#lyric anaylsis

[shit-talk-turner]

But Taylor said they didn't speak after the break up. // They didn't, but it doesn't mean she hasn't tried to contact Alex. Taylor seemed so struggle a lot after their break up, so I wouldn't doubt she might have tried to contact Alex somehow. See, "Hello You" could be an one-sided conversation—imo.

Hello, gruesome / There's just enough time left to swing by / And re-adress the start – After the break up, Taylor still spent some time at his house. He was on tour as well. So, much time for both of them to think.

Hello, you / Still dragging out a long goodbye? / I ought to apologise / For one of the last times – For me, that's how it works as a one-sided conversation. Let's say Alex called/messaged Taylor like "yeah, we're breaking up" and that's it. She could've run after him as if looking for explanations (she said in her live she never got one) or something like that. And as he might not regret cheating on her or breaking up with her, he regrets the way he ended things. Our pal Al looks like he overthinks.

As that meandering chapter reaches its end / And leaves us in a thoughtful little daze / This electric warrior's motorcade / Shall burn no more rubber down that boulevard / Read the message I left on the thank-you card –

[But I think we could say that this record is a different shade of letting go of the past. Things you see when you look over your shoulder as you walk in a different direction. – Alex for Rolling Stone, 2022] – In the interview he says it's about his old self, but I doubt he'd say "Yeah, it's about my ex" or even as an anon said, the songs aren't necessarily about one person or one situation, but a mix.

As that meandering chapter reaches its end / And leaves us in a thoughtful little daze – Not only could be about the chapter of their relationship, but also of his life. During the EYCTE era he was doing more drugs than usual, living a slightly different lifestyle. So, somehow, it matches what he says about 'looking over your shoulder when you're walking in a different direction.'

Love it, thank you

[midnightsupernova535]

The curse of the unheeded prophet

When I first listened to TTPD I was kind of confused by Taylor’s choice to include references to “the Ancient mariner” , the lyrical ballad from which the metaphor of the albatross originates, and Cassandra because when I first listened the uses felt very contradictory to me. In “The Albatross” taylor compares her self to he albatross which is essentially a good omen that is following the ship and the crew on there journey that the mariner shoots down because he is fearful that it is a bad omen. In, “ The Ancient mariner” the mariner shooting the albatross leads to a storm that kills his whole crew. The mariner survives and is forced to wear the albatross around his neck and is forced to tell his story to warn others about his mistakes only to not be heard. This is similar to Cassandra who is forced to have the gift of prophecy after not complying with the gods hear warnings are never believed. The ancient mariner and Cassandra both are forced to give unheeded warnings, but what confused me is why Taylor swift make herself the albatross not the mariner. I found my answer in the bridge when Taylor sings, “ And when that sky rains fire on you And you're persona non grata I'll tell you how I've been there too And that none of it matters” There are two big take away from this. The first is that Taylor is saying she has been in both positions the albatross, who has been wrongfully shot at, and the Mariner, forced to tell the same story and warning over and over again. She has been both the archer and the prey. The second big take away comes from when she says, “ and your persona non- grata” This term is used in a diplomatic sense and is essentially saying that the diplomat is no longer welcome in the host country. Often times the diplomats homeland won’t accept them back leaving them in exile. Which we know Taylor has been in before according to herself.

[emporiumofwonder]

Fragmented Memories Song Analysis

Howdy everyone. So today we wanted to talk about a song that really resonated with us. We’ll link it here:

Please note this discussion is a bit heavier than our other content and is focused on some of the struggles that occur with DID. This won’t be an incredibly heavy piece but just keep that in mind. TW: effects of trauma, DID and it’s effects, distress, memory issues.

Okay so we’re not going to break down every single line because that would be too tedious and long. Instead, we want to highlight a couple parts of that song. So let’s get into this! Firstly “I was put together like a ragdoll…..I can hear, these voices are not mine.” Before learning that we had DID, we often experienced the feeling that these voices were suggesting things, pushing their own opinions. This feeling that someone was trying to reach us from inside. Sometimes realizing that something had happened without our knowledge because someone else had been in charge.

