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nexyra · 4 years ago

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I got an ask for Qrow Branwen so here it comes !

My fav ship(s) for the character

I think my favorite ships for Qrow are Cloqwork and Fair Game ! Cloqwork lacked screentime in terms of canon content of course, but I love the potential here. I also have a things for shipping the sad men together xD There are a lot of REALLY great Cloqwork fanfics out there and I love seeing people write about these two <3 It's in the details but I think there's something interesting here. With Qrow who is convinced to be a curse, who came from such a harsh background... And with Ozpin who is so convinced of humanity's inherent goodness and that anyone deserves a chance. At the same time they're both very complicated people who I think would interact in cool ways. Ozpin is wise but does have a mischievous streak that I think also helped in making them both get along. Qrow is much more perceptive than he appears and that's also good for dealing with someone as secretive as Ozpin.

Fair Game also had a very good start ! The relationship was admittedly a bit tilted toward Qrow's recovery in the show, but they were nice to see together. Clover was perceptive & caring as well as patient. All great qualities for a relationship with Qrow, who has a hard time breaking down his walls and a shot mental health. At the same time, Atlas is very professional, straight-to-the-point and I think Qrow is a real breath of fresh hair in that environment. He brings a different viewpoint to the table, he's very loyal & caring and it's clear that his sass amused Clover greatly. We didn't get to learn enough about him, but Clover's VA hinted that Clover's trust was a fragile thing and he wasn't a fan of showing vulnerability. Qrow, who gives everything he has in all his relationships, would have been a great balm for that uncertainty. So yeah !

My least favorite ship(s) for the character

There are, of course, any & all ships between Qrow & the kids or Qrow & Salem's team. But outside of these obvious "nope", I'll have to go with Jailbirds. This is COMPLETELY personal but I have a really hard time liking Robyn's character as of V7 end/V8 so I'm barely interested in her dynamic with Qrow. I did appreciate her talking down Qrow from revenge because he was only doing it for his own sake but... That's about it. I find her way too abrasive (hidden behind her shiny Robinhood looks). And whereas Clover (imo) was pretty good at getting Qrow to face his issus head-on & building him up, I feel like Robyn relies more on humour & deflection... Which is an art Qrow is already acquainted with, and not the best coping mechanism for him. Aaaand I just feel like she put Clover down several time in order to lift Qrow up. That, plus the queerbaiting controversy, plus her having indirectly participated to Clover's death... The ship makes me a bit uncomfortable.

My fav & least fav platonic relationship(s) for the character

My fav platonic relationship for Qrow is his bond with Ruby ! I really hope they bring it back because these two were GREAT together. Ruby's admiration was adorable. Qrow's nonchalent but clearly protective streak. They care about each other A LOT and I really loved them together. I hope they can have more moments together like back in V3-V4 or V6.

I'm not sure what my least liked platonic relationship would be. Saying Robyn again feels like beating on a dead horse but I don't really have a problem with any other ones. They're all, if not kind & good for him, at least interesting (like Raven)

My favorite thing about the character

The combination of his sassy/cynic personnality and how loyal & caring of a person he actually he is. Qrow is rough around the edges, leans easily into banter but he cares so damn much. He fit so easily next to Ruby's peppy enthusiasm in Vol 1-3, and then he was just an incredible badass and yet so damn vulnerable human in Vol 4-6. I liked that about him. How all the pieces fit together

My biggest criticism for the character

Well I have 2 things to say about that. First : V7C12 With Friends like these. What the fuck was this episode qkfazkfhkgh Qrow's brain was nerfed SO DAMN HARD, I was genuinely pissed while watching the episode. This was just a string of dumb decisions from everyone except Tyrian. But I digress -

In a more general sense, I'd say... putting Qrow in the sidelines. Him falling further into depression was a sound decision. It was interesting and fitting of his character imo. But I feel like they tied "Ruby having enough of his alcooholism" and "Ruby growing away from adults" in a way that kind of.... just put Qrow to the side and doesn't allow him to do much. In V6 finale, Qrow expresses understandable concerns about their plan to steal an airship, but instead of dealing with that Ruby's frustration with his cynicism is aired out and... the timing kind of makes the whole thing weird becaus Qrow isn't allowed to disagree with their plan ("we'll do it with you or without you") and then has to trust Ruby and let her go which AGAIN is a great moment in itself. But all that put together just like... rid Qrow of his function as a parental figure because Ruby is the leader now and he's just... kind of following along.

When was their writing at the peak according to me (ex : best season)

Okay for this one Q, I'll have to go with Vol 4 and Vol 6 for very different reasons. V4 was great because we really got to get to know Qrow. His complicated relationship with Raven. How BADASS his encounter with Tyrian was I freaking loved it. What his semblance and how it shaped his life. And it also let him be vulnerable through the poison & seeing Ruby repay his care was very nice.

Vol 6 for fleshing out, taking his issues & drinking more seriously. Showing more hopelesness and cynicism, and that he had a real drinking problem and he wasn't just a fun drunk. Plus the loss of faith in Oz showed how much Qrow needs stability and secure certainties to orbit around despite his nonchalant personnality. But I like it a bit less because it was the starting point of putting him on the side kind of.

A song I think fits them & why

Ship in a Bottle (Steffan Argus) ➸ A song about being alone in your fight, in the sense that your life is like a sail on the ocean and you are the only captain, the only one who can choose what to do with it. At the same time, there are several mentions of a "captain" as if the singer/Qrow adresses someone else. It's reminiscent of his relation with Ozpin or Clover : speaking of a deal, of being honest and sharing what's on your mind. Qrow thinks too much, he's scared and he sinks more & more as he delves into his cynicism (V6). Qrow cries, things get worse, the mention of the glass echoes his struggle with alcooholism. And the Scarewrow loses his brain, "lose touch with all the things that made [him] feel sane."

+ Problem child (Simple Plan) The Star song (Amanda Palmer) Would anyone care (Citizen Soldier) Wasted (8 Graves)

A headcanon to make up about them

Qrow didn't have the most normal childhood and because of that he had to learn a lot for Ruby & Yang. Notably, Qrow had absolutely 0 notion of what was an appropriate presents for young girls. As a result, he tended to simply bring back from his travels whatever shiny thing might have caught his attention. Could be a weird flower. Could be a pretty knife. Or even junk that his corvid brain latched upon.

Tai designed a look(Tm) that Qrow learned to recognize as "No, not appropriate." After a while, Yang learned to mimick it (but rather at random, she didn't really recognze what was appropriate and what wasn't). Ruby always liked his presents though.

What I would change about them if I was making a re-write

I CLEARLY would rewrite V7C12 so that Qrow & Clover keep their brains kzjhfkqhzk There were ways to reach the same conclusion without like... having a Qrow-Tyran team-up which was REALLY weird

I see 2 main possibilities to stick close to canon content - After the crash, Tyrian gets free but he keeps playing dead for a bit. Since there is no 3rd menace, Clover and Qrow's argument devolve into a fight as seen in canon. At one point, Clover manages to briefly disarm Qrow. They discuss for a bit, you can even put the exact same dialog as in the ep. Then Tyrian takes action, moving out of the shadows to kill Clover with Qrow's discarded weapon. Braincells saved. OR - Instead of having Qrow & Tyrian outright team up, Tyrian just... keeps instillating doubts in their mind. Qrow & Clover are temporarily allies in taking Tyrian down but because of this, they don't TRUST each other which cause missteps and make them less effective. At one point, Qrow tries to attack Tyrian who is behind Clover. But because neither Qrow nor Clover really have faith in the other at that moment (and because Tyrian is poisonning their mind), Clover automatically steps back or aside. He doesn't entirely trust Qrow. Because of this small hesitation, Qrow's attack fails. Tyrian manages to disarm him. Tyrian uses Qrow's weapon to kill Clover. There could even be some message here about the lack of Trust & letting Salem divide friends... something of that caliber in any case 🤔 It can even parallel V3 where Qrow did the same thing with Ironwood & Ironwood refused to stand aside even if he thought Qrow meant to attack him... Could lead somewhere ! Like, in V3 Qrow had faith that Ironwood wasn't to blame. Only Ironwood feared that Qrow blamed him, but Qrow knew & trusted that Ironwood wasn't to blame. In other words, Salem didn't divide them. Here, Qrow & Clover let Tyrian get into their head. And as a result Clover dies. "Together we stand, Divided we fall"

My guess for their MBTI/Enneagram

I'm still mulling on it right now but I think he might be some kind of ISTP 416. He has some weird 7ish behaviour but his need to orbit around someone/a goal, his relationship with Oz, how close he stuck to Tai & Summer sounds closer to 6 fix. He wants people to go home to. Certainty and security. His independance definitely is there but seems emphasized moreso out of necessity.

One aspect that I think would be nice to delve deeper into ? (optional)

I'm not sure mhmmm maybe his relationship with Summer ? It would be both cute & interesting. As well as finally giving us insight into who Summer was

#rwby #qrow branwen #rwde #rwby thoughts #send asks #cloqwork #fair game #v7ch12 #with friends like these #v7 spoilers #character song #enneagram #mbti #rwby rewrite

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princessamericachavez · 4 years ago

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Heroes Fjeast Talk ep 105

Ladies and gentleman, welcome to another episode of Sofía Overanalyzes Everything With Shipper Googles. I hope you’ve missed my stupid long-ass metas because I’m about to peak apart that conversation the M9 had with Jester during their Heroes Feast and I’m gonna do it mostly from a Fjorester POV so if that’s not your cup of tea, not even from a purely meta standpoint, I suggest you get off this ride now. Otherwise, please keep your arms and legs inside the vehicle at all times because I’m about to yell, use all caps, bolded letters and a ton of screenshots.

Ok? Here we gooooo

First of all, when Jester starts talking about The Traveler, Fjord looks so concerned but clearly seems like he doesn’t want to step in while she’s talking about this, like he’s afraid she’ll deflect. That is, until she looks straight at him while saying:

“I know all of you [looks at him and quickly looks away] are concerned that maybe he’s [looks at him again, holding his gaze] taking advantage or he doesn’t have our best interest.”

And Fjord lets her talk about how important The Traveler is to her and how she still wants him around even if he doesn’t want to be a god. And Fjord insists on why did he want everyone to come here in the first place then, but before Jester can answer Beau brings up the memory-stealing issue with this island.

So Jester admits The Traveler knew. And Fjord. Is. Pissed.

Right up until Jester turns to talk to him again, trying to explain The Traveler’s plan and he’s trying to understand this “unloading of people”

But he’s not happy and you can see clear as day how the dots connect for him, between “getting read of people” and Jester being one of those people, too.

He even nods when she explains the thing about The Traveler wanting to be “not as available” anymore because, for the third time, Jester turns to him in her efforts to explain The Traveler’s actions, looking for support and reassurance.

