#music liker

[smilepilled]

this is your god given cue to start listening to 2010's songs again. i will not bow, TikTok, blow, wherever/whenever (shakira), skillet, OMFG, three days grace, all of the old golds.

[jadelemonadee]

evil gang 😈

[eerna]

Chappell Roan succeeded where no other pop artist did and made me actually invested in her career

[msngrgod]

YOU HAVE NOT DENIED THE CLAIMS!!!!!! I KNOW WHAT YOU ARE!!!!! 🫵🫵🫵

WIND LIKER!!!!!!!! 🫵🫵

SHUT IT SHUT YOUR MOUTH RIGHT NOW I MAY BE THE GOD OF MESSENGERS BUT I WILL NOT LET THIS RUMOR FLY

[kickedin17]

I wish Tyler understands one record like scaled and icy is worth one million max martin produced albums. As someone who likes a lot of mainstream pop and likes a lot of max martin's work specifically. Like not to say or imply tøp are a small/indie/un-mainstream band bc they most certainly are not, but there's a genuine artistic sincerity in something like scaled and icy that *I* can see, that you will rarely ever get in a polished pop record no matter how objectively good that record is because it's simply not how that type of pop works/not what it's about. Tøp is so special because even as big as they are, and the fact they conceivably COULD have worked w max martin, they still embody that small band art kid vibe bc they've never sacrificed on sincerity, even if it's imperfect or silly or weird. Tøp is pop because of their status on the charts (or at least were circa 2015-2016) but they have never "gone pop" and never will

[spacerockband]

AND EVERYBODY SAYS! SAVE A HORSE, RIDE A COWBOY!

[slozhnos]

tarrytown season is over time to sob in a corner

[blinkiesreal]

more blinkies dems ahishdwuhdiwhwdwuxqjs0

<3

[cinderellaenjoyer]

I don't celebrate Christmas but what I AM going celebrate on December 24th is the 5 year anniversary of The Guy Who Didn't Like Musicals

[every-eye-evermore]

lord huron dragons more 2 come

[jadelemonadee]

these are always so funny to me so i decided to make one for myself

[darkpitlesbian]

If bedman had spotify what would he listen to

break stuff by limp bizkit i hope this answers ur question

[doyouknowthismusical]

cursed ask: does seeing the riverdale musical episode version count

No, it doesn’t, the Riverdale musical episodes don’t follow the stories of the musicals and only include a handful of songs

[wavetapper]

one thing I guess about liking something obscure is that there's basically no criticism of it. like the posts you do see are either calling it underrated or perfect or whatever like people want this thing to be more popular and are scared that saying anything bad about it would stop that somehow

[mackmp3]

i didn't really think pj harvey was going to get a grammy for i inside the old year dying because it's too weird and like. yknow of course she wasnt but it was cool she got nominated. but also boygenius got it and thats not really alternative music its like folk pop. but also yknow The Grammys deciding what alternative and whats not kinda feels weird like.... the point of alternative is that people who aren't as engaged in mainstream society/media like it right?? what makes boygenius alternative? that some of its queer? that the fanbase is mostly queer girls? the music itself isn't really alt but the people its aimed at to some degree are.

whereas pj harvey is alternative herself & her music is alternative. the kind of queer girl who listens to pj and the kind of queer girl who listens to boygenius are probably very different people. i inside the old year dying is a weird album. it's not even fully in english, its got some kinda unsettling bits, it /sounds/ weird with the echoey vocals and the way the instruments are used. an album like that is good on artistic levels but is not the kind of album that wins a prize from an established prize-giver. pj harvey has been nominated for a grammy seven times because her music is good & lots of people like it. but she hasn't won any because her music is a bit weird and it /is/ alternative

i dont think grammys are important at all - good music will still always be good even if only a few people think so. it'll still be good without a sticker saying 'this is is certified good by Some People Who Judge Music'. i just think its interesting to see how this stuff goes.

[digitsofpie]

Ok crazed metropolis soundtrack rant below

So like. I made that post about the intricacies of the Metropolis leitmotifs but I didn't really go in much detail on any of the songs, so... for the hell of it here's an analysis on the leitmotifs of Der Tanz (The Dance)

Now I'm no expert on music theory, but this... THIS... this song is truly a sight to behold.

I was lucky enough to find an ACTUAL FULL VERSION of the sheet music for the entire score! Imslp.org is a lovely site full of public domain sheet music for people to download for free! Hopeful me wanted to see if there was any chance that Huppertz's score was on there, and it is! You can check out the full thing here. Since it's such a long score and there are so many parts, it's written like a piano piece with other specific parts written in at times. It follows the full length 2 hour long score on Spotify, and not the condensed one hour long version. Anyway here we go!!!!