“All these memories floodin' in from the souls that I hold within Questions spinnin' around in my head I sense their fear and it fills me with dread Parts of lives belonging to others Some of them friends, sisters, and mothers All came down to a terrible end Who am I? I cannot comprehend”

Often with our DID it’s common to have memories from other software’s randomly play. It feels like seeing someone with a completely different life making choices you don’t comprehend but was in control. Theirs also the effect that if one software is experiencing distress that it can flood over into another software. This can lead to feeling panicked, while knowing that you the software in charge isn’t panicked. The identity bleed over also makes it incredibly hard to define the word “you.” What does “you” mean when your sharing life with all these software’s who all have their own wishes, desires, likes and dislikes. Related to this line is the bridge which says:

“Fragmented memories (Whose are they? Whose are they?) Which ones belong to me? (Can't think straight, I can't think straight) Was this my life before? (Tryin' to remember, to remember) I don't wanna see anymore?”

DID often comes combined with memory loss, amnesia, and other issues with maintaining memory continuity. This feeling of fragmentation and trying to sort out what a life is when you’re so split, isn’t easy.

Final thing we want to talk about is one of the main themes of the song is running from the monster that created the main character. For us, our trauma manifested into some of the software's whose job was to help us survive. So we can relate to this feeling of someone from the back of the brain yelling at us to just run

We are continuing to work on things to better reduce the amnesia barriers to make life easier. Thank you for reading this. Shoutout again to the creator MilkyyMelodies, and we recommend giving the song a listen or watching the music video. The music video is a bit heavy though just as an FYI.

[shark-myths]

truly i was born for this! @citrusandsalt gets me *cracks knuckles, dives in*

sunshine riptide of my lifetime

darling this question is SO CLEVER, because i am so tonedeaf, i didn't even notice! and it's so interesting because sunshine riptide as a song feels to me like what pete's said in recent interviews, somehow by chance surviving to adulthood on a rollercoaster of celebrity and then arriving fully-formed and realizing you don't know how to live or make yourself happy as an adult. we see this theme in the opening of heartbreak from the other side, too. it speaks to being numbed out, medicated for bipolar disorder and cresting on manic highs, and then it posits the glorious poly solution to all their soulmate problems: Take all your possibilities then take away the limits.

as a contrast, the phrase sunshine riptide itself seems to simultaneously refer to the feeling of being manic and the feeling of being in love with patrick.

so do we think that sunshine of my lifetime is meant to be an explicit callback to the feeling and sentiment expressed in that song???? you are my truest feeling yet, you're just like oxygen? there are no atheists in fox holes (you can say you don't believe in true love until you're IN IT)???? tell me yes. i want this so badly. sunshine is the key that busts this whole thing wide open

what would you swallow the pain for

let us not skip what bob dylan has to say about billboards! nor what the kintsugi kid has to say about swallowing. (i'm not cackling you're cackling)

bob dylan is about fame, fanaticism, fandom, the over-visibility and simultaneous invisibility of celebrity, people who don't know you thinking they know everything about you, and pete feeling that way about patrick all at once:

Come down from your holy mountain / I'm down, I'm down / So put your shame on a billboard for a second / Sometimes the only way out is through

whereas kintsugi gives us pete's history of apologizing himself out of patrick's orbit and a fantastic flip of the drug use metaphor into pharmacological pete, the medicine man:

I'm pretty sure, as far as humans go / I am a hard, hard pill to swallow / And I know I'm not your intended dose / We're going low, low, low, low

and hey, while we're hurting ourselves, why not hum hallelujah too? let's just have allllll the swallowing (this time of blue ativan. really. it's not about sex)

A teenage vow in a parking lot / 'Til tonight do us part / I sing the blues and you swallow them too

okay that was mostly an excuse for me to talk about swallowing. I'M NOT SORRY. (icyww its other appearance is during The Mighty Fall and it's immensely loving, so it doesn't fit as well here, but i do think relates to how it's being used in Church: It's getting clear / You're never coming clean / So I'll lock you up inside / And swallow, swallow the key)

