feat. Pharrell Williams) MIKA You Have Been Loved Sia Death By Chocolate Sia Soon We’ll Be Found Sia Try Nelly Furtado Lentil Sia Drive By Train Here’s to Never Growing Up Avril Lavigne Die Young Ke$ha C’mon Ke$ha Powerless (Say What You Want) Nelly Furtado Crazy Kids Ke$ha Better When I’m Dancin Meghan Trainor Ghetto Baby Cheryl Cole Smile Like You Mean It The Killers Pretty Hurts BeyoncÃ© Try Colbie Caillat One Shot Danity Kane Perfect Girl Sarah McLachlan National Anthem Lana Del Rey Sugar Maroon 5 Shake It Out Florence + The Machine Once In A While Timeflies No Money Galantis Riptide Vance Joy I Am Christina Aguilera Making The Most Of The Night Carly Rae Jepsen Get Happy Judy Garland Happy Marina And The Diamonds Flaws Bastille King Years & Years This Is How We Do Katy Perry Breathe Michelle Branch Live Your Life (feat. Rihanna) TI Mouthwash Kate Nash Break Free (feat. Zedd) Ariana Grande Heroes (we could be) (feat. Tove Lo) Alesso Moments Tove Lo Fuck You Lily Allen Lot to Learn Luke Christopher You Know You Like It (DJ Snake Remix) AlunaGeorge The Greatest (f. Kendrick Lamar) Sia Man In The Mirror Michael Jackson Landslide (Live Album Version) Fleetwood Mac Life Is Worth Living Justin Bieber Can’t Stop Now Keane Lesson Learned [Ft. John Mayer] Alicia Keys Exhale (Shoop Shoop) Whitney Houston Calling All Angels Train Relax [Take It Easy] Mika Good Vibrations The Beach Boys Good Vibrations Marky Mark Any Way You Want It Journey Nothing’s Gonna Stop Us Now Starship Lose Yourself Eminem All Night (F. Matoma) The Vamps Weak AJR Life Goes On Fergie How Far Ill Go Alessia Cara Dark Side Kelly Clarkson Shower The People James Taylor Let Me Love You (Until You Learn To Love Yourself) Ne-Yo Back to Beautiful ft. Alan Walker Sofia Carson It’s Not My Problem Sneaky Sound System Love Money Party (feat. Big Sean) Miley Cyrus Paris Magic Man Human Rag’n’Bone Man Lust For Life ft. The Weeknd Lana Del Rey On A Day Like This Elbow Cheers (Drink To That) Rihanna Love Lana Del Rey Carry On Fun. In Your Arms Nico & Vinz Revival Selena Gomez Lights (Single Version) Ellie Goulding Change Lana Del Rey Can’t Pin Me Down Marina And The Diamonds Broken Glass Sia Team Lorde Where Did The Party Go Fall Out Boy What The World Needs Now Is Love Jackie DeShannon Big Yellow Taxi (LP Version) Joni Mitchell Beautiful, Dirty, Rich Lady Gaga Dirt Off Your Shoulder JAY-Z Human Nature Michael Jackson Diamond Heart Lady Gaga A-YO Lady Gaga Better Days Hedley I’ll Find You (feat. Tori Kelly) Lecrae Do It Anyway Ben Folds Five Good Old Days (feat. Kesha) Macklemore Good Old Days Pink Overrated MIKA My Body Young The Giant Dancing On Glass St. Lucia Waiting On the World to Change John Mayer No Such Thing John Mayer I Don’t Want to Be Gavin DeGraw CAN’T STOP THE FEELING! (Original Song from DreamWorks Animation’s TROLLS”)” Justin Timberlake All The Right Moves OneRepublic Living In The Moment Jason Mraz Details in the Fabric (feat. James Morrison) Jason Mraz A Beautiful Mess Jason Mraz Make It Mine Jason Mraz The Remedy (I Won’t Worry) Jason Mraz You Matter To Me (feat. Jason Mraz) Sara Bareilles She Used To Be Mine Sara Bareilles Life Is Wonderful Jason Mraz Hello, You Beautiful Thing Jason Mraz Only Human Jason Mraz The Freedom Song Jason Mraz Everything Is Sound Jason Mraz Future Me Echosmith Mean Taylor