“But he sent you here,” he protestes softly

AND THEN THEY SHARE A LOOK FOR LIKE 3 SILENT HEAVY SECONDS BEFORE SHE SAYS “YEAH” AND HE INSISTS “what if you forgot him?” but seriously that look is so long and charged with silent words i could dieeeeeeeee

“He promised me he would save me... and us, he said all of us.” I love how Jester and Fjord just zero in on each other during group conversations, like you can tell when they are speaking to all of the group and when they just enter this little bubble when it’s just one on one. You can see it here, by the way Jester is telling him she’d be alright and then she’s like !! well all of us, and turns back to the group.

And then Yasha asks how Jester feels about the Traveler sending people here and she’s so sad. She tries to turn to Fjord as she explains how the Traveler doesn’t always care about how he affects people and Fjord is not happy about that because we know WE KNOW that that is his main concern when it comes to Jester’s well being. Also, the fact that just as he turns to look at her she looks away?? i cry

“To him we are like ants sometimes, you know? We don’t think about the fact when we squish an ant, you know? It doesn’t mean anything to us but the ant is just... really sad.” LOOK AT HOW SHE’S TRYING TO TELL HIM SHE’S SAD

“Or just... dead.” “Or dead.” HE’S SO CONCERNED. JESTER YOURE NO ANT. JESTER THIS COULD GO SO BAD. JESTER. JESTER PLS.

And there’s this pause that you might miss... where all of the M9 are at a loss for words. They all want to help, you can tell, but they don’t know how to. And when Fjord looks out to them, like he’s expecting someone else to intercede, they are all looking at him... expecting him to helm this conversation, even if he didn’t start it. I love that. I love that the M9 collectively acknowledge the depth of the bond Fjord and Jester share and when it comes to this, they often defer to either of them to help the other.

“Jester, we all want what’s best for you, of course. Have you talked to him at all about things going back to how they were when you were little? Just being... your best friend.”

But I love that Fjord is really really really really trying not to come off as judgmental or disapproving of the Traveler. Like, we know that he’s not his biggest fan, but Fjord has repeatedly acknowledged how important he is to Jester, so he tries to come up with solutions that involve trusting her belief in him.

And Jester is so frustrated, getting increasingly upset as she speaks about the Traveler becoming more distance. And I love that, again, when it becomes a little too much and her voice begins to break, she turns to Fjord for support and he gives her the softest nod showing he understands her being upset. “Before he used to be here all the time, you know?”

“You’ve done so much for him and I know he’s done so much for you but trying to make him happy in this, it puts you at risk... it has put you at risk, and us. That doesn’t seem, like you said, the most considerate thing.”

DÑLAKJFÑAL THIS IS THE HEART OF THE MATTER FOR HIM. IT’S HER BEING AT RISK. HE CAN’T TAKE THAT. HE WON’T.

But also I wanna talk about how Fjord seems to be talking about himself a little bit here? About how much Jester has done for him?? and how, sure, he’s also tried to do things for her and support her but maybe he’s worried that his shit will put her at risk with the whole Uk’otoa thing still lurking around??? LOOK LOOK LOOK I KNOW THIS IS GOING INTO DEEP META TERRITORY BUT I’m just saying, Fjord has a tendency of projecting what he wants to tell to her onto other people (like when he compliments Marion and talks about how lovely she is) so I don’t think it’s a stretch to say that his concerns about her relationship with The Traveler are a reflection of his own worries??

Anyway moving ooon

Conversation deviates to Beau’s offer to kill The Traveler and to whether or not Jester more/as powerful as he is. And, here’s the thing, Jester doesn’t seem very comfortable with either of those premises. First of all, she loves the Traveler, he’s her friend and even if things might be strained right now between them I don’t think she wants him killed anymore than she’d ever want any of the M9 killed. Second, the power thing is not how clerics work? AND implying that power is all Jester’s and wasn’t given by the Traveler —while it might be a comforting thoughts for others and comes from a well meaning place— is again putting too much responsibility on her shoulders and she’s losing that support that she’s already mourning when it comes to the traveler being always there for her.

I think Fjord sees this, which is why his train of thought goes else where: he doesn’t point out her awesome magic or her powers (though we know based on his conversation with Beau after the reveal that he thinks what she can do is very impressive)... instead he focuses on what makes Jester special that is intrinsic to her, the things that no god can give or take away and what makes him value her so much.

“And you care, about people you know, about people you don’t know. You cause chaos but in the end you don’t wanna hurt people. You care. In many ways you’re much more than he’ll probably ever be.”

THE WAY HE LOOKS DOWN WHEN HE SAYS THAT LAST PART. LIKE HE’S CONFESSING SOMETHING ELSE ENTIRELY. LIKE HE’S SHINING LIGHT INTO A SECRET OF HOW HE SEES HER THAT HE’S BEEN HOLDING ON TO FOR SO LONG.

This line destroyed me because i remember that one talks where Travis explained how much Fjord values Jester and how that was heightened after he momentarily lost his sword back in Xhorhas because it made me realize that powers weren’t as important or constant for him as her unwavering support and he realized that was what had true value for him. So him deviating a talk about whether or not she’s powerful to highlight her kindness and how that is what makes her so much better than The Traveler could ever dream of being?? Im fine im fine im fine im fine im fine

also that look full of yearning and love and admiration he gives her after?

TRAVIS PLS

so of course the talk goes on about how cool Jester is and how much the M9 love and admire her and iT’S WHAT SHE DESERVES AND IM SO GLAD THEY SAID IT and then Fjord —bless him— gives us the ultimate golden way to close this with the truth about found family that he struggled to understand for so long as he came to terms with his relationship with himself, power and vulnerability... he says the one thing her constant support and love has taught him:

“And, if you ever want to, there’s life beyond The Traveler. We are here.”

LOOK AT THEM

LOOK AT HER AS SHE THANKS THEM FOR THEIR SUPPORT

LOOK AT THOSE SMILES

BYE BYE BYE BYE

#fjorester #fjord #jester lavorre #critical role #IM A WEEK LATE BUT I HD TO BREAK IT DOWN #BEFORE I GET TO ANALYZE THIS WEEK'S JEWEL OF A CONVERSATION

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gizkasparadise · 4 years ago

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cdrama rec/review: le coup de foudre

KDRAMA AND CDRAMA MASTER LIST OF REVIEWS

Series: le coup de foudre / love at first sight / i don’t like this world, i only like you Episodes: 35 w/ a special Genres: then & now, slice of life, high school to adult life, romance, reunion/getting back together, working with the ex Spoilers in the Rec: for set-up/light ones for character backgrounds If You Like, You’ll Like: the reply series, sad-looking dogs that are loved very much, because this is my first life (VERY similar male lead), sibling love, my sunshine but if people were nicer and had significantly better hair, multiple couples that are all a lot of fun

Rank: 10/10

PREMISE

flashback to 6-8 years ago (because the OP here can’t remember lol): it’s desk selection day in qiao yi’s classroom! a very dramatic moment for all high schoolers, qia yi has to select who she sits next to. because she’s at the bottom of the class ranking, she gets last pick, which essentially narrows down her choices to that creepy kid who writes love poetry to every female student in the class and yan mo, the scary genius student who has placed 1st in their class since...forever.

taking a gamble, qiao yi goes with yan mo. yan mo eventually agrees to tutoring qiao yi outside of class and they become friends. then...friends? if you know what i mean. it’s very sweet and cute. only problem is that yan mo is both a genius and from a Family of Means, and so is already planning on attending cambridge (yeah, fucking cambridge) after graduation. not wanting to separate, yan mo asks qiao yi to come with him and she agrees to study hard so she can get accepted to a university in the UK, too.

but then, well, bad shit happened.

qiao yi ended up staying in their home town, yan mo left for cambridge, and we got two v heartbroken teenagers on our hands.

4 years later, yan mo returns after studying in the uk, and by chance they end up bumping into each other. angry because qiao yi hurt him, yan mo puts up an ALOOF AND COLD AND I DONT CARE AT ALL front that she sadly buys. but after he leaves for the big city to pursue a business opportunity, qiao yi harnesses some amazing big dick energy to go after him, in a sort of inverse DONT LET HER GET ON THAT PLANE! move. very abba.

the plot bounces between their (and their friends’) high school years, their lives as reunited adults, and their future lives as married folks. i love it very, very much.

MAIN CHARACTERS

zhao qiao yi

as a high schooler, qiao yi was a quiet girl with low self-esteem, who consistently ranked at the bottom of her class and was always attempting to retreat into her school tracksuit like a turtle. despite this, qiao yi has some solid friends and is always kind if somewhat shy or uncomfortable in certain situations. as a adult, qiao yi works as a television producer and is clearly more confident.

she buys truly awful graphic t-shirts as thank you gifts that one feels obligated to wear. falls for scams easily. will help you fold 1000 paper stars for your boyfriend even if she hates your boyfriend because she’s ride or die like that. look at how cute she is no one is allowed to be mean to someone as cute as this.

yan mo / “frank”

if you liked se hee in because this is my first life, you’re in luck because here is a 10% angrier version. at first, yan mo seems cold, aloof, snobbish, pretentious, arrogant...

okay, but he’s ALSO got a lot of feelings and will help people out. well, at the start of the show, he’ll help two people out. but that expands to like 10. so, progress! in high school, he falls for qiao yi in the typical Cannot Spit It Out fashion, buying her sentimental cans of coke, PUTTING IN ONE EARBUD SO SHE CAN LISTEN TO THE BEATLES WITH HIM, feeling Weird about her tying his tie, and single-handedly ruining a for-profit afterschool tutoring business in about 30 seconds, because they weren’t teaching qiao yi anything, and he knew he could do it better. tbh he completely fucking destroys a lot of things and people in under a minute. #ruthless

he’s very protective of qiao yi and rather than explain it, here is a clip from the special episode where yan mo confronts another student who left a love confession meant for qiao yi in his desk by mistake (subtitles have to be selected under settings, but it’s subbed in english):

youtube

zhao guan chao

zhao qiao yi’s twin brother, who has always placed 2nd in their classes after yan mo. despite his high grades, he comes off as a laidback teen heartthrob and has a reputation for being a flake and a playboy. BUT he’s legit a chill dude and clearly popular for a reason--he gets along with (almost) everyone. he loves his sister and is extremely protective of her, especially since she’s so shy and has low self-esteem for Reasons That Will Be Explained in the Tragic Backstory. he’s such a good brother. the best brother. also looks out for qiao yi’s best friend, wu yi. understands the value of shoes.

hao wu yi

qiao yi’s best friend, and another classmate of The Crew. i say this with so, so much love, but she’s got a lot of chaotic dumbass energy. struggling along the bottom ranks with qiao yi during high school. she has the worst taste in men as a teenager, falling for the guy who literally bullied her in like. ep 2. thankfully she’s got qiao yi and guanchao.

the trio are close, and that doesn’t change as they grow up. wu yi ends up becoming a novelist who writes pop and steamy romance novels and has a significant teenage girl fanbase. it’s amazing.

fei da chuan

my boy. another classmate, he, qiao yi, and wu yi make up the official Dumbass Trio of their high school class and have adorable adventures + solidarity in it. he’s also yan mo’s uncle. somehow. because rich people families are wild. while he’s got a place to live, he more often than not crashes at yan mo’s, who Does Not Like It. but da chuan does not notice or care.

abrasive but 100% sincere about everything and toward everyone. people will think he’s an asshole or a gangster but then he’s secretly feeding abandoned kittens in the corner or something. as an adult, has the best business casual outfits. serves as a big brother figure to a lot of people, but qiao yi in particular. cannot, cannot fucking do math.