so to consider the ACTUAL question. "what would you trade the pain for/I'm not sure vs make the pain billboard big and swallow it for me" - to me, i'm thinking about how here 'the pain' is not being able to be together publicly in the time/place they would have wanted to. it's the tryst, and its end; it's the time wasted on unrequited and internalized angst instead of action; it's time is luck, and i wish ours had overlapped more, or for longer. the pain, in a way, is what they did have together, in lieu of happily ever after. so it becomes precious beyond reckoning. something you'd never trade away. something you'd blow up to the size of a billboard (public perception, celebrity, pete wentz as a product, 1-833-OUTBOYS, ugh) but then swallow, to keep it secret and for yourselves. and also: i'm asking you to just swallow it. just swallow the pain, the uncertainty, the ethics, the internalized homophobia, what other people think--swallow it all, and we can be together. we can have this. we can savor it. we can love the way it hurts us--it's irresistible.

every lover's got a little dagger in their hand

observe as i rise nobly above all the dick jokes i want to make! my main thought here is that we can make a jaded line about betrayal and how the people you love most are the best equipped to hurt you (and/or a pandemic-era read on how everyone is carrying an invisible potential threat inside them and could literally end you!), by zooming in on pete's use of the word 'lover' as really quite telling

the first time FOB ever uses the word lover, as far as i can tell, is in Golden (IOH, 2007). it's not directed at the ubiquitous, unspecified you ((read: patrick)) that most FOB songs are; instead this song is sung to / about the self. it's an extremely peterick, being-queer-is-monstrous song. tongue on the sockets of electric dreams indeed!

And I saw God cry in the reflection of my enemies / And all the lovers with no time for me / And all of the mothers raise their babies / To step away from me.

we see it show up again in Thanks for the Memories on the same record. here it's pete talking about people talking about pete--so not the word lover in his own mouth, but in the mouth of people who are generally positioned to find him to be a slut / a sellout / a spectacle / a sham.

They say I only think in the form of crunching numbers / In hotel rooms collecting page six lovers / Get me out of my mind and get you out of those clothes, I'm a liner away from getting you in the mood

the next appearances of lover are in Bang the Doldrums (FAD, 2008), referring to Mikey Way (best friends, ex-frinds til the end, better off as lovers and not the other way around) and all the way on Save Rock and Roll (2013) as a throwaway self-description once again (I'm a young lover's rage, gonna need a spark to ignite)

this is a long way of saying, using the word lover to me reads as very non-patrick usage. other people are lovers; patrick is a category unto himself. in 20 years of songwriting primarily about romantic relationships, pete never goes for the word lover unless he's describing other people's perceptions of him, a feeling state, or one of his exes who were ultimately found to be unworthy--not a part-time soulmate, not semi-sweet, not the person's he's sneaking into heaven for. not the you he's been [literally] writing to all this time.

tl;dr: you can't trust lovers, they can undo you easier than anyone else, either with a virus or casual human cruelty. but patrick, he's your wilson, he's your desert island guy, he's the one you want to shelter with. he's sunshine. he's made of gold.

thank you, this was so delightful. i love you immensely. let's keep talking about this beautiful record please!!!!! your thoughts are the best thoughts

ok WHERE is my girl @shark-myths I need to know what we're thinking about "you were the sun-shine of my life-time" vs "sun-shine rip-tide" in the same singsongy rhythm

Also while we're here, what are we doing about what would you trade the pain for/I'm not sure vs make the pain billboard big and swallow it for me

BONUS ROUND: there's two obvious rhymes for apocalypse that fit with where every lover could have a dagger and they went with neither what are they doing someone tell me

[spaceorphan18]

Glee Musical Retrospective: 4 Minutes (The Power of Madonna)

Sung by: Kurt Hummel and Mercedes Jones Original Artist(s): Madonna feat. Justin Timberlake and Timbaland

Baby penguin my ass.

I sometimes go back and read 'of the day' reviews, and one of them stated that this episode featured too much music. And I got to thinking, while I clearly don't agree, this is the one that would probably end up on the chopping block. I'm very glad it didn't though, because I think it has more to say than you may think.

And it's only one of two duets we get between Kurt and Mercedes.

Story Anaylsis

It's really nice to be talking about Kurt again... when is the last time???