Swift Let Go Frou Frou Save Tonight Eagle-Eye Cherry Lift Radiohead Counting Stars OneRepublic The Middle Jimmy Eat World Meet In Tha Middle (featuring Bran’ Nu) Timbaland Shut Up and Drive Rihanna Love Me For Me Ashlee Simpson A Public Affair Jessica Simpson It’s My Life Bon Jovi This Will Be Our Year The Zombies Some Nights Fun. Time After Time Cyndi Lauper Wonderwall (Remastered) Oasis Live Like Were Dying Kris Allen Love Me Or Hate Me Lady Sovereign C’est La Vie B*Witched All Will Be Well The Gabe Dixon Band Bitter Heart Zee Avi Praise You Fat Boy Slim Sho Nuff Fatboy Slim The Rockafeller Skank (Mulder’s Urban Takeover Remix) Fatboy Slim There’s Nothing Holdin’ Me Back Shawn Mendes MmmBop Hanson That’s the Way It Is CÃ©line Dion Feeling Good Muse Feel Good Inc. Gorillaz I Like Me Better Lauv Lgbt cupcakKe 15 Step Radiohead Give Your Heart a Break Demi Lovato All Star Smash Mouth The Dynamo of Volition Jason Mraz I Hope You Dance Lee Ann Womack Back To The Earth Jason Mraz Shine Jason Mraz Velcro Clairity Interweb Poppy You’re Never Fully Dressed Without a Smile (2014 Film Version) Sia Nursery Rhyme Bad Veins Live High Jason Mraz Living in the Moment Jason Mraz Details in the Fabric (feat. James Morrison) Jason Mraz Back To The Earth Jason Mraz C’mon Panic! At The Disco ILY2 Charli XCX Working Girl Little Boots No Pressure Little Boots Get Things Done Little Boots Paradise Little Boots Clearly Grace VanderWaal Break My Stride Matthew Wilder Beautiful Carole King That Hero (feat. KidWolf, Theo Martel) Inigo Pascual People Like Us Kelly Clarkson I Believe (As featured in the Walt Disney Pictures’ A WRINKLE IN TIME”) (feat. Demi Lovato)” DJ Khaled Magic Sia Let Me Live Kehlani Come & Get It Selena Gomez Club Can’t Handle Me (feat. David Guetta) Flo Rida Heat Kelly Clarkson Say Amen (Saturday Night) Panic! At The Disco Believer Imagine Dragons Burn Ellie Goulding No Control One Direction We Belong To The Music (Featuring Miley Cyrus) Timbaland Masterpiece Jessie J Way I Are (Feat. Keri Hilson & D.O.E.) Timbaland Scream (Feat. Keri Hilson & Nicole Scherzinger) Timbaland Bossy Kelis Living Proof Kelis I don’t know Lisa Hannigan Bright Whites Kishi Bashi A Little Too Much Shawn Mendes Life Of The Party Shawn Mendes Bag Lady Erykah Badu Didn’t Cha Know Erykah Badu My Life Erykah Badu …& On Erykah Badu On & On Erykah Badu Fireflies Owl City Everyday People (Single Version) Sly & The Family Stone Found/Tonight Lin-Manuel Miranda Have It All Jason Mraz Come So Far (Got So Far To Go) Queen Latifah Run And Tell That Elijah Kelley Good Morning Baltimore Nikki Blonsky Here Comes a Thought Steven Universe Stronger Than You Steven Universe Be Wherever You Are Steven Universe Haven’t You Noticed (I’m a Star) Steven Universe I Know Where I’ve Been Queen Latifah No Excuses Meghan Trainor Don’t Stop Me Now (2011 Mix) Queen Ain’t It Fun Paramore Wild Ones (feat. Sia) Flo Rida Fire Gavin DeGraw Hold On Forever Rob Thomas Party Like a Russian Robbie Williams Adventure of a Lifetime Coldplay Just Breathe Benjamin Francis Leftwich The Judge twenty one pilots Empire Of Monsters and Men Never Be Alone Shawn Mendes Up&Up Coldplay The Way I Am Charlie Puth Turn Up The Radio Madonna In A Modern World Fischerspooner We Belong Pat Benatar In My Blood Shawn Mendes Any Way You Want It Journey Scars To Your