SUPPORTING

“alicia” / cheng youmei. an old family friend of yan mo’s who is very posh and rich and dignified. studied abroad with him at cambridge, and is cold toward qiao yi after arriving back in china. cosplays B)

teacher gao. everyone’s high school teacher who later owns a bar that seems to be there only for dispensing advice. seriously. there is no way this bar is economically sound as the only customers you ever see are gao’s students coming in one at a time for Wisdom and you never see them pay for anything. also the bar has no fucking roof and is directly above traintracks. i have hang-ups about this bar

lin shu. yan mo’s mother. very sweet and pretty and a ballernia turned program director. is almost never home but clearly loves her son. du chaun’s sister. somehow.

zhao suyin. qiao yi and guan chao’s mother. one of her kinks is roleplaying condor heroes characters? okay okay okay

tian weimin. qiao yi and guan chao’s stepfather who works as police officer. best dad award. he’s so sweet and corny and peak dad humor. he loves them kids & they love him back

grandpa. yan mo’s dog in high school. a very old basset hound with sad eyes:

dollar or d. i cant tell you anything about him, other than he used to be a stray and yan mo says he’s ugly, which, rude.

DRAWBACKS

plot...hm. there’s SOME plot, but this is about characters + romance + friendship + family. if you’re looking for scheming mothers-in-law or tragic car accidents or secret destinies this isn’t the one for you. similar in vibe to Reply 1988 (they even watch the show in the show :’D / make references to it)

OKAY SO every plot summary i’ve seen says that yan mo is in a relationship with someone else when he gets back to china. no he is not. i say this because it was a huge turn off for me/initially put me off watching the series. he is definitely a one-and-only type. there’s no cheating in this show. lmao, hell, neither of the mains are even interested in anyone else but each other

i liked du chuan and his love interest a lot, but they definitely didn’t get as much screen time as the others

while it’s clear qiao yi + yan mo are the mains, another couple gets a lot of screen time as well. this might be a skip if you don’t like multiple couples/secondary relationships in a show

i surprisingly enjoyed the high school storyline a lot more than the adult one? which is super weird for me, but idk i was sad when it was over because it was so cute.

some...weird technical decisions. every once in a while, the camera will have like a nostalgia filter and then it disappears and then the edges get a bit blurry and idk it feels very film school 101 to show that what’s on screen is a ~memory. the soundtrack/music is sometimes also too loud--to the point where it can drown out the actors (particularly janice wu in the high school arc, since qiao yi is soft-spoken)

REASONS TO WATCH

the lead actors (janice wu + zhang yujian) are legit two of my favorites and they have great/easy chemistry. all the actors are amazing. everyone’s loveable

SIBLING GOALS the zhao twins are amazing and they’re both each other’s biggest fans. gaunchao had some really heartwarming brother moments

i love love lmao. this spoke to a lot of my favorite dynamics: exes reunited/having to work together, childhood sweethearts reuniting as adults, “gangster” and princess, childhood friends turned lovers, bickering couples, cold man who actually has a lot of feelings, lots of people being overprotective, idk. everything was just great. 0 complaints on any of the ships.

i genuinely liked every character other than that one piece of shit poppa zhao. even alicia, who’s put into the stereotypical rich bitch role, was actually really fun and subverted a lot of expectations for this trope

it’s just. real cute y’all. probably my favorite cdrama and definitely in my top 10 (maybe 5?) dramas overall.

FINAL THOUGHTS

i love them ;;

#le coup de foudre #janice wu #zhang yujian #eden zhao #ma li #cdrama #gizka does kdrama #!my post #why yes i am procrastinating please have another in this trying time #this one's my favoriiiiiiiiiiiiiiite

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toogoodmusic · 3 years ago

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THE TOO GOOD TEN with MADS LANGER

Growing up in the countryside near the small town of Skive, singer, songwriter and musician Mads Langer grew up always knowing he’d be in music. From singing songs at the age of 18 months in his own language to his latest release, “Lightning,” the new dad has been pursuing the dream for a long time now. Through honest, original and disruptive music the Danish singer has been able to be reborn time and time again through his music and continues that creativity as he looks to the release of his upcoming EP, Where Oceans Meet. The boundary pushing message of love is love in “Lightning” serves as a taste of the upcoming EP and contributes to the already 38 million streams and 506k monthly listeners he’s amassed across his career. He takes a break from his world domination to take on the latest Too Good Ten. Check out the full interview below to learn more about the latest release, “Lightning,” how becoming a dad has changed his perspective on life, how he rebounded from getting dropped by his girlfriend and label around the same time and much more.

The Too Good Ten. Ten Questions. One Artist. Too Good.

1. Looking at the beginning of your career – what was it about music that inspired you to pursue a career in it?

MADS LANGER: Expressing myself through music has been a fundamental part of my language for as long as I remember. My parents have recordings of me singing my own songs in my own language when I was 18 months old. I always knew that music was going to be my path in life. It wasn't a decision that I made at a certain time. It was more a realization that I was not gonna be able to pursue any other career even though I’ve always had plenty of other interests. I could have been in politics, in sports, in science and many other things. I could have been a teacher as my parents, my grandparents and my great grandparents were. And then again, none of these career paths were ever up for grabs. Music was and always will be my thing.

2. You got signed and had an album that you ended up describing as “flopped” and had to start over and spent time busking all over Europe. How did you come to the decision to busk in the wake of “starting over?” What did you do to keep your internal mental conversation strong through the hardships that I assume came with traveling around?

ML: I got signed when I had just turned 18. I went straight from living in my parents house, in the countryside of Denmark, to living a life full of pressure and expectations in New York City. That was quite a shocking change of scenery to be honest. Looking back, I was definitely too young at that time. When a major label first wants you it’s the end of the innocence. I had to grow up overnight and try to keep up with that big machine that started dictating how I was gonna live my life. When my first record didn't succeed commercially and I got dropped I think I saw it as an opportunity to do some of the stuff that most of my friends had done after finishing high school. But most of all that whole 6 months of busking in my old van all over Europe was an escape from heartbreak. My first girlfriend had dropped me around the same time that my label dropped me. She fell in love with a really cool guy in Paris who was older than me and he could grow a very impressive beard, hahaha…

As far as keeping my internal mental conversation strong, that's has never been problem at all and as you can imagine I had plenty of stuff to think about, write about and then finally sing about in the streets of all of these beautiful cities that I got to visit on that trip.

3. “Lightning” is the latest release and gives fans the first taste of your upcoming album Where Oceans Meet which is due out October 1st. How did you decide to release this one as the lead single? What was the inspiration behind it?

ML: In many ways, I think “Lightning” is a song that represents that certain place where the oceans meet on my album. “Lightning” is a song about recognition. When I wrote this song, I thought about all those moments in my life where I really felt recognized on a deeper level. When I met my wife. When I looked my newborn daughter in the eyes for the first time. In concerts when my music meets the audience and it feels like we're all getting struck by the same lightning. Those kinds of moments.

CHECK OUT THE FAUSTIX REMIX OF “LIGHTNING” HERE.

4. Speaking of the upcoming album – what’s the meaning behind the album title? How many songs? Any collabs? Is there a song on the album you’re nervous about releasing out to the world?

ML: Where Oceans Meet is a metaphor. The entire album circles around the different contrasts that we all face in our lives. The light, the dark. The head, the heart. Hopes and fears. It’s about loving and longing at the same time. Where Oceans Meet represents the idea of the place where all these contrasts meet and embrace each other.

5. “Lightning” follows up “Hanging With You” which peaked at #1 in Denmark radio. What’s the story behind when you first heard one of your songs on the radio? Does it ever get old?

ML: It never gets old. Every time I listen to the radio, I must admit that I hope that they will play my song. It's the best feeling ever. This might be a little far-fetched, but it's kind of like when you give someone you really care for a present for their birthday. And it's not just any kind of present. It’s a present that you put all your time, thoughts and heart into. And then one day you randomly turn on the TV. Look who's there. Is that special person that you gave the present to. She’s actually wearing that sweater that you spent five years learning how to knit. After endless attempts, you finally managed to knit a sweater that you would give her without being scared that she would think it was a joke. She’s not wearing it because she feels like she has to, because you’re on a date with her. She’s wearing it because she likes it. And she just put it on that day that she randomly got stopped by the tv-station and interviewed in the streets of your hometown. That is close to the feeling I get when I hear my songs on the radio. And no, I have no clue how to knit a sweater, but I like the image.

6. The past year in the pandemic had a lot of its own challenges but it also had some beautiful moments like the drive-in concert you organized in Denmark last May. Why did you feel it necessary to put something like this together during that time? Being the first one to do so, how did you figure out logistics, etc. for the entire event? Anything you would’ve changed about it looking back?

ML: I had just started touring when the pandemic hit us all. I had spent months preparing the show and I was extremely disappointed when I had to turn around the tour bus and go back home after only playing 10 out of 100 shows. I had a couple of weeks where I was feeling really depressed. But then I decided to see if I could turn this whole thing into some sort of an adventure. I made a list of stuff I wanted to do. On that list I had drive-in concerts for some reason. I know a couple guys who are really good at putting together big events that include live music, so we talked about how we could make this happen. All credit to them for putting logistics together. I just played the shows. I had no idea that I would be the first one in the world to do a drive in concert. But it was really fun and I would not change a thing. In my shows, everyone was on the same video conference call. I loved that because I could talk to the people in the cars in between the songs. The people in their cars requested what songs of mine that they wanted to hear. And often they had really personal stories to the songs that I never heard before. So that was something that I will never forget.

7. The past year also brought about a new baby for you – congrats! What’s been the most surprising thing about having a baby that you might not have known before?

ML: Thank you so much. Yeah, that's truly a life changing event. My little daughter is the most beautiful thing I've ever seen. I'm so grateful that I got to receive a little soul with my wife. Even though it has happened billions and billions of times already it still feels like a miracle. I think the biggest surprise is the fact that your whole perspective changes in the blink of an eye. She is now the single most important thing in my life. I thought that would be something that would happen gradually, but for me it really happened at the moment that she was born.

8. What do you hope to accomplish with your music in the future that you may feel you have not done already? Have any of those goals or aspirations shifted with the new addition to the family?

ML: I really hope that people will recognize themselves in my songs. Obviously, the goal is that my songs will travel and become part of people's lives in new territories. I have spent so much time in the US since I moved away from home. I lived in New York City and in Los Angeles and I spend at least three or four months a year in the US working with all the talented people that I have met over the years. Building an audience in the US is a huge dream of mine. Hopefully this album will help introducing me to people all over America.