So, here's the fascinating thing about this one. Kurt and Mercedes both often feel like they're playing second fiddle - especially to Rachel Berry. And here they get to showcase their amazing talents together. But the thing is - they got this huge performance as a thank you from Sue for making her over in Vogue. (Also - Sue is doing this as an FU to Will, but Sue is savvy enough to know talent when she sees it - and Kurt will remain one of her favorites for the rest of the series.)

The song itself is a little random story wise -- and most likely chosen because it was a highly energetic, more modern hit. It's a song about going out and saving the world in 4 minutes? Honestly - the lyrics are supposed to be about saving the planet, and having the urgency to do so. But I can finagle a few things...

I think one of the things both Kurt and Mercedes are doing here are latching onto the urgency in their own lives. Sue's giving them a chance to shine and they're both going to take it. Neither of them is willing to wait around for Will to give them a chance. So, they'll make their own chances. Which speaks to both their characters, really.

But if I die tonight At least I can say I did what I wanted to do Tell me, how bout you?

I think the lyrics are mostly not the point in this one. But I like this little stanza. It speaks to the two of them briming with their own confidence and jumping at the chance to show, at least the school, what they can do.

I'm going to quote myself from my Kurt meta:

One of the things I really love is how confident both Kurt and Mercedes are in this dance number–with the whole school watching.  Before, both of them were looked down upon, and thrown in dumpsters, and slushied, but now that they’re with the Cheerios and singing Madonna, they really latch on to a growing self-confidence.  Sure, they aren’t there yet, and they have many more obstacles to go over, but just the fact that they’re up there performing, uncaring really what anyone else thinks, is a step in the right direction.

I will say - one of the things that I've often had a hard time buying on this show is that people continually think that these kids are losers. I'd have been so amazed if I saw a performance like this in high school. There's no reason any of these kids get the hate they get except for the fact that the plot needs them to be.

Technical Thoughts

First of all - I love that they arranged this as a marching band song. Not only is it a great interpretation to the heavy sound of the original song, but it's nice to see a marching band used well on screen.

Secondly, they sound pretty good! I love Kurt in his lower register. And Mercedes just owns this song. It's not surprising that they had them switch parts because Amber is much more comfortable with kind of song than Chris and it does show a little bit in the vocal track.

The on screen charisma, though, they both have it. The fact that both Mercedes and Kurt feel so comfortable in their bodies is fantastic. Neither of them are what mainstream society would label as sexy or hot but I love, love, love that this speaks to that -- that these two are both sexy and hot in this number as they play off each other. The choreography on this is the best, and I love that they allow these characters to be in control and confident in their bodies.

Also - sometimes I don't think Chris gets enough credit. Yes, he can be clumsy and fall of a piano (oh we will get there) but sometimes he just owns his physicality in a way that is never commented on is just remarkable.

This performance also has some great reaction shots. I love that Will looks annoyed and almost disappointed. Rachel's 'no comment' was perfect. And I love that Quinn genuinely seems to be enjoying herself. (I love when Quinn gets to be a human.)

Also - super technical thing - but notice all the quick cuts and camera whips? I'm sure that was done purposely to enhance the urgency the song is trying to create.

Fun fact: Apparently, this is the last time Kurt does a duet with anyone else besides Blaine and Rachel until Adam Lambert shows up. Crazy right? Shame that the show doesn't try out varying combinations more often.

vs. The Studio Version: It's the full song! Or more so it feels like they just repeat the chorus a few more times. I do like the second half, though, because they both get into the song just a bit more and it feels even more powerful than the show version.

vs. The Original Song: I love that this song is actually 4 minutes long. It is slightly slower than Glee's version - which makes sense, because that's Glee's trend - to make everything just a little bit faster (I assume to fit into time limit of being on a tv show). As I said earlier, I think Glee's marching band interpretation is really cool - because it's a great in world adaptation of the instrumentation the original song uses. That all said, what is going on in this video? I don't get how this reflects saving the world. *shrugs*

[falsebooles123]

Confessions of a Recovering Genre-Phobic 1/13/24

Hey Whores, This Week was the middle of a giant blizzard through most of central and southern oregon. Did I get any snow? No so fuck the weather too. Anyway heres some music I listened to.