Beautiful Alessia Cara The Last Of The Real Ones Fall Out Boy Don’t Stop Believin’ Journey Back to Beautiful (feat. Alan Walker) Sofia Carson Say Amen (Saturday Night) Panic! At The Disco Hey Look Ma, I Made It Panic! At The Disco One of the Drunks Panic! At The Disco Old Fashioned Panic! At The Disco Don’t Dream It’s Over Crowded House High Hopes Panic! At The Disco Loved Me Back to Life CÃ©line Dion Freeze You Out Marina Kaye Expertease (Ready Set Go) Jennifer Lopez Battlefield Lea Michele Shining Star Bebe Rexha Growing Pains Alessia Cara Everybody Gets a Kitten jeremy messersmith There Is Nowhere We Won’t Go jeremy messersmith We All Do Better When We All Do Better jeremy messersmith Love Sweet Love jeremy messersmith Why jeremy messersmith Everything Is Magical jeremy messersmith Honeybee jeremy messersmith I’m a Snowflake Baby jeremy messersmith You Belong Up There With the Stars jeremy messersmith We Can Make Our Dreams Come True jeremy messersmith Monday, You’re Not So Bad jeremy messersmith Hold My Hand Jess Glynne Patient Charlie Puth Might As Well Dance Jason Mraz Youth Foxes I Love It (feat. Charli XCX) Icona Pop Flashlight (From Pitch Perfect 2″ Soundtrack)” Jessie J Left Right Left Charlie Puth Losing My Mind Charlie Puth Buddy Holly Weezer Pork And Beans Weezer Cheer Up Reel Big Fish 01 – Take It Easy Eagles One Call Away Charlie Puth Something Human Muse Level Up Ciara Nothing’s Gonna Stop Us Now Starship LET YOU BE RIGHT Meghan Trainor Rise (feat. Jack & Jack) Jonas Blue We Are The Champions Queen These Are The Days Of Our Lives (2011 Remaster) Queen Youngblood 5 Seconds Of Summer Bulletproof La Roux Break the Rules Charli XCX Help Me Out Maroon 5 Run Away With Me Carly Rae Jepsen When The Sun Goes Down Selena Gomez & The Scene The Way I Am Charlie Puth Change (feat. James Taylor) Charlie Puth Curiosity Carly Rae Jepsen Champion Fall Out Boy Warrior Paloma Faith Witness Katy Perry Good To Be Alive (Hallelujah) Andy Grammer Extraordinary Mandy Moore Hero Mariah Carey It’s Time Imagine Dragons Graduation (Friends Forever) Vitamin C Sit Next to Me (Stereotypes Remix) Foster The People Houdini Foster The People Don’t Stop (Color on the Walls) Foster The People On Love, in Sadness Jason Mraz My Body Young the Giant Spark Fitz and The Tantrums All Night The Vamps Come On Get Higher Matt Nathanson Clarity John Mayer Making It Up Jason Mraz Connection OneRepublic blazed (feat. Pharrell Williams) Ariana Grande The Calendar Panic! At The Disco Happier Marshmello Sit Still, Look Pretty Daya Unstoppable Sia A Thousand Years Christina Perri Chasing Cars Snow Patrol Dirty Work Austin Mahone Finally Free (From Smallfoot”)” Niall Horan Shotgun George Ezra Dancing Kylie Minogue Head Above Water Avril Lavigne To Be Human (feat. Labrinth) Sia Think Good Thoughts Colbie Caillat Life Is Good India.Arie A World With You Jason Mraz Oh La Ra Ra Riot Out Of My Hands Jason Mraz Don’t Blame Yourself Andrew Belle Be OK Ingrid Michaelson The Voice Within Christina Aguilera DANCE DNCE Rise Up Andra Day Lovely Day Bill Withers Breakfast At Tiffany’s Deep Blue Something Fireflies Owl City Where I Belong Sia You Belong Rachel Platten Lucky Sia Be The Change Britt Nicole Be the Change Eric Bellinger Don’t Worry Baby (Remastered 2001) The Beach Boys The Greatest Show Panic! At The Disco Waka