9. If you could only listen to (5) artists for the rest of your life, who would they be?

ML:

The Beatles

Pink Floyd

Keith Jarrett

Mozart

Radiohead

10. What’s the rest of 2021 and beyond look like for Mads Langer?

ML: My album comes out in October. That is obviously a huge event in my life, and it looks like I'm going to be very busy talking about the album and singing the songs from it in many different places all over the world. Apart from that I will be changing diapers on my newborn daughter. Kissing my wife. Learning Chinese and writing my first score for a movie that comes out in 2022.

A HUGE shout-out to the talented Mads Langer for hanging for this latest Too Good Ten interview. Keep up to date with everything he has going on by following the links below and be sure to be on the look out for his latest EP, Where Oceans Meet due out October 1st.

SOCIAL LINKS:

Facebook

Instagram

Twitter

YouTube

MUSIC:

Apple Music

Spotify

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offtopicoverload · 4 years ago

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thank you for the tag @venueska you’re an angel

I’ll answer these to the best of my ability, but I am in fact a void that exists out of spacetime, so some of these aren’t applicable

1. What do you prefer to be called name-wise?

KC. I have like a half dozen other things I wouldn’t mind being called, but KC’s the main one I go by

2. When is your birthday?

12 September, Virgang bb

3. Where do you live?

Western Hemisphere. That’s all your getting

4. Three things you are doing right now?

Listening to music, fiddling with a guitar pick I found in my pocket from earlier, and trying to finish course work so I can enjoy semester break and actually write, but I'm bad at that, so here we are, as I'm in desperate need of a distraction

5. Four fandoms that have peaked your interest?

LITG’s the big one, Choices and Lovestruck are definitely up there, and I’m on the fence about Lovelink. Oh, and ATLA/LOK is the shit and I’ve lowkey considered writing for them, but idk, I've barely touched the surface of the fandom, it feels like

6. How has the pandemic been treating you?

It’s fucked up my course work and marks, for sure. But it got me into fandom and writing and introduced me to everyone on tumblr, so I’m not too upset lmao

7. A song you can’t stop listening to right now?

Hailee Steinfeld’s EP Half Written Story has been on loop the past day or so. I cycle through stuff, but that and Waving Through A Window are the most recents cuz I’m all over the place

8. Recommend a movie.

I dunno, man. I can't even remember the last movie I watched, it had to have been ages ago. Greatest Showman? That's pretty good, I guess

9. How old are you?

no. am void.

10. School, university, occupation, other?

School, and I wanna drop out so fucking bad right now, but it’s fine. I'm fine. Everything's fine. Shhhhh

11. Do you prefer hot or cold?

Cold all the way. I tend to run hot, so fans and AC are my savior, and I usually have a million blankets on my bed but my window wide open year round, *especially* below freezing

12. Name one fact others might not know about you.

I don’t really know. I’m pretty open, you just have to ask the right questions. But to actually answer, I guess that I play a bunch of instruments? I don't think I've ever said that, but I dunno

13. Are you shy?

Definitely. I will not speak irl if I don’t know you, and even if I do, I have to like *really* know you to show my spacey and fucking around sides

14. Your pronouns?

They/them babeyyyyyy. It was a bit of a journey to figure it out, but I'm sufficiently pleased with the result

15. Biggest pet peeves?

Slow. Just in general, I can’t stand slow stuff. And being talked down to or having something repeated. I know I’m a dumbass, but odds are I got the message the first time, dude

16. What is your favorite “dere” type?

I don’t know what this means and I’m kinda afraid to look it up

17. Rate your life from 1-10

6? 6. I’m vibing. I hate pretty much everything, but I’m vibing, we're vibing~

18. What’s your main blog?

Yours truly, the one and only

19. List your side blogs and what they’re used for.

I don’t have any side blogs. This one’s definitely a bit cluttered at times, but idk what I’d do on here if I made sides

20. Is there something people need to know about you before becoming friends?

Prolly just that I’m all over the place, like there’s nothing concrete about me. Sometimes I’m clowning in askboxes like last night or shitposting about feet, and sometimes I’m writing paragraphs about imperialism and the nuances of asexuality in gcs. There is zero consistency, even in the way I type, and I know it bro

tagging, if y’all are down: @ineedskyecrandall @alccaddsccup @chichiguitarist123 @bubblelaureno @lilithlibrxa

#can it kc #thank you for the taggggg #this was fun lol #and perfect timing for a break from fucking polyatomic compounds

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tiesandtea · 4 years ago

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Interview with Artmagic from July 2012 for Spindle Magazine

By Amy Lavelle on July 12, 2012. Archived here.

Doors close; windows open etc. One of the many valuable lessons to be learned from the Sound of Music and when Suede’s door closed, another window of shining opportunity opened in the form of Artmagic: the new project and meeting of minds of Richard Oakes and producer, now vocalist, SeanMcGhee (Imogen Heap, Britney Spears et al.). Then yes, Suede’s door reopened, but fear not, that won’t be affecting the duo.

We caught up with them for a chat/‘peak behind the magic,’ if you will.

Full interview under the cut. Teaser:

SEAN: Please don’t call us “indie”. Do we look like skinny 18 year olds? I was never skinny, or young. This policy will continue. RICHARD: Please do call us “indie”. It’s funny to watch Sean’s reaction!

SPINDLE: Before you hear Artmagic’s music, it seems at first like an unlikely pairing; how did you form? What’s the story behind Artmagic? SEAN: I was a big admirer of Richard’s work and was curious that he’d seemingly disappeared when his other band split. Here was this enormously talented guitarist and writer, suddenly off the radar. I must have been in a fearless, bolshy mood, because I just decided I wanted to write with him. A friend of mine was egging me on, and it turned out that he knew Richard’s brother. So I was able to get in contact and arrange to meet up. We wrote our current single, Forever In Negative on the very first day of working together; once that was under our belts, we both knew this wasn’t going to be a one-off. RICHARD: We exchanged show reels via our manager Charlie in late 2007, but we didn’t actually meet until July 2008, and started writing straight away. Not really the traditional way bands form – meeting at art school, sharing a squat etc… But right from the off Artmagic was never going to be a typical rock ‘n’ roll outfit. I think of it as a project, rather than a band, with none of the clichéd behaviour, image or attitude. Sean doesn’t model himself on his influences, and this definitely attracted me to working with him. SPINDLE: Why the name? SEAN: It comes from something film director John Waters said about modern art; he noted how it lets you take seemingly unrelated everyday objects and, by using them in the right way, turn them into something meaningful. Art, he said, is magic, like alchemy – transformative. And I loved that, immediately, because song writing is art. We take disparate fragments and craft them into the whole. I’m not afraid to appear pretentious when I say that. I’m get exasperated by the clichés of rock, so framing what we do in artistic terms suits me much better than relying on tired posturing. RICHARD: Sean chose the name, my input was a shameful zero! My past career has left me with a strong ethic that the only thing that matters is the music; everything else is secondary. It’s easy to spot the bands in the past who have concentrated on name, image and impact first… and then forgotten about the actual music. SPINDLE: Obviously there were a lot of expectations for the band; were you at all apprehensive putting new music out there in the beginning? SEAN: Not at all; the moment we released the I Keep On Walking EP was when Artmagic became real, and I think we were both hungry for that moment. I can’t really imagine what expectations people had, but I hope we confounded them by giving them a moody song cycle about 3 unwillingly intertwined lovers. I’m immensely proud of it, and I think it was a gutsy way to lead off. RICHARD: Releasing your work to the world is always exciting yet daunting, no matter what you believe the expectations to be. I’ve had reviews of my past work that have ranged from glowing to utterly awful, and I’ve learned to take both with a pinch of salt. The most important thing is that people get to hear it; I believe there will always be someone in the world whose life is touched by it, and that’s the whole point. SPINDLE: How have you found the reception so far? SEAN: Gratifying. It’s thrilling, really, that we’ve already got some very passionate fans and it’s very exciting when we do shows and we can see the audience getting it. Obviously some people have had difficulty moving beyond our previous work, and get upset or confused because it doesn’t sound the same, but you can’t please everyone, and I wouldn’t want to anyway. Pleasing ourselves is the first priority, and will remain so. RICHARD: I believe we’ve attracted the kind of people who like music in the same way we do. When talking to someone at a gig you can instantly tell if they’re there for the right reasons, a genuine open minded love of music as an art form, or whether they’re there just to stare at you. People who have the usual prejudices won’t appreciate what we do, and I have no interest in playing to them. SPINDLE: Sean, how was it making the transition from ‘behind the scenes’ as it were to taking the mic and being at the forefront? SEAN: Artmagic happened because we realised that no-one else could sing these songs we were writing – they were too personal. That, and Richard’s support, gave me the confidence to be the man to sing them. Doing so was both the realisation of a long-held ambition and a serious challenge. But that’s a good thing, because anything that’s easy to do is generally not worth doing at all. SPINDLE: Richard, after taking time out of the spotlight following Suede’s split, how was it releasing new music? Is it something you’ve been working on since the break or did you take time away from it all? RICHARD: I did take some time out to move house, but I had been working on a whole load of music, some of which became the backbone for the album, for a couple of years before I met Sean. The intensity of being a Suede member for so many years cast a long shadow over my work, and it took me a lot of soul searching to realise exactly what I wanted to do with my career. The one thing I was certain of was that I didn’t want to simply join another band, or have a new band formed around me. I wanted to just write and write, and when I met Sean, that’s what we concentrated on. I threw a lot of (probably very confused-sounding) music at him, and he was able to pinpoint the underlying emotions and feelings, and turn them into very personal songs. SPINDLE: How does the creative process as Artmagic differ from previous projects for both of you? SEAN: The process is both the same and different. I’ve written with a lot of people over the years and I’m past being tentative; you have to fearlessly throw down your ideas and say, “what about this?” to get a song happening. Truly poor songs get written by the disinterested or uninspired. That is never an issue with Richard because he’s always got something great up his sleeve, and that means I have to respond in kind. That’s not always been the case for me in the past, so I relish it. RICHARD: The biggest difference for me is that Sean invites me to be involved when he writes the melodies, there is no separatism. This was never the case in Suede; almost all co-writing would be done alone, often even by post. It just goes to show how many different ways there are to write a song. We have a few that have come out of spontaneous jamming round at Sean’s, but they’re a world away from the traditional band rehearsal room jamming! Something that rarely works well. SPINDLE: Have you faced any major hurdles so far as a band and if so, what? SEAN: Not really. Any musician who has a career is living a charmed life, and they know it. Never mind the endless whining we hear, saying how hard it is. It should be hard, because that weeds out the faithless. I’m a true believer in Artmagic specifically, and music generally. I crave widespread appreciation for Artmagic, because I think our work deserves it. RICHARD: The only hurdles, the only hoops we’ve had to jump through have been self-imposed, in the writing and recording. We set ourselves a high standard, and despite having no corporations breathing down our necks, it was hard work, but the end result was all the more satisfying. SPINDLE: What’s next?