Emoji Antique (2015) - Scott Bradlee's Postmodern Jukebox

Genre: Jazz Length: (12 Tracks)

Figured I'd start this week off on an easy peesey album. When I first made this list in 2019 I added a lot of what I would now consider twee music. I made a point to cull out the various Movie Soundtracks, Comedy Albums, and other 'novelty' music from the list before the new years. To underline my adoration for this style in my cabernet/jazz era I also include the solo albums for Casey Abram and Hailey Reinhart on my watchlist, (listenlist?).

I will say that album despite it coming out directly before the last PMJ album we reviewed is subsequental lesser.

But I feel the need as a reviewer to properly anaylsis my own discomfort with the work. I will say that my ira with this album is fully subtextual right? Objectively the jazz in this album are good. These are great singers and they do a great job but PMJ is not an original work, its a cover band which means that are approuch to listening to this music is colored by us actually knowing the original work and are feelings about the original music to begin with. I think its also important to recognize that PMJ works best as a a live band. My initial interest in the band was from watching there youtube videos which are filmed as a chamber set often with a central Chanteuse character drawing attention center stage. It very much is playing off of the performance style of these genres of music and it works incredible well. These people are hot, they sing well, and they have an incredible fantastic stage presence. It what makes this songs have a lasting impact in my opinion. Listening to a purely audio version of these songs is a detriment and honestly the tangible albums have also felt a little cashgrabby. I mean they released four albums in 2015. Four of them. its really doesn't feel like these were artistic attempts and putting together the creme de la creme of there chambe sessions it feels much more like a bunch of singles they ripped to cd so that they had something to sell at merch tables.

Bad Romance and Barbie Girl are both fantastic stage performances and its truly sad that you can't see Sarah Reich in her footwork with a literally cd of this.

I feel like my thoughts are all over the place so I'm gonna try my best to make my critiques cognent. Why not a numbered list.

Lyricism

Famarity

Production

Lyricism

The opener of this album is All About That Bass (feat. Morgan James, Haley Reinhart, Ariana Savalas & Casey Abrams). Its meant as this fun, feel-good, pop number and it is and so is the original. The issue for me is that I just don't like Trainers message in it. this review is too long to get to deep in the paint about it but Trainer centers who own love and self-accemptance exclusively on whether or not shes fuckable to men and theres also quite a bit of skinny shaming in it. with some very weak lip-service and yes this song came out way before much of the culteral conversation over body positivity and body nutrality and all that crap but It still sits in the pantheon of other girlboss songs like 'before he cheats' and 'you belong to me' that have a kind of toxic feminitiy to. It rubs me the wrong way.

This is the two edged sword of PMJ because on one hand the torch singing style there known for focuses on the lyricism and songs that really sing on this album Creep, Barbie Girl I Believe In A Thing Called Love, and Only One have fantastic lyrics. Its acts as an appreciation to the craft of songwriting. Contrary-wise it makes the weak lyricism of other songs that much more thread-bare. If 80% of your song and mixing is focused on the words they have to be good or at least they pale in comparision to the tent-poles of there work. The enthralling torch songs that made me first fall in love with there work.

Familarity

So heres the thing right. If you have a cover band you want to cover songs that people know right? Usually this isn't a problem they choose a lot of big, and I mean like huge, top 100 pop songs. Lady Gaga, Taylor Swift, Bruno Mars. Songs that would be immediately recognizable and beloved. For fucks sake this album ends with a pared-down solely recreation of Take Me To Church. They play crowd pleasers. So lets play a game name who sings these songs.

Such Great Heights

I Believe in A Thing Called Love

That was The Postal Service and The Darkness. Oh uh yes these were top 100 hits in there specific genres in 2003. On further research I have heard Such Great Heights. Mostly because I really love 2000s indie pop but the main issue with this is that I don't recognize the song from the arrangement. The arrangement is fantastic its a great song but its not recognizable the same experience. And I don't want to act like thats a bad thing that an adaptation is *too* tranformative. At the same time I feel like we should question what is the point of a cover band doing a cover that nobody recognizes?

Ok Round Two

Only One

Poison

That was Kanye West and Rita Ora!!!!