I want to start by saying that this piece, Der Tanz, is very, very intricate! It is pretty much a culmination of many recurring leitmotifs already present in the score, and is like a big hurrah at the end of the Zwischenspiel.

It starts with this:

Those first two measures are devoid of any other instruments besides the steady bounce of the wood block. It seems like a trivial choice, but I found that it is a deliberate one!

Elsewhere in the movie, when Georgy (11811) switches lives with Freder and rides in a car through the city, he encounters the Yoshiwara, the red-light district full of that 1920s glamour and excess. There, you can hear these things: the wood block, the bells/glockenspiel. and a rhythm of two sixteenth notes and three eighth notes (we'll encounter those later).

Both the wood block and the bells give off a vibe of whimsy and carefreeness/carelessness (depending on how you see it), so I find it a wonderful choice in the context of the movie.

Moving on, we encounter what I call the Dance motif/ False Maria motif:

That pattern of descending sixteenth/eighth notes is what characterizes False Maria. You hear it in practically every other scene she's in. such as the scene in which Joh Fredersen commands her to ruin Maria's efforts:

Same pattern, right? It also shows up in "Im Laboratorium - Verwandlung" and in "In Rotwangs Salon," as well as plenty of other songs.

It's a careless, playful motif that I think perfectly symbolizes False Maria, and when twisted right (like in the image above), is sinister as well.

Soon after this motif appears, we get another theme that occurs a LOT throughout the entire score: the Machine Man motif.

See the smaller staff, at the very top? That motif shows up in many places, usually to do with the Machine Man, such as "Der Maschineman," "Im Laboratorium," "Der Aufstand der Arbeiter," Der Scheiterhaufen," and many, many more!

It is a hypnotic and beautiful theme, not unlike False Maria herself. She/ the Machine Man are almost ethereal but unnerving in the way they act, and the theme itself, though graceful, seems to veil the unknown.

At the same time this motif is playing, a rhythm played in the Yoshiwara theme (Die Autofahrt) also plays!

It may be a bit of a stretch, and although the two are in different time signatures (one is cut time (2/2) and the other is 2/4), you can still see a resemblance! All it does is solidify that this is the same area, an upbeat and lively club.

Next is something I only discovered recently! The next motif is what I previously called the Desolation motif, and it shows up here:

In the top part, a series of half notes plays ominously in the background. It not only shows up throughout the Metropolis score, but in other classical music, as well! I was listening to Berlioz's Symphonie Fantastique when I noticed that familiar ominous pattern, so I looked it up, and found this:

It's an old pattern found in Gregorian chants, often referenced in classical music to convey death, danger, or as the name goes, an "angry god." I even found that Saturn, the Bringer of Old Age from Holst's the Planets (my favorite movement from my favorite piece) also uses this!

Of course, with all the religious imagery throughout Metropolis, from Moloch to Death itself, you can't really have a soundtrack without referencing this once.

During this sequence, the song plays through the Machine Man motif quietly, then picks up the pace by repeating the False Maria motif with the Yoshiwara rhythm. Then, I heard something interesting!

During rehearsal 48, the Dies Irae motif plays again, harsher and louder, but over that, on the smaller staff, you can hear a piccolo. In the song after this, Der Tod, Death himself plays a piccolo (well, a bone) and it is the primary instrument you hear in that specific song. Even before he shows himself, the score sort of leads up to that by having the piccolo play during the Dies Irae motif.

The song gets louder and faster, culminating in a blast of Dies Irae with a trumpet in the lead. Then, in the center of desolation, it goes right into Der Tod.

That's all the leitmotifs I could pick up, but a song doesn't have to HAVE leitmotifs to tell you something. In fact, the ABSENCE of leitmotifs also speaks just as loudly as having them.

What's something that we, the audience, know that most of the characters don't? That's right: that the woman dancing before them is not Maria, but a robot, a puppet, a mockery of her. So what do you let the audience know through the music? By NOT having any of the real Maria's motifs present!

While listening, I could pinpoint a few of Maria's themes.

(Found in Die Predigt Marias and Freder und Maria, respectively)

As seen in the smaller, upper staffs, Maria's themes are slow, flowing, gentle, majestic, showing her understanding and kind nature. To have these themes not show up at all subconsciously hammers it in how different the two characters are, and when you can't tell which is which, all you have to do is listen to the music. Even when you can't remember what scene happened during whatever track you're listening to, if you recognize the motifs, you can certainly take a wild guess.

Oooookay I've completely run out of things to say about Der Tanz, so. Thanks for reading (if anyone reading this can't read music, im. sorry)