SEAN: Touring and festivals in July, more touring in September. Our second single Down In The River comes out in October. We’re working hard to give Become The One You Love its due, and once that’s done and dusted we’ll start thinking seriously about album two. We already have some songs in hand, and some very interesting ideas about how to approach the process differently next time around. But I don’t want overthink it; better to run on instinct.

RICHARD: Live appearances in the many different guises of the band, up and down the country. I’m especially looking forward to the album release gig at St Pancras Old Church on 9th July with the whole band. But I can’t wait to start writing again – I believe that is the most important part of our job. Creativity will outlive industry. SPINDLE: Anything else to add? SEAN: Please don’t call us “indie”. Do we look like skinny 18 year olds? I was never skinny, or young. This policy will continue. RICHARD: Please do call us “indie”. It’s funny to watch Sean’s reaction!

#artmagic #richard oakes #sean mcghee

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curioussubjects · 5 years ago

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Non-jittery Thoughts on 15.01

Alright, had some time too calm the hell down, so I could have thoughts beyond a keysmash and a crying emoji. Chances are, too, that I’ll have more to say once I sit down with the episode again. Had to get these initial reactions/musings out of the way first.

This episode did a bang up job setting up the personal plot points for tfw. I’m super excited to see where this is going: Dean’s hell trauma revisited, Sam’s wound and its connection to his own darkness, Cas still struggling with belonging, Dean and Cas’s continuous wrongfootedness coming to a head. It’s going to be a killer of a season emotionally, and I am Here. For. It.

Full disclosure: the biggest chunk is destiel related. In my defense, Dabb & co. didn’t have to enable me, but here we are.

More thoughts under the cut.

General Thoughts:

My hype was not squashed! We got a really strong season opener and I’m so happy about it. Sure, we got running ghosts. But overall the episode was incredible; just a solid SPN episode all around. A+ job and kudos to all involved ♥♥♥

The new title card is gorgeous and full of meta potential goodness. See this post for more on that; op hit it on the head I think. For additional analysis, there’s this post from different op that is killer.

Opening sequence with tfw fighting zombie ghosts and running for shelter? Amazing. Showstopping. Breathtaking.

Dean’s grief over Jack that’s embroiled in his grief for Mary. Just. “He was our kid.” That’s some complicated shit right there.

Gotta love all the tidbits hinting at what is to come during 15.a, at the very least, if not the larger goal of the season. Reading y’all’s thoughts on the episode has been great so far, and I can’t wait to see what else crops up this week.

On Sam: Currently, Sam’s role in the more interesting aspects of the plot continue to not quite match Dean’s, which has been a problem for a while. I’m seriously hoping that changes some with Eileen’s return, Rowena coming in with some banter maybe next week, and whatever weird curse Sam got with that bullet wound. I’m loving the potential and I’m loving the prospect of having Sam brought back to the center of the plot. I missed some more emotional involvement from him this episode, too, but that should be addressed once things calm down and Sam and Dean can debrief. However, we got peak Sam in a crisis and it’s always a treat to see him do his job. Bless. Him telling the clown to shut up made my night. I love him so much.

On Belphegor: First off, Alex did such a fantastic job. I giggled a ridiculous amount. Instantly invested in the character as bringer of shenanigans. Was not disappointed. Quick deliciously meta tidbits about Belphegor, some of which may not feature in the show, but are still *chef’s kiss* (x):

Moabite deity responsible for fertility and sexual power (in case the ep wasn’t clear on that lmao)

was worshiped in the form of a phallus (so glad that made it to canon jfc)

is a fallen angel??? hello???

he’s the demonic embodiment of sloth, BUT specifically negligence and apathy (i am screaming isnt negligence the whole ordeal with dean and cas atm...and apathy was the problem with jack’s soulessness)

rules misogyny and licentious men (yeah ok no wonder he was a fan of younger dean oof)

the juiciest: emerged from hell to investigate marriage among humans (and is conveniently in the peanut gallery of dean and cas’s fight. funny how that happens. hilarious, even.)

apparently after living as a man to experience sexual pleasure he was appalled and fled back to hell where sex between men and women wasn’t a thing i’m??? what?? (yet in the show he seemed ok with hot dudes ayy)

I’m glad my “horny on main” observation turned out to be so on point jesus. Can’t help but wonder how long he’s gonna stick around. His outside perspective is amusing, at the very least. However, the fact that he barely interacted with Sam, but was a lot interested in Dean as well as Cas (though to a lesser extent) makes me think that he’s doing more than just deus exing them out of zombies and ghosts or offering hell exposition. Seems like he going to expose SOME OTHER STUFF. ABOUT DEAN (AND CAS?). He is the “Lord of Opening” after all. And isn’t using their words and being honest the thing we’re all waiting for wrt to DeanCas?? There’s some opening up that is necessary posthaste. Listen, I know I’ve been saying they need a marriage counselor, but this is not what I had in mind. Pretty on brand, though, I guess lol

I’m also really interested about the coding work the character is doing in continuing to queer Dean’s characterization. Belphegor being himself associated with (male) sexuality, and the show clearly focusing on his attraction to humans of the man variety. I wouldn’t even call it subtextual at this point as Belphegor’s interaction with Dean in the car to was really overt. My hopes that the show might actually be explicit about Dean’s bisexuality is uhhhh getting high again *confetti.* Should also maybe at least note that using a demon to do this is probs not like the best strategy, but at least said demon was 1. not skeevy and 2. mostly sympathetic to the audience.

This is all assuming, ofc, that Belphegor is not catfishing tfw (there’s precedence, after all -- and kudos to anon and op for the timely observations).

On Dean & Cas: I think it’s really damn telling that so much space was given to their relationship as like the most important thing going on with their characters? Obviously they have individual issues to deal with (their own struggles with Chuck, revisiting Dean’s stint in hell....which btw also eventually involves Cas too so *hands*), but my sweet baby jesus the validation feels good. Onwards.

We actually have a weird amount to unpack here because, as others have said, the tension between them is coming from more than just Mary and Jack -- though Mary and Jack are absolutely the main stressors atm as well as emblematic of problems they’ve had for a long long time.

I’m gonna start with Dean because boy do I love that dumbass; I want to shake him. So we have Dean: he’s grieving Mary, he’s angry, he’s scared, he’s lashing out. It’s a Thursday. We know he’s angry with Cas because he blames him for Mary’s death, even if indirectly. You know what that reminds me of? Dean hating Jack for causing Cas’s death, even though it wasn’t directly Jack’s fault. More importantly, though, both the loss of Mary and the loss of Cas were caused by the same catalyst: Cas going off on his own to solve a problem instead of asking Dean (and Sam, but really, mostly Dean) for help. Like, it’s the one thing Dean has very clearly expressed that Cas needs to stop doing (hi 12x19). It’s the same mistake Cas has been making for years. There was a false sense of security there during seasons 13 and most of 14, but alas. Again, here we have Dean losing someone because Cas couldn’t just come ask him for help. Like. It makes sense, and it’s understandable, despite Dean’s coping mechanisms being shit. In short, Dean’s actual problem with Cas is less that Mary is dead and more that Cas refuses to learn his lesson wrt them being stronger as a unit rather than doing their own thing and putting themselves and others in unnecessary danger.

Meanwhile, we have a continuation of Cas just being really sad and heartbroken because not only is Jack dead, but he’s once again unsure about his standing with Dean. He wants to protect his family, he wants to protect Dean, he wants to come back with a win; once more, he goes off on his own to do it and it blows up in his face somehow. As much as I loved Cas getting mad at the end of last season, I get why he’s somewhat subdued again. He has his guilt and grief and doubt to deal with. He doesn’t want to be mad at Dean probably about as much as he doesn’t want Dean to be mad at him. So far I’m not yet seeing the return of the spark we got when Cas was defending Jack last season, but I’m sure Dean walking out rattled him beyond the hurt. I wanna see what else happens to make him leave “in a huff” (a bit of spec on this further down). That said, what I’m most excited about is seeing how Cas gets reintegrated into the family -- pretty sure that’s universal lol.

The juiciest part now, though: I was all about the interplay of distance and care that we saw between them; let’s pause here for a quick sec to appreciate how that same interplay has been such a central part of Dean and Cas’s relationship since always like ugh. So much of the larger plot points in the show have also been situations that kept them from being truly partners as well as being constant interruptions on their ability to USE THEIR FRIGGIN’ WORDS AAAACK. We give Sam a lot of flack, but everything has awful timing in this show. We’ve had moments of honesty and vulnerability, but they’re always always cut short before we actually get somewhere; before they arrive at a place where they can talk about their issues. If the “are you ok” scene isn’t a perfect microcosm of that idk what is /sigh

So, yeah, the “Are you ok” scene oooh boy. I wasn’t as excited as some of you at this scene being an example that Dean still cared, as that was never a doubt I had in my mind (it was definitely a yes omg just talk jesus moments nevertheless). Dean couldn’t possibly just turn that shit off, no matter how much he thinks he’s done with Cas. Like, please. What we do have is Dean indulging on his own need to know that Cas is, at least, immediately fine. Triage, if you will. Him walking off before Cas can either elaborate, or, most likely, tell him about Sam, is peak Dean passive-aggressiveness. The meltdown I had in the tags of a gifset of the scene is still relevant:

#cas's little sigh of idk relief???#like he's so sad and physically fine but he's SO SAD and heartbroken#and here's dean finally not just being cold to him and ASKING ABOUT HIS WELLBEING#look at cas's face in tht second gif my heart#you can see him gd relax too i cant#and dean has his fucking check in during a break in the chaos face#im so mad#jdhakjsdfhklsd#and then dean just.........walks away and doesnt actually debrief or help or none of the things he would do#and cas is just...there all vulnerable and upset right before he clams up at the demon's quip#but it doesnt even last look at his damn face as he leaves IM SO#somebody hug him#skldjfhklsajdfa#he needs a dean hug#but noooo dean is being a jackass#this is awful#im not ok#i hate it when they fight#im over it that's enough drama dabb i take back everything i said about loving pain

I’ll definitely have more thoughts on this once we have whatever emotional payload next week.

All in all, I’m not actually concerned about the future of their relationship. They’ve been through much, they’ll be fine. I am, though, tickled that we’ll see these key problems in their relationship reach a point where they have to be dealt with. Also: I can’t wait for the catharsis that Cas leaving is bound to elicit. Both for us, the viewers, and the characters. Besides, Dean needs to go to a corner and have a think about his behavior and if pushing Cas away is really what he wants. And then maybe finally we can get that sweet sweet resolution of an affirmation about Cas’s place in Dean’s life. And in turn an affirmation that Cas does trust their family unit enough to depend on them.