Waka (This Time for Africa) (K-Mix) Shakira I Am Love. Jordan Lally Everything Michael BublÃ© A Million Dreams P!nk I’m Still Here Sia Priorities Jillian Jacqueline Perfect to Me Anne-Marie TREAT MYSELF Meghan Trainor Granted Josh Groban You Say Lauren Daigle Sing to You John Splithoff Nervous Shawn Mendes Better With You Jason Mraz Love Is Still The Answer Jason Mraz I’ll Be Edwin McCain Beautiful Life Edwin McCain I Could Not Ask for More Edwin McCain Go Be Young Edwin McCain Promise of You Edwin McCain Enjoy Yourself Kylie Minogue Better Me Better You Clara Mae Steal My Sunshine (Remastered Anniversary Edition) Len Go Big Or Go Home American Authors Magic to Do The Players You Don’t Know Me (featuring Regina Spektor) (Seeds Album Version) Ben Folds Limitless from the Movie Second Act”” Jennifer Lopez Cut To The Feeling Carly Rae Jepsen Sit Still, Look Pretty (feat. R!OT) Daya Carry Me (feat. Julia Michaels) Kygo Colour (feat. Hailee Steinfeld) MNEK When You Wish Upon A Star Stevie Wonder Don’t Make Me Over Dionne Warwick Go the Distance (From Hercules”)” Roger Bart You’ve Got a Friend in Me Michael BublÃ© Who You Are Jessie J What Makes You Beautiful One Direction L.O.V.E. Ashlee Simpson I Am Me Ashlee Simpson Autobiography Ashlee Simpson Dose Ciara Over Your Shoulder Chromeo 93 Million Miles Jason Mraz Don’t Stop Me Now Queen Forever & Always (Piano Version) Taylor Swift Won’t Let Go Big Infinite Bright Echosmith Shine Raiche Royals Lorde IDGAF Dua Lipa Heartbeat Song Kelly Clarkson Celebrate (feat. AJR) Ingrid Michaelson Body Moves DNCE One Foot WALK THE MOON Hall of Fame (feat. will.i.am) The Script Head Held High Kodaline A Million Dollars a Day Aloe Blacc Night Changes One Direction Pumper Mai Lan One Way or Another (Teenage Kicks) One Direction One Way Or Another (Remastered) Blondie Impossible James Arthur Passenger OneRepublic Wings Little Mix Castle on the Hill Ed Sheeran Cheyenne Jason Derulo Love Me Katy Perry King Of The Clouds Panic! At The Disco Lovers On The Sun (Feat. Sam Martin) David Guetta Time of Our Lives Pitbull American Boy (feat. Kanye West) Estelle This Is Me Kesha Come Alive (Bonus Track) Craig David Come Alive Years & Years Never Enough Kelly Clarkson The Other Side MAX Rewrite The Stars James Arthur I Lived OneRepublic Story Of My Life One Direction Towards The Sun (From The Home” Soundtrack)” Rihanna Let’s All Go to a Festival (Live) Chris Tavener You Can Rely On Me Jason Mraz Genius (feat. Sia, Diplo & Labrinth) LSD Mountains (feat. Sia, Diplo & Labrinth) LSD Anti-D The Wombats The Beauty in Ugly (Ugly Betty Version) Jason Mraz Summer Breeze Seals and Crofts Choose Your Battles Katy Perry Slow Down Selena Gomez Faces Ed Sheeran Believer American Authors Give Thanks India.Arie Let Her Go Passenger This Life Vampire Weekend Freakum Dress BeyoncÃ© Best Song Ever One Direction Royals Lorde (Fuck A) Silver Lining Panic! At The Disco Roaring 20s Panic! At The Disco Dancing’s Not a Crime Panic! At The Disco The Overpass Panic! At The Disco Dying in LA Panic! At The Disco Glamorous (Feat. Ludacris) Fergie You Fckn Did It (Live) Jason Mraz Coyotes Jason Mraz No Stopping Us Jason Mraz Ashes (Steve Aoki Deadpool Demix) CÃ©line Dion No Plans Jason Mraz If It Kills Me Jason Mraz Where My Heart Will Take Me (Theme from Enterprise”” Russell Watson I’m A