Ok so heres the vibe. These songs are both from around early 2015, and were fairly popular on the radio at that time. In fact, Rita Ora released her single only two weeks before PMJ covered it. Neither or these songs to the best of my understanding had any staying power, (I for one had never heard of them before despite me being in my peak listening to the radio era), they didn't even make the top 100 for that year. If your wondering all the other contemporary songs on this album are on there. Its hard not to see this as Scott Bradlee's hearing a critical acclaimed song on the radio and then immediately turning around and making an arrangement for it for the clicks. Which don't get me wrong that was 85% of the trending videos on youtube at the time but it still acts as a burr in my side when looking at this from a artistic perspective. Because once again these songs don't sound like the original which brings us to my third point.

Production

To keep this slightly brief lets discuss. Paper Planes - M.I.A. You know the one its the song with the hook that goes "bang bang bang cash register and takes your money". The production on the song is fantastic. The beat is dreamy and gauzy, her vocals are muted but lathegic like shes in another room. Its a sound that is distinctive it feels like walking down the street in a 90s action film. right with that very specific california sunny filter that makes everything piss yellow. thats what the song sounds like and its because of the mixing and sound production because pop music is pretty complicated to make these days. It tends to be a very layered sound that what a producer is.

Big Band music can also be incredible complex and layered. Theres a lot of feeling that can be created between harmony and melody and procussion. These are two bad bitches that shouldn't be pitted against each other.

The issue for me with this song is that the percussion fucking sucks. The Paper Planes Hook. The part of the song that is so goddamn iconic is replaced by a paltry stacccoto brass section. The fuck. That is not in the original spirit of the song. Its one thing to take a fast-past hiphop song and sing it slow and bluesey, its another to listen to well-produced beats and then shit your goddamn pants at the percussionist section.

If I was given the task to incorporate these non-diegetic sounds into a orchestial style there are ways to do it. Large Snare Sounds, stomping, or you could do what my highschool theater class did and band two 2x4 together. Trust me it sounds like shots fired. Also here me out you get a vintage cash register place in on the table front and center and have your procussionist literally just open it during the hook. It would be cute it would be fun, it is so entirely within the realm, style, and humor of PMJ that what we did get is honestly kinda insulting. I just don't like the production on this song and I think it shows a lack of polish in the arrangement.

Now that I have been alittle bitch for longer then should be allowed. I want to say that my criticism of this album is entirely intellectual. It was fine it was a perfectly fine album.

The reason why I am writing these blogs is to think more critically about music about writing and about criticism. So me being a little bitch is me practising being a little bitch for money!!!!! HIIIII give me moneyh!11 pelase. This is not intended as a serious review. This is a writing project so take it as a grain of salt.

3/5

Dream Your Life Away (2014) - Vance Joy

Genre: Indie Folk, Indie Pop Length 49:00 (13 Tracks)

If your famalier with Vance Joy its most likely through his break-out single 'Riptide', a folksy acoustic balad with esoteric lyrics. Also an absolutely fantastic music video, If Radley Mertzger saw it he would cum.

Looking at the rest of his set on this album you get a very similar energy. Hozier-esque Vance Joy uses this indie folk stylings to sing sad ballads about love.

It feels like the insecurties you have when you began to date a beautiful person, it feels like the cold blue light of an newly empty apartment, it feels like watching somebody you love sleep and wondering what you did to be so goddamn lucky.

Its a very meloncholic album, something you put on when your alone and lonely. Good Shit.

4/5

Hug Of Thunder (2017) - Broken Social Scene

Genre: Indie Rock, Baroque Pop Length: 52:19 (12 Tracks)

I first listened to BSS entirely because it was off-handedly mentioned by a bunch of hipsters in the webcomic Questionable Content. You know back when it was about Jeff Jacques self-insert being emotional abused by a big titty hot chick and not existential trans-humanist conversations and milfs with fat cow tits, (I refuse to explain).

Hug of Thunder is the Fifth Studio Album from Broken Social Scene, which is apparently a musical collective with a rather large member list. This album has 23 listed musicans on it if that tells you anything.

I'm not great at describing sounds but its layered, indie rock that creates an almost soundscape type quality. IDK its moody indie stuff I'm bad at this and thats ok.