I think we got a good set up in this episode leading into whatever drama we get in the coming weeks. The tension was up to 11. Love it. Hate it. Personally, I think the empty deal might be what does sets off Cas walking out. Somehow, the deal is not a secret anymore. We have here another instance of Cas making a super important decision that affects The Family on his own and then keeping it a secret (to protect Sam and Dean, a pattern). Dean can be angry and think Cas is dead to him all he wants, he will blow tf up when he learns about this deal. Sam isn’t gonna be thrilled either, though he’s more likely to make puppy eyes of sadness and Disappointment than yell at Cas. Seriously, though, I can just see Dean saying some bullshit because he’s just so done and here goes Cas potentially dying again, which in turn will probably piss Cas off. Etc etc. Cue the violins.

tl;dr: if episode 1 is any indication, we’re in for a wild fucking ride, kiddos. hold onto your butts!!!

#supernatural #spn #destiel #deancas #spn spoilers #spn15 #spn meta #my stuff #ok thoughts still a little jittery #but my brain is so hyped i needed to let these go into the ether #before i could sit down and write any sort of coherent argument #gosh i do love this show so much

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sillyfudgemonkeys · 5 years ago

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so apparently P5R just usurped P4G and is now the best selling Persona remake/remaster/whatever; how do ya feel?

Dunno why I didn’t see this, phone’s not giving me updates it seems. ;w; Anyway.... Short Answer: Meh, I really don’t care, I’m more interested in Scramble/Strikers numbers. Long answer tho....(gonna be long, not a rant just I’ve had A LOT of thoughts about sales numbers since P3/5D’s and PQ2′s releases).

I’m not surprised, I mean it’s a remake on a mainline console, combined the fact that it was popular too (I’ll come back to this when I talk about the other Persona games but for now put a pin in that). But there are two things I’m more interested in, 1) P5R’s lifetime sales, and 2) Scramble/Striker’s numbers.

1) Will possibly show how many newcomers we’ve retained. And I’m interested in that because....P5 sold a few million right? If Atlus can retain that that’d be amazing! We won’t know till the Western releases tho. But if it doesn’t, and sells say.....as much as P4G’s life time sales, then....all P5 did was retain the hardcore original audience, it didn’t win over as many new people as we thought it did. Which isn’t a failure, but it’s.....a crude way to say it (sorry I just woke up words are hard), it’s that P5 isn’t as really as hot shit as we all thought it was (and it probably just sold well due to timing and crazy marketing).

2) What I REALLY want to know is P5S’ sales tho, even more than P5R’s. Since I think that might indicate P5′s standing if it’s as much as a fan favorite as P5 vanilla′s sales show. And it might be the first time we have a clearish answer without any other possibility being the reason for sales numbers. Lemme explain, P5R might do well because is a mainline game instead of a spinoff (but it could do meh compared to P3P and P4G in terms of lifetime sales due to the new comers not wanting to rebuy the game for whatever reason: Same console [which is a double edge sword, PS4 is popular but also people might not want to buy the same game for the same console twice], not worth the price, not enough new changes in their eyes). P5D did poorly, but is it because it was just bad, was it cause of the shitty DLC practices, was it because it didn’t have a lot of content (aka no real plot like P4D)? We don’t know. PQ2? Was it cause it was bad, was it cause it was released on a dying console (as opposed to PQ1 being released at the peak popularity of that console), was it on a console that P5 was it released on, was it cause it featured P3/4 cast and it was aimed at P5 audiences who have no idea who those people are? We don’t really know (this one is probably the dying console tho, which means could it have done well/better if released on the Switch instead?). Did both do bad cause they weren’t really sequels (both technically take place during P5 so yeah)? But P5S? It’s releasing on two very popular consoles, and it’s set as a sequel, so far doesn’t look like there’s a lot of scummy practices going on, actually looks like it has content (so if there are some scummy DLC practices, at least that’s not the ONLY thing you can think about, like with P3/5D). It has A LOT going for it in terms of a spinoff, that even non hardcore/new fans can get into. And I want to know what kind of impact P5 left on the fanbase as a whole and so far it’s not doing so hot spinoff wise (maybe anime too, when the anime was still in the middle of it’s run it wasn’t doing as hot as P4′s first anime or P3′s movies....at least sales wise I found, but that was in the middle maybe it got better), merch sales are probably doing fine tho (since they keep announcing new things). So to me P5′s......all over the gd place.

tldr; I think P5S will show us a decent idea on how P5 as a series is doing compared to P3/4, it started off strong with it’s main game but has struggled with it’s spinoffs which might be because of other reasons than people just being “meh” on it. P5R will be a good chance to see how many people stayed.

Now let’s look at the other games. You should know, considering hurdles P5 didn’t have (except maybe P3P, but on the other hand it probs could’ve excelled more on a home console), the modern day Persona games (Tadashi/Old games got screwed and I’ll explain but it’s probably for the same reason as PQ2, or at least for P2EP) did well despite these hurdles, well both original and remakes but I’mma focus on the remakes (all you need to know about P3 Vanilla and FES and P4 vanilla is that they were both released post PS3 and/or towards the end PS2′s life cycle and still did great).

Now P3P probably had the easiest, released during a very popular time for the PSP, and it ended up selling better than EITHER of it’s two PS2 counterparts Life to date (now if you cheated and combined Vanilla and FES, then yeah P3P sold 80,000 less than those two/all their versions, but that’s 2V1 and it’s still amazing how well it did).There was def an uptick in sales, maybe it was all newcomers or maybe it was half old and half new people, but it still resulted in more people buying it than it’s original (which is why I still wanted to talk about it despite it not having the same hurdles as P4G).

P4G however, that’s where the biggest hurdle comes in (and why I really bring this up). The Vita. A console that sold peanuts compared to the PSP, PS2, PS3, and PS4. No, less than peanuts. 10/15 Million compared to the 80-150 million the other 4 ranged from. I mean yeah a million is a lot, but now you need to market to those million, no, you need to get people to BUY this console first (it was released roughly when the Vita dropped). You need to convince people to ditch their PSP, for a console that isn’t backwards compatible, for this semi-obscure Japanese title. But god damn it did, it almost got all it’s sales from the PS2 back. Hell it exceeded it’s original run L-t-D if you don’t count “The Best” re-releases (Vanilla’s cheaper re-release sold more than P4G’s cheaper re-release). I don’t know if these are also new people, or all hardcore fans, but it did really damn well! It got people hyped and it got people to buy this game AND console! (tho I wouldn’t be surprised if it was at the sacrifice of poor P2:EP, may you rest in peace ;w;). And that was a BIG hurdle for it to overcome!

Like P3P and P4G really make me wonder how well they’d do with a real remake on the PS4/PS5. Like a port would probs do well, but imagine if they actually improved the graphics and changed/added new things, I think it’d sell about as well as P5 vanilla.

P5R’s biggest hurdle is justifying itself as a full price game remake on the same console. But like FES could do that (so I think P5R’s outlook is fine, no real hurdles like P4G had to go through)....and just for fun cause I hate myself (jk I dunno I just wanna see if I can take a guess at JPN’s possible sales based off of numbers of past re-releases). And FES’ first week compared to it’s vanilla is 10% higher than Royal, but Royal has more units sold obvie, FES sold about 80% the total the vanilla did, Royal did 70%, L-t-D for FES was 78% not counting cheaper-re-releases, 82% counting re-releases...but I think that’s because P3 Vanilla didn’t have a re-release cause of FES. If I use that as a base.......P5R’s numbers (going off of the graphs from Personacentral like this one and of course the P5R one, which I think are all Japanese sales). If P5R follows a similar patter to FES’ sales %.... I’ll give P5R 72%-82% of Vanilla’s sales (including the cheaper re-release), and we’re looking at maybe L-t-D sales of Royal ranging from about 334,955 to 381,476 units sold.

If Royal follows a similar pattern to P4G however (cause P5R is more similar to FES and P4G, I’ll do P4G’s too for fun, but I won’t do P3P’s). So there are two life to date numbers, one before factoring in P4/P4G’s re-releases and one after. Before P4G sold about 111% more than vanilla, after re-releases it sold about 96% of Vanilla’s total units. So a low ball and high ball of Royal with P4G’s % would be.....446,606 to 516,389 units sold.

So combining those two together, I predict (aka this is a theory that I wanted to do for fun for WHATEVER reason, made by someone that JUST woke up and trying to get my math out as quickly as possible, maybe if I have time next week I’ll go back and check my work....I’m very busy this week sadly ;w;) P5R’s L-t-D (pre- cheaper re-release)sales to be somewhere to be 334,955 to 516,389 for Japan.

But that’s Japan, Japan it feels like they’re more willing to re-buy games on the same console, the West might not be as inclined tho (if we re-buy something, it’s because it’s on a different console). So while P5R could sell about as well as Vanilla did in Japan, I dunno so much about the west.

tldr; P5R did about as well as I thought in Japan, but not sure about the West. Some number predictions for P5R. If P5R does poorly in the West it could be because it’s was released on the PS4 instead of a different system. P5S I think will give us a better idea on how P5 is doing as a franchise compared to P4.

(also I should note, I prefer vanilla P4 over P4G, there’s some good stuff in P4G, but 1) I prefer Tracey Rooney as Chie, I prefer her down to earth approach more, and 2) there’s some things in P4G that ruins my enjoyment and outweighs the new positive stuff. I like all the remakes barring the guy who directed P4G/P5R, I haven’t finalized my thoughts on P5R yet tho. I do like Kasumi more than Marie tho just on a personality level, still thinking over how they handled her tho. I will say P5R has a lot of gameplay improvements that fixed a lot of gameplay gripes I had so like that’s all I feel like saying/can say about P5R, gameplays better!).

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fyeah-redvelvet · 6 years ago

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[!] RED VELVET IS THE GIRL GROUP K-POP FANGIRLS HAVE BEEN WAITING FOR

There’s no question that Korean pop music has long outgrown the niche scene it was once relegated to in the U.S. Just this past year alone, some of the biggest male groups in K-pop have hosted sold out concerts, from the Staples Center to the Novo, and multiple groups have reached unprecedented milestones like having an album’s artwork nominated for a Grammy, holding one of the highest grossing shows of the summer. And though these acts strengthen K-pop’s impact in the West, one should wonder: Where are the girl groups?

Slowly, but surely, female K-pop acts are making strides of their own, and 2019 seems like the year it all finally comes to fruition. Prior to 2019, U.S. shows by a K-pop girl group were extremely rare, often only being able to perform short sets at festivals. That’s why Red Velvet’s Redmare in USA tour is cause for elation. Together with Oh My Girl (who had a five stop tour in January), BLACKPINK (who are playing Coachella this year and have yet to specify the dates of their North America tour), and a few other soloists who have already announced upcoming shows, Red Velvet is repping it for female representation by having a full solo tour of their own. Red Velvet has previously performed at KCON LA, KCON NY, and the Korea Times Music Festival, and hosted a fan meeting event in Chicago, but this will be first time they put on their full show. “[The] North America concert tour means a lot to us,” main vocalist Wendy told the Weekly over a call from Seoul. “Everyday we know we get lots of love from fans, not only from Korea, but from fans overseas.”