Believer Monkees, The Honky Cat Elton John Blessed Elton John Believe (Radio Edit) Elton John (I’m Gonna) Love Me Again Elton John Your Song Elton John Happiness The Fray Conversation With Myself Jason Mraz I’m Coming Over Jason Mraz Be Good to Me Sia Here Comes The Sun (Remastered 2009) The Beatles Bleed The Same (feat. TobyMac & Kirk Franklin) Mandisa Before I Let Go (Homecoming Live Bonus Track) BeyoncÃ© Don’t Look Back In Anger (Remastered) Oasis Yellow Light (Despicable Me 3 Original Motion Picture Soundtrack) Pharrell Williams Stop Me from Falling Kylie Minogue Turn Up The Love AlunaGeorge Keep It Undercover (Theme Song From K.C. Undercover”)” Zendaya Boys Club Ween If You Could Save Yourself (You’d Save Us All) Ween Pretty Shining People George Ezra Feel It Still Portugal. The Man Good as Hell Lizzo Scuse Me Lizzo Love Someone Jason Mraz Dancing In The Dark (From The Home” Soundtrack)” Rihanna Waving Through A Window Original Broadway Cast of Dear Evan Hansen Miss Movin’ On Fifth Harmony Understand Shawn Mendes Our Time Lily Allen These Words Natasha Bedingfield Only Us Laura Dreyfuss You Need To Calm Down Taylor Swift ME! (feat. Brendon Urie of Panic! At The Disco) Taylor Swift Itâ€™s Nice To Have A Friend Taylor Swift TiK ToK Ke$ha Praying Kesha Die Young Ke$ha Your Love Is My Drug Ke$ha We R Who We R Ke$ha Blow Ke$ha C’Mon Ke$ha Learn To Let Go Kesha This Is Me (From the Greatest Showman) Kesha Waving Through A Window (Bonus Track) Katy Perry Rise Katy Perry Late Ben Folds Screen Twenty One Pilots Chasing The Sun Sara Bareilles You’ve Got To Learn To Live With What You Are Ben Folds The Sun Will Rise Kelly Clarkson It’s Whatever Aaliyah Little Things One Direction Catch My Breath Kelly Clarkson Anxiety (feat. Selena Gomez) Julia Michaels Almost There (From The Princess and the Frog” / Soundtrack Version)” Anika Noni Rose Into the Unknown (Panic! At The Disco Version) Panic! At The Disco Into the Unknown Idina Menzel Some Things Never Change Kristen Bell Show Yourself Idina Menzel I’ll Cover You Jesse L. Martin Time of My Life Bill Medley & Jennifer Warnes Movin’ Right Along (From The Muppet Movie”/Soundtrack Version)” Fozzie Walking on sunshine Katrina & the Waves Mr. Blue Sky Electric Light Orchestra Don’t Start Now Dua Lipa Lights Up Harry Styles Only Human Jonas Brothers Happiness You’re a Good Man, Charlie Brown Ensemble (1999) Another Day Of Sun Justin Hurwitz What’s Inside Sara Bareilles Opening Up Sara Bareilles King of Anything Sara Bareilles I Choose You Sara Bareilles Breathe Again Sara Bareilles I See the Light (From Tangled” / Soundtrack Version)” Mandy Moore Thank You (feat. R. City) Meghan Trainor I Love Me Meghan Trainor Watch Me Do Meghan Trainor Thank you Dido Thank You Ashanti Happy (Album Version Explicit) Ashanti Thank You (Dedication To Fans…) Christina Aguilera Stronger Than Ever Christina Aguilera Stronger Britney Spears Girl On Fire (Inferno Version) Alicia Keys Shine Years & Years Desire (feat. Tove Lo) Years & Years Meteorite (From Bridget Jones’s Baby” Original Motion Picture Soundtrack)” Years & Years Karma Years & Years Take Shelter Years & Years Hallelujah Years & Years GOOD MORNIN’ (feat. Gary Trainor) Meghan Trainor Life’s A Happy Song Amy Adams In This Place Julia Michaels Zero Imagine Dragons King of the Clouds Panic! At The Disco