4/5

Halloway EP (2016) - Tessa Violet

Genre: Dark Pop Length: 16:52 (5 Tracks)

I remember when I first heard this album. It was 2019 and I was going through a major depressive episode. I was cold, both emotional and physically, and suffering through the most incredible emo of heartbreak. bitch was going through it.

Tessa refers to this album as her 'dark pop' album and that is understable. Theres a lot of heartbreak in the album and while some songs like 'not over you' are a feel-good anthem there is a certain rawness to Haze and On my Own that I still come back to all these years later.

This is an important album to me and for how much its forgotten by others I still have no choice but to love it.

4/5

Primordial Archive (2023) - Elliot Lee

Genre: Alt Pop Length: 48 Minutes (16 Tracks)

Elliot Lee has been a name I feel like I have always been famalier with. While its easy to compare her to artists like Jasmin Bean and Melanie Martinez who also play with creepy cute imagery and discuss themes of obsession and mental illness. Lee's work to me has always felt much more connected to internet culture. She makes the type of pop music that you would draw animatics of your OCs to.

Her work is angry, confessional, spoken word at times and she layers it over an almost nightcore or glitchcore sound. Electronica that is destinctly 2000s in sound with distorted vocals that lend an almost bluesy sound to her words. Its a strong distinction from comparable artists in the Alt Pop scene.

Primordial Archive is a fix-up album from Photo Finish Records. Putting together a variety of her earlier songs with a new Single 'Funny Bunny'. I was original concerned with cohesion with this album but on relisten in gelled a lot more for me. Lee has spent the last who knows many years putting out singles so when it comes together it turns out OOPS all bangers. Theres some fantastic tracks on this album and I think it manages to show her range quite well.

Funny Bunny the signiture single on the album is equally fantastic. You have lee's signiture confessional lyrics that are .... a little too relatable if I'm being honest over what can only be described as a DDR dance beat. Its recognizable Elliot Lee and its a damn good pop song.

4/5

Anyway Whores I'm not sure what tomarrow brings but I have to imagine its more music.

[taylortruther]

Do you follow headfirstfearless on Instagram? They post a lot of Taylor “data” like percentage of certain words, themes, etc appearing in an album - it’s actually super interesting, and you see data of like how red for example is the album with the most unique lyrics about heartbreak, reputation about lies/truth, etc I think you would enjoy it, also great prompts for song analysis!

ooh thank you for the rec!

[btssavedmylifeblr]

Hey, so maybe I'm taking the lyrics of the songs a little bit too personal but this new album the boys are kinda straighfoward with some things. Like, after hearing both trivua from RM and Suga and also Her Like, I love the songs and I recognize all their hard work and dedication but sometimes the lyrics are kinda harsh and my heart squish a little 😂💔

So I went and looked at the lyrics to both of these songs again, and I’m not seeing what you’re seeing. I would yes, you’re probably taking it too personally. 😂

It’s art. It’s not meant to be taken literally. Plus, a song can be written to capture one particular emotion or mood that they felt one day, but that doesn’t mean they feel that way all the time. When asked about the meaning of the album, Namjoon repeatedly says its the arc of falling in and out of love, but he always specifies that it could be the love between people or between you and yourself. 

So for example with Seesaw, you could interpret it as Suga talking about his relationship with ARMY or his relationship with someone he’s dating/dated or his relationship with himself/his stage persona and all of those interpretations could be correct at the same time. But again, its art, its fiction. Lots of things happen in my stories that have never happened to me directly. People make up stories they want to tell and pull inspiration from a wide variety of places. It doesn’t have to be about him specifically at all. 

[caruliaa]

honestly? in the slip of a bolt theres a tiny revolt, the seeds of a war in the creak of floorboard, a storm can begin with the flap of a wing, the tiniest mite packs the mightiest sting every day! starts with the tick of a clock!! all escapes! start with a click of a lock!! if youre stuck in your story and you want to get out you dont have to cry you dont have to shout!!

[toovirgins]

Wondering if this has been done yet

[shit-talk-turner]

Hello You is about Alex saying goodbye to their own past. This whole album is saying goodbye to the closed chapters of the past. I'll do some sort of analysis here:

LEGO Napoleon movie/Written in noble gas-filled glass tubes/Underlined in sparks

This was a movie Kubrick wanted to make but never made. Not the Lego version tho, Alex said he was inspired by that Batman lego movie. I think it refers to the "rock" album Alex wanted to make but never did.