Red Velvet is one of the first girl groups to have, not only a full solo concert, but an entire tour since Apink in 2016. Prior to that, 2NE1 held two shows in 2012 and the Wonder Girls had a full-fledged tour in 2010. They’ll be visiting often overlooked cities like Miami and Dallas, and most of the stops sold out in minutes. According to Subkulture Entertainment, the tour promoter, tickets for the Los Angeles stop sold out instantly. And because of the high demand, a second date had to be added.

“[I] really, really felt pride that the LA show sold out within a minute,” Seulgi commented via a translator. “It’s really awesome. It kind of makes [me] feel like the group should work harder to give back to the fans for all the love [we]’ve received.”

Red Velvet debuted as a four piece act in 2014 under S.M. Entertainment, home to some of the biggest names in K-pop including Girls’ Generation and EXO. As a concept, Irene (born Joo-hyun Bae), Seulgi Kang, Wendy (Seung-wan Shon), Joy (Soo-young Park), and, added half a year later, Yeri (Ye-rim Kim), play with the duality in their name. “Red” represents a bright, bubbly side, while “Velvet” is reserved for a sultrier moment. They shift between fun and bubblegum pop tunes like “Red Flavor” and “Dumb Dumb,” and smoother, R&B tinged tracks like “Automatic” and “Bad Boy.” Having a wide range of styles and concepts, Red Velvet has made its impact in the K-pop world by being one of the most popular girl groups in and outside Korea.

Despite women making up a larger part of the K-pop fandom, their support largely lies with the boy groups. K-pop girl groups are generally marketed specifically to men, and the prevailing trend among them is a cute and innocent image. However, female fans supporting a girl group is not unheard of in K-pop. Girls’ Generation has had one of the strongest female fronted fandoms for over 10 years. Moreover, disbanded groups like 2NE1, 4minute, and Sistar had huge female followings given their stronger and empowering concepts. And though the cuter image prevailed as new groups debuted, the interest was recently renewed by the emergence of the so-called “girl crush” image. Red Velvet’s “velvet” releases fall under the girl crush tag and are far more experimental, both conceptually and sound-wise, and less saccharine, thus resonating more with female audiences worldwide. By alternating their concepts, Red Velvet smartly reach a wider fanbase while also getting to embody more than just one thing.

“If you listen to a lot of Red Velvet songs, they’re about being confident, bold, being yourself. So [I] think that’s kind of why that message —that kind of confident message— is what appeals to female fans in particular,” Joy says. “But on top of that, Red Velvet is known for their bright, happy energy, so that’s kind of the universal appeal to both male and female fans.”

2018 was an especially big year for Red Velvet, and their duality took center stage. Their quirky electropop summer release “Power Up,” with its playful and colorful music video and earworm lyrics, got the group the first “perfect all-kill” in their careers, meaning they topped all Korean streaming platforms. The EP, Summer Magic, debuted at number three on Billboard’s World Albums chart.

On the other hand, released earlier in the year, “Bad Boy” went onto become what will probably go down as a K-pop classic. Produced in part by The Stereotypes, who have worked on hits for Bruno Mars and Justin Bieber, “Bad Boy” is a haunting yet smooth, melodic femme fatale anthem. It was the group’s first sexy and most mature concept, and fans and critics alike reveled in its lush synths and vocals reminiscent of ‘90s R&B. By the end of the year, “Bad Boy” ranked within the top five of many best of K-pop year-end lists from the likes of Paper Magazine and Dazed, and even took the number one spot on Billboard’s. “Bad Boy”’s impact also broke the K-pop barrier by placing 43 on Billboard’s best songs of the year list.

“It was unexpected, especially considering how much reaction [we] received from fans overseas regardless of [us] not promoting it overseas, per se,” Joy says with a laugh about “Bad Boy.” “It kind of gave [us] more confidence in terms of trying that kind of genre.” Summer Magic included an English version of “Bad Boy.”Also notably —and very badass— “Bad Boy” was one of two songs Red Velvet performed at a diplomatic inter-Korean event in Pyongyang attended by North Korean leader Kim Jong-un and South Korean president Moon Jae-in.

Last year also saw their debut in Japan with #Cookie Jar, which peaked at number three on the Oricon album chart, the country’s most important music chart. And though it wasn’t the whole group, main vocalist Wendy collaborated with John Legend on the heartfelt ballad “Written in the Stars.” “I couldn’t believe he wanted me to collaborate with him, and I still feel like it’s a dream,” Wendy, who lived in Canada for many years and speaks English fluently, reflected back. “If I had another chance, or had a chance to go back to that time, I wish I talked to him more. It was a great, great memory, though.” And to finalize their aim at global domination, their last EP of the year, and latest, RBB also included an English version of the single by the same name. The acronym stands for “Really Bad Boy” and is a sort of sequel to “Bad Boy” and is horror film themed. RBB hit number two on the World Albums chart, their highest position to date.

For many K-pop boy groups, it’s much easier to hold a concert or fan meeting event in the U.S. no matter how long they’ve been active or what they’ve accomplished so far. Red Velvet, who are going on their fifth year together, had to kill it consistently and have the biggest year of their careers before going on their first multi-stop concert tour in the states. “We can’t really explain how much energy we get from doing the concert. Especially the moment when you share that connection with the audience,” Wendy shared. “That feeling you get, you can’t really explain it… It can’t really [be] beat[en].”

As to future music, Yeri teased more coming in English. “If the fans really love the English versions of [our] songs, maybe [I] could bring it up to the company and just make it seem like, ‘Hey, we should release an English album,’” she says, making the rest of the members laugh. “That’s something that [we] obviously think about a lot, especially because of the reactions from the fans overseas,” she added.

With things going as fast and successfully as they are for the group, Irene, the leader, noted that they’ll always be the same “hard working Red Velvet.” “Every year [we] grow and mature, so in that sense, [we]’ll be different. But in terms of always challenging [our]selves, always working hard, [we]’ll be the same group.”

cr; OCWEEKLY

#red velvet #t:interview #190205

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omdaily10 · 6 years ago

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NEVER BEEN BETTER

Album: Fourth

Writers/Producers: Jason Evigan, Sean Douglas, Sam Hollander, Claude Kelly, Steve Robson, Martin Johnson, Peter Wallevik, Daniel Davidsen, Cutfather, Ryan Tedder, TMS, Steve Mac, Wayne Hector, Paul Weller, Jamie Scott, Matt Prime, FutureCut, John Newman

Release Date: 24/11/2014 (Original) / 20/11/2015 (Reissue)

Chart Positions: #1 (UK), #1 (Scotland), #7 (Ireland), #20 (Switzerland), #27 (Australia), #28 (Finland), #38 (Germany), #38 (Denmark), #40 (Austria), #42 (US), #50 (Sweden)

Sales: 861k (UK, 2x Platinum)

As we touched on with our 'Wrapped Up' review, anything longer than six months away in pop and people can start to ask questions about an artist’s future, such is the fickle nature of the beast. Olly was certainly in more of an interesting position than most, having now had two back to back million selling, chart slaying albums. He had quite literally confounded all expectations. ‘Never Been Better’ was a significant album for that reason, but it’s also a landmark album in other respects.

Back when work on the ‘Right Place Right Time’ album had only just got under way in the summer of 2012, a massive shift in personnel happened at Epic Records. Nick Raphael and Jo Charrington, who had overseen Olly from his launch, were poached by Universal Records to head up the relaunched Capitol label, in turn going onto launch the successful careers of 5 Seconds of Summer and Sam Smith.

Eighteen months on, and whilst Olly stayed under the Sony umbrella, he subsequently moved from Epic to the reactivated RCA label, headed up by former Island Records MD Nick Gatfield, meaning he had a new A&R man overseeing him and a new album for the first time since his debut. Now entering his fifth year in pop – which many cynics will tell you is the point popularity can either sustain itself or wane from a peak for an artist – Olly had a hell of a lot to prove. It certainly explains why he took as long as he did on it.

This album had to cement his position and popularity in the UK music scene and most importantly, have the songs to back it up. And it’s fair to say that for the vast majority of the album, that was the case. Certainly, you’d be hard pressed to find a more fitting song to kick off the album than the cheekily titled ‘Did You Miss Me?’

Initially touted as the first single before Olly got cold feet about a potential press backlash regarding misunderstanding of the title, and co-written with Los Angeles based hitmaker Jason Evigan (Maroon 5, Madonna, Kelly Clarkson, Britney Spears) this mischief making, horn drenched, Prince-esque strut was bold, brash and attention grabbing: ‘I can tell that you’ve missed me / Cause your eyes give it away / I know you can’t resist me / So show me, show me, show me that you missed me’. It’s a shame he didn’t go with his instincts, because really pop is built on those grand moments of statements of intent.

For that same reason, the title track, co-written with the TMS team, and a record that upped the epic grandeur of ‘Army of Two’ from the last album, was also a highlight. Recorded with a 60-piece orchestra and coming off as part Bond theme part McFly at their hardest, it was a soaring rocket of a track that Olly stretched his vocal chops on, hitting higher notes than he ever had before, and which he performed to devastatingly brilliant effect on the accompanying tour for the album (more on which in a second).

TMS also offered light and shade to Olly’s personality as an artist on the tracks ‘Why Do I Love You’ and ‘Nothing Without You’. The latter was a plaintive, simplistic piano ballad, stating to his then girlfriend of the time that life without her would be nothing. The former track, however, was possibly one of the most dark and experimental tracks he’d done to that point, an almost psychedelic, Northern soul leaning pop number on the agony of being in love with a non-committal partner. It was in many ways, like the renegade evil twin of ‘Oh My Goodness’.

British singer songwriter John Newman, who’d famously topped the charts with drum and bass outfit Rudimental on their 2012 single ‘Feel The Love’, as well as hitting the charts with songs like ‘Come and Get It’ and ‘Love Me Again’, co-wrote ‘Stick With Me’, a pulsing dance track with an eerie choir effect produced by Steve Mac and Wayne Hector. Immediately following it was the very lustful ‘Can’t Say No’, a stripped to the bone part acoustic funk pop number.

But closing off the album was possibly one of the biggest coups Olly could have hoped for in his career at that moment. Some two years previously, he had performed a cover of ‘Broken Stones’, a track from ‘Stanley Road’, the iconic 1995 album from British rock legend Paul Weller, first for The Sun Biz Sessions, and then at his headline slot for the annual iTunes Festival in Camden, North London. Olly had grown up around Paul’s music in his dad’s record collection and had stated what a fan he was of both his solo work and his work in The Jam (he also covered their 1982 chart topper ‘A Town Called Malice’ on the previous tour).

Fast forward to spring 2014, and he was fortunate to meet Paul at the annual Teenage Cancer Trust fundraiser gig at the Royal Albert Hall in London, who mentioned that he had written the bones of a song with Olly in mind. With some additional co-writing from Olly, that song became ‘Let Me In’, a genuinely moving acoustic number which showed off the more soulful, reflective tones in his voice and which you could almost picture being sung around a campfire at dusk.