Happy Anthems: Songs That Boost My Mood was originally published on brianey.com

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deadcactuswalking · 6 years ago

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REVIEWING THE CHARTS: 21st October 2018

Ughhhhhhhh

Okay so we have an episode of REVIEWING THE CHARTS. All this week I’ve not been in either the right physical state or mental state (and I’m probably still not in either of those) to do basically anything and I’ve felt like keeping up with this is a chore. It’s late as all hell, but here is a shorter – and probably crappier-written – episode of RTC. There’s going to be a Halloween special on a Charlie Brown special sometime near Halloween so check that out but let’s just stop wasting time.

Top 10

To my nonexistent surprise, “Promises” by Calvin Harris and Sam Smith replaces last week’s debut and returns to the number-one spot for what I believe is its seventh week.

“Funky Friday” by Dave and Fredo, however, has not moved as much as I thought it would have, dropping only one space down to the runner-up spot.

“Happier” by Marshmello and Bastille, however, is not moving at all at number-three.

“Shallow” by Lady Gaga and Bradley Cooper moves up two spaces to the top five at number-four.

There’s a debut at number-five – yep, that’s “Woman Like Me” by Little Mix featuring Nicki Minaj, the lead single from their upcoming fifth album, also the first time their lead single hasn’t gone to #1 initially in a while.

“Let You Love Me” by Rita Ora, meanwhile, is down a position to number-six.

The meme seems to be wearing off at number-seven, fortunately, where “I Love It” by Kanye West and Lil Pump featuring Adele Givens is down three spots, although it may rebound soon due to either YANDHI or Harverd Dropout, whenever the hell they’re dropping that is.

“In My Mind” by Dynoro and Gigi D’Agostino is down a spot to number-eight.

As is “Electricity” by Silk City and Dua Lipa at number-nine.

Finishing off the consecutive trio of one-downers is “All I Am” by Jess Glynne at number-ten.

Climbers

There aren’t many, but they’re bigger than I expected, actually. “Always Remember Us this Way” by Lady Gaga is up eight spots to #31 – I think this may be because of a video? That’s also probably why “Girls Like You” by Maroon 5 featuring Cardi B is up six to #25, after God knows how many weeks. “Taki Taki” by DJ Snake, Ozuna, Cardi B and Selena Gomez, the Godawful trash volcano that it is, is up 12 spots to #21. Meanwhile, “No Stylist” by French Montana featuring Drake inexplicably has a 10-space boost into the top 20 at #19. Guess the Drake verse is all you need these days.

Fallers

Fallers, on the other hand? Oh, trust me, we had plenty. Let’s start with pop and dance:

“Eastside” by benny blanco, Halsey and Khalid is down five to #16, “breathin” by Ariana Grande is down eight to #26, “Thunderclouds” by LSD (Labrinth, Sia and Diplo) is down 12 spots to #29, right next to “Body” by Loud Luxury and brando down 11 to #30.

We had a pretty sizeable handful of rock or rock-adjacent hits getting hurt too, like “High Hopes” by Panic! at the Disco is down five to #18, “Shotgun” by George Ezra is shot down six spots to #20 and “Falling Down” by Lil Peep and XXXTENTACION is doing just that to #33.

Hip-hop and R&B suffered too: “Venom” by Eminem is down seven to #23, “Best Life” by Hardy Caprio and One Acen is down five to #35, right next to “Drip Too Hard” by Lil Baby and Gunna down eight to #36, as well as “Lucky You” by Eminem featuring Joyner Lucas down 14 to #37, and “Taste” by Tyga and Offset down 13 to #38.