I'll admit it's elaborate for a wakin' thought/Vortex to vortex/The business they call show/Hasn't ever been this pumped up before

He's saying that the industry or the fans might be excited by the idea of the band making another AM or WPSIATWIN

Hello, gruesome/There's just enough time left to swing by/And re-address the start/If you call and have them pull around the car/And stop specializing in stories from the road

He doesn't want to go back and make another album like those ones (re-address the start). Also there were a lot of road and car references on the AM album, like One for the Road with that tractor driving music video lol

Hello you, still draggin' out a long goodbye?/I ought to apologize for one of the last times

He's talking to himself and maybe apologizing to the band for dragging them to La Frette in April 2019 for one last time after TBHC tour when he had his hair gelled back again and put motor boots on (according to his own words) trying to make another AM, he's addressing that he's been trying to go back to those eras when he should've just quit trying to do what he cannot do anymore

As that meandering chapter reaches its end/And leaves us in a thoughtful little daze/This electric warrior's motorcade/Shall burn no more rubber down that boulevard

Again, same stuff as above. He shouldn't try going back to those times and that chapter is closed for good. We know Alex loves motorcycles and stuff too

Read the message I left on the thank you card/Overtaking the tractor

Again tractor reference lol, and thank you as in "thank you, goodbye" maybe

Waitin' for sets of winds and bends to level out again/Pickin' your moment along a country lane/The kind where the harmonies feel right at home

I think this is about those times he's waiting for inspiration and then trusts his instincts and does whatever feels right to him

Takin' a dive into your crystal ball

This is him trying to predict if whatever he makes will work or not, observing the zeitgeist, etc

I've snorkeled on the beaches fruitlessly/Why not rewind to Rawborough Snooker Club?/I could pass for seventeen if I just get a shave and catch some Z's

He's made numerous failed attempts at making that type of guitar heavy rock music over and over again, so why not just go back home and be (mentally) young and carefree again like those times before the band were famous and under the pressure of their own creation

I think there's nothing specific about any of the girlfriends on this album; maybe vague references but they're mostly about his life and they just happen to be part of it, it's not necessarily about them

Love it. Thank you for this take.

[the-jedi-ninja]

Some of y’all are getting dangerously close going full high school English teacher levels with Taylor Swift’s lyrics

[between-two-fandoms]

In Battle Cries Joey sings the devils broke rank and out of the depths came an army. Could they be talking about themselves, about how they got discovered and despite the current insanity of the world, an army of dear hearts surrounded them? Probably not though because weren’t they working on the album before witcher fans found them?

Also, it’s not pain it’s applause could be about how they didn’t expect so many people to like their music. They said it in the AMA. And realizing the internet wasn’t turning against them, instead forming the army called the dear hearts.

Idk, just my two cents. Let me know what you think in the notes :)

[ellenarcher]

Please enjoy my video!! Taylor Swift Lover Review and Analysis - Themes, Lyrics, and Music Reviewed @taylorswift @taylornation

[loveofmylouis]

I just have to say that I completely understand people wanting to "warn" others about albums. But at the end of the day no matter how true they are, take them with a grain of salt. I'm saying this because people said the same things about fine line and I was so worried and dreading it because people were making it sound like the most stunt ridden, het album of the century. Then once I heard it, of course, I was like I worried for no reason. Wait for the album to come out and make you own opinions and conclusions about it. Don't let someone else's analysis or feelings of the album, whether they heard it 1, 2, or 10 times dictate your listening experience and just enjoy Harry's talent and art!

[this-love-is-delicate]

Don’t get me wrong, I love seeing everyone talk about the song meanings with the whole love triangle thing and what songs are about Joe and who’s perspective what is from and this or that, but a lot of the songs on this album have an extremely personal meaning to me already. So personal to the point that I may or may not ever open up about it to other people. And honestly, I think that’s what’s most important. Having songs that have personal meaning to the listener that may or may not be what the artist originally intended. 

I’m so tired of objective song meaning like forget that it’s all about the subjective baby like what does it mean to you personally?