Dropouts

We didn’t have any returning entries this week, and I don’t know if we had any dropouts either, to be honest, because the website that I can quickly extract that info from has yet to update in weeks. I can tell for a definite “KILLSHOT” by Eminem is gone but otherwise I’d just be guessing or checking other websites and examining the info and I don’t want to do that, I have some common sense, and I don’t want this episode to be out any later. New arrivals.

NEW ARRIVALS

#40 – “Advice” – Cadet and Deno Driz

For our weekly dose of tropical faux-dancehall faux-grime, we have a dude who sounds like a mixture of Swae Lee, Sean Kingston and MC Smally, and his more aggressive friend and/or dodgy uncle who relies on ad-libs to finish his rhyme scheme. Honestly, despite the nonsensical premise of roadman Sean Kingston and his uncle talking about girls they get on Instagram, I kind of like this actually. I love how they trade bars in the pre-chorus, and they’re giving each other advice about picking up women, kind of like “Without Me” by Shaggy and RikRok but British, if that makes sense. The steel pans and cheap synths can’t back up the admittedly pretty fun content and energetic flows from both Cadet and Deno Driz (no, I don’t know which one is which and I don’t care), however, and it ends incredibly abruptly. If these guys got better production, I can see myself enjoying them in the future. For now, well... Cal Chuchesta and Rob Scallon did it better. Just saying.

#24 – “Thursday” – Jess Glynne

So this is the break-out track from Jess Glynne’s sophomore effort, Always in Between, and what I imagine she’s pushing as the next single due to its success. I figured it would be a dance track like Glynne does best, but no, the label seems to be pushing a strong almost ballad-type song, with an incessant acoustic guitar riff that just continues in a building up of airy, foamy synths, until after the first chorus, we get a cheap-sounding but effectively nonexistent instrumental; yes, I complain about production being so bland it’s basically not there, but here, it works, putting more emphasis on Jess Glynne’s powerful vocals here. They’re not fantastic or even pushing her voice to any limits as such, but they feel raw, fitting in with the desperate lyrics, with the chorus reading “I just want to feel beautiful”. Yes, it’s kind of cheesy, yes, it’s kind of “Fight Song” by Rachel Platten (that should always be your go-to adjective for this type of song), but you know what, it just clicks. I don’t appreciate the “oh, oh, oh” repetition in the hook because it feels unnatural despite all of what I just said, so that kind of disappoints me, but if there were any empty spaces for the instrumental here, this wouldn’t exactly feel like a song. It’s on very thin ice and I feel like with just one more touch, this could easily be made either awful or awesome, but for what it is as it was released, it’s pretty good. Maybe I should check out that album after all, I mean, I heard “These Days” is on it and I loved that.

#13 – “MIA” – Bad Bunny featuring Drake

A Drake debut not in the top 10? Preposterous.

Okay, when I first saw this song, I figured it meant MIA as in a member of the armed services, because Drake likes to make up this little “gangsta” persona for himself. Then I saw “MIA” and thought maybe Bad Bunny and Drake were going to compare their girl to an independent, strong, not afraid to experiment (I figured Bad Bunny wasn’t above making Katy Perry references, I guess) and incredible woman and artist, M.I.A., the rapper we all know for “Paper Planes”... although, then I looked into it, “Mia” is a female first-name, right? Is Bad Bunny seriously just name-dropping his real-life girlfriend or ex in the song? No, well, “mia” means “my” in Italian, so it’s just about “everyone wants my girl, but she’s my girl, so step off, fellas”. Maybe I thought too much into the title but damn, it has so many possible meanings, and hell it could mean all of those things but I highly doubt Bugs and Daffy put that much thought into it. This whole title ramble is me trying to covering up how I have nothing to say about the song other than I think I actually really like it. It has a pretty nice groove, albeit almost completely drowned-out by the watery synths (which, yes, I like to). Bad Bunny’s voice has always appealed to me, especially his little “I’m a dog who just went out in the rain and I’m washing it off by just spreading it and flapping my fur” ad-lib. You know the one, the “bgdrrrhr!” Mostly, however, they’re gone, instead he has a really sweet high-pitched vocal harmonising with him and Drake, who sounds beautiful on the hook, by the way. Yeah, didn’t expect to like this one, but maybe I should check out more Bad Bunny. His song “Amorfoda” is one I dig too, check it out, I’ll be talking about it on my worst list as almost a comparison piece for what my #1 did wrong, hopefully that doesn’t spoil my incredibly predictable choice or anything.

#11 – “ZEZE” – Kodak Black, Travis Scott and Offset

“ZEZE, do you love me?” No, frankly, you’re quite boring, although D.A. Doman’s production is pretty competent, at least. I guess the steel pans don’t do as much for me because I hear them every week on this show, but it’s still alright, I’m pretty sure he produced “Taste” too so I’ll check out what he does nowadays, he can be pretty good. Everyone else ruins it, though. How can you get such a cleanly-produced, airy-sounding beat and just puke all over on it with ad-lib madness? Seriously, with the vocals, this feels cluttered as all hell. The bass is overpowering but Travis and Kodak Black’s autotune both make everything so hard to listen to, especially with the amount of reverb-addict ad-libs throughout. In Kodak’s typically off-beat verse, there’s extra vocal harmonisations as well, that I think are the same guy from “Taste”, to be completely honest. Offset raps well but the ad-libs, again, are too much, it’s just way too much in so little time, like a shoddy BTS song by a rapist and a homophobe. Oh, yeah, and it was a meme three weeks before it released, leading it to debut at number-one in Canada, because Canadians seem to have lost their capability to both make AND listen to good music this year. Sad.

#5 – “Woman Like Me” – Little Mix featuring Nicki Minaj

This new album by Little Mix, (lazily) titled LM5, is going to be women and women only! Just female stars and vocal powerhouses on this record, baby... until you realise two frat boy-looking dudes are on the bonus track and this song was written by Ed Sheeran. It’s safe to say I’m never excited that much for a Little Mix album, and the addition of Nicki Minaj as a feature has never given me much to write home about since “Monster” by Kanye West, so expectations were low, and somehow I was still disappointed... because it leads me in with that sassy guitar and intro, before immediately plunging me into suck. The trap beat kicks in, with a badly-mixed autotuned Jesy rapping pretty awfully, to say the least, before sloppily cutting to the pre-chorus with that guitar, but also the trap percussion and “whoop!” vocal effects, and that ear-piercing falsetto note that acts like a synth during the drop, where the bass overpowers everything. Hell, everything about this song is sloppy. They take vocals from other takes and make no effort to connect them together in any comprehensible manner. The autotune constantly put on Jesy is not only unnecessary because she and all of the girls have great voices but it feels cheap. When Nicki Minaj comes in, it actually gives me some space to breath with the empty space between “b****es is my sons” punchlines and a blunt, boring flow as she simply states, “I want all the money”, without any jokes or any wordplay or anything, just she wants all the money. Why does Nicki have to come in during the last chorus and outro, too? Why is everything so all over the place in this song? This is an atrocity. What a half-hearted failure. Steve Mac produced this? What—actually, no, that explains a lot, in fact, it makes me believe anyone on this song tried, because when Steve Mac doesn’t try the end result is listenable (i.e., “What About Us”, “Shape of You”) but when he does we get stuff like “Alarm” by Anne-Marie, “Rockabye” by Clean Bandit and this? Wait, Steve Mac also produced “Thursday”? Well, that explains the shoddy vocal mixing present in both, but God, he’s not having the best of weeks. Take a few months off, Mac. You need it, and maybe during then, don’t try at all so you get into the habit of phoning everything in. That’s the only thing you’re good at.

Conclusion

Little Mix and Nicki Minaj get Worst of the Week for “Woman Like Me”, no question, but I didn’t expect to give Best of the Week to Bad Bunny and Drake for “MIA”, with Honourable Mention going to Jess Glynne for “Thursday” and Dishonourable Mention to Kodak Black, Travis Scott and Offset for “ZEZE”. What a messy week, and quite a few pretty messy songs, actually. Few of these songs feel like they were made by competent producers, honestly. See ya next week!

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