If ever he’d needed confirmation that he was more of a serious proposition than ever, then his work with such a respected legend was it. In fact, many reviewers subsequently highlighted it as such, with The Guardian proclaiming it to be “the best thing he’s done in his career” in their analysis of the album. Amy Davidson, reviewing the album for Digital Spy, was also full of praise, stating that with ‘Never Been Better’, “Olly isn't in the wallflower business, rather he fully intends on running with his title without a whiff of uncertainty.”

‘Never Been Better’ then, ultimately proved to be a prophetic title – it became his third consecutive UK number one album, once again taking just under a month to achieve its first platinum disc, as well as sailing into the top 10 or top 40 in seven other countries, eventually going onto be certified double platinum by the end of its chart run. It also showed that, far from being forgotten with a year away, Olly’s popularity was quite undiminished and had, well, never been better.

BONUS TRACKS, UNWRAPPED

As with his previous album, the original release of ‘Never Been Better’ came in a standard 13 track version, and a deluxe edition, once again in a digipak booklet format, and substituting the yellows and reds of the standard artwork for a mixture of creams and beiges, as well as four additional tracks.

Highlights among these extra four songs included ‘Ready for Love’, a folksy, rousing foot stomper that you could almost picture being sung by a 70s era Elton John (although no relation to his 1979 song and subsequent 2003 chart topper of the same name). The twilight strewn dreaminess of the ballad ‘History’ ensured that it quickly became a fan favourite, and was performed by Olly on that year’s telethon for ITV’s ‘Text Santa’ charity.

Internationally, fans in Germany and Japan were treated to two further bonus tracks. Only available on copies of the deluxe edition sold in the German entertainment store Mediamarkt, ‘Alone Tonight’ saw Olly team up once again with the Future Cut team on possibly the steamiest sounding song he’d recorded to that point: ‘Kiss me like a stranger / It’s time to misbehave, don’t leave me lonely / I can’t leave you alone tonight’. It’s still currently unavailable for streaming or digital download in any territory at time of writing.

'Alone Tonight’ was also on the deluxe edition in Japan, along with a very special track recorded with another music legend. ‘Sukiyaki’ (literally translated as ‘I Look Up As I Walk’) had been a phenomenally successful record for the Japanese crooner Kyu Sakamoto back in 1961, having sold something in excess of 13m copies worldwide. Olly was invited to re-record a version of the song with English lyrics, titled ‘Look at the Sky’, written by none other than Yoko Ono, who sung his praises highly of his performance of the song.

As of time of writing in May 2019, Olly is still yet to release a Christmas album despite much continual demand for him to do so. The ‘Unwrapped’ EP, a five-track acoustic EP given away free for download on Google Play during December 2014, and recorded at Google’s British headquarters in London, is thus the closest we’ve probably got to an official seasonal release of his. ‘Wrapped Up’ and ‘History’ were performed in his set, along with an additional cover of Wizzard’s ‘I Wish It Could Be Christmas Everyday’, in the same arrangement as his previous recording of the festive favourite for BBC Radio 1’s Live Lounge in December 2012.

NEVER BEEN BETTER: SPECIAL EDITION

As in 2013, Olly spent much of 2015 touring (and pursuing other activities as we’ll come onto discuss in later entries for this era). Once again with no time to get a full new album ready, he decided to repeat the formula that had worked so well for the last album by repacking it as a special edition for reissue a year after it first came out. A new black and yellow colour scheme adorned the artwork, the original 13 tracks from the album remained. And joining them were seven brand new songs, including a further two singles which we’ll be discussing at a later stage.

Claude Kelly and Steve Robson bought the frenetic funk to ‘Sacrifice’, a lively up-tempo floor filler that hardly had time to pause for breath. Meanwhile, Sam Hollander, an American based songwriter and producer who had written for decidedly more punk pop orientated artists like Blink 182 and Good Charlotte, delivered the haunting, lighters aloft ballad ‘If I Stay’, an empowering song about wanting to not give up on a relationship until the last.

‘Love Shouldn’t Be This Hard’ marked Olly’s first collaboration with Toby Gad, the hitmaker for the likes of Beyoncé, Pixie Lott and JLS. A genuinely compelling, almost country leaning midtempo about that awkward first stages of dating when there’s a desperate but repressed need to fill the silences, it seems all but forgotten now but is a gem worth unearthing.

Rounding off the repacked album were two more recordings for BBC Radio 1’s Live Lounge from December 2014: his then new single ‘Up’, performed acoustically with Ella Eyre, who subsequently performed it with him when she supported him on his UK and Ireland arena tour for the album in April 2015, and his version of Wham’s timeless festive favourite ‘Last Christmas’, gentle sleigh bells jingling in the background and all.

Ella also crops up on the second home video release of Olly’s, as the repack included the accompanying DVD of the fourth and final London O2 show of the ‘Never Been Better’ tour, recorded on 7th May 2015, as she performs ‘Up’ with him on there too. The DVD sadly had to omit the popular ‘Funk Medley’ section of the tour that year, owing to the failure of clearance for use of several of the songs in the medley for release. However, the performance of ‘Troublemaker’ with Robbie Williams as a surprise guest is retained and is well worth a watch even now.

The repacked ‘Never Been Better’ had the dual misfortune of coming out during one of the toughest weeks in Olly’s career (more on which in future entries), but also during one of the best for Adele, who released her third album ‘25’ that same week and which sold over 800,000 copies in its first week alone. However, it still returned the album to the top 10 for Christmas that year, ensuring that Olly notched up one of the year’s best-selling albums in the UK for a fifth year on the trot.

#Olly Murs #Olly Murs Daily #10th Anniversary #OMDaily10 #Never Been Better #Fourth Album #2014 #2015 #Retrospective #Review #Deluxe Edition #Special Edition #Unwrapped EP

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tomoawards · 6 years ago

Text

The Tomo Awards 2018

Hi, welcome to The Tomo Awards 2018, baybee. Before I even get started, I just want to say that we are currently in a musical rennaissance, like an absolute golden age, and there are so many albums I wanted to put here but it was just too hard to pick because the current top 18 is just too solid and hard to pick through.

The header title of each album next to their respective number ranking on this list is a hyperlink to the album of Spotify. There will also be some links occasionally throughout the rest of this post for reference’s sake.

This is a link to the official Tomo Awards Spotify playlist of my favorite songs of 2018, in a general favorite to least favorite order. Over 10 hours of music.

Now let's talk about the albums, can we talk about the albums, please guys I've been dying to talk about the albums with you all year:

#18. Denzel Curry - TA13OO

I initially turned my eye to Denzel Curry, not because of his ties to a certain other artist who is finally dead and I won't mention by name, but because he seemed to have been another boring SoundCloud rapper from the outside. The fact of the matter however, is that that label couldn't be further from wrong. Denzel Curry's third and best album to date, TA13OO, is at its core, a commentary of SoundCloud rap culture and all of the vices it carries with it, as well as of life as a black person in America, on top of being a loose concept album, split into three acts: Light, Gray, and Dark, each of which has its own incredible and similar album cover, with the Dark cover often being used as the main one. And while the three sides of the album don't always correlate with the feel of the music itself, it does add a great way to break this already short enough album up into smaller and easier to chew pieces.

While having come up from SoundCloud himself, as well as being a XXL Freshman in 2016, Denzel's sound here is completely different than the scene he came out of, and there isn't a stuttering 808 hihat to be heard until the very last song of the Light side, Sumo, which could easily be a Lil Pump song; and that kind of juxtaposition is exactly the point - it's a caricature of SoundCloud rap, a critical analysis of it, while still finding a way to respect and understand it.

While only sitting at an easy 43 minutes, it's still a three-sided album, so I think it's only fair to give a highlight from each side. The first song and title track TABOO is easily the most essential track on the Light side of the album, while SIRENS featuring JID (who also dropped an incredible album this year) is a huge highlight of the Gray side. VENGEANCE is the biggest highlight of the Dark side, capturing the mood that the Dark concept shows on the album cover perfectly, featuring violently shouted and screamed verses from JPEGMAFIA and ZillaKami, before fading out into a soft and contrasting outro.

Finish 'em, 'Zel.

#17. Behemoth - I Loved You At Your Darkest

Very few bands have a career as enigmatic of a career as Behemoth; the closest comparison I can even think of is The Beach Boys, because it took them both over ten albums to make their magnum opus. When Behemoth released their most acclaimed work in 2014, their tenth album The Satanist, many had declared it to be one of if not the greatest black metal album ever made. The expectations for a true proper followup was almost impossible to hide, and they had even thrown around the idea that they'd never make another album again. So when they finally announced that a follow-up would be coming this year, the pressure was on.

I still don't think it will be possible for them to top The Satanist, but they closest they could do is at the very least match it, and that's just what they've done with I Loved You At Your Darkest. If anything, this album is just as solid as The Satanist was, and if this came first and The Satanist came second, I think the scores would flip, and this one would be the one with all the acclaim; it's hard to truly meet expectations and wow for a second time in a row, but Behemoth really did the absolute most they possibly could to fulfill those expectations. I Loved You At Your Darkest is truly the dark album its title suggest it would be, featuring the same minor guitar riffs that morph into complex harmonic structures with children's choirs and horn sections to back it all up at its highest peaks. This is another album for the history books.

The biggest points of interest on the standard edition of the album itself is the three-song stretch towards the beginning, starting with God=Dog into Ecclesia Diabolica Catholica, and pouring out into Bartzabel. It is, however, an unfortunate fact that the best song on the entire album, O Pentagram Ignis, was left off the full album and instead made a bonus track on the Japanese CD edition of the album.

#16. Asian Kung-Fu Generation - Hometown

Every single time Weezer drops a new album, fans complain, even if it's just by placebo. But whenever a Weezer fan complains, I'm always the first one to point out that Asian Kung-Fu Generation have been making the albums that Weezer fans want for the better part of the last 15 odd years.

Not only have Asian Kung-Fu Generation done that again with Hometown and the accompanying Can't Sleep EP that came out the same day, the album actually features co-writing credits from Rivers Cuomo himself, and it shines through as obvious as ever in songs like Circus and Dancing Girl, both of which respectively sound like the Blue Album and Pinkerton cuts.

Fuck your language barrier. Asian Kung-Fu Generation have made what people wanted The Green Album and every follow-up to be nine times already, and y'all still haven't noticed. All I know is if I hear even one of you jackasses complain when Weezer drops the Black Album early next year, I'm gonna fucking slap you in the face nine times over again with a physical vinyl pressing of every AKFG album from 2003's Kimi Tsunagi 5 M all the way up to this year's Hometown.

The biggest points of interest here are the cuts UCLA which sounds almost like a spiritual followup to the song "E" from their first album, as well as Dancing Girl, which again sounds like it would fit right into Weezer's Pinkerton save for the language difference.

#15. Wednesday Campanella - Galapagos

In the time since My Bloody Valentine, a completely unrelated band outside of this time comparison, have taken to follow-up their 2013 album MBV with even one EP that they've promised to drop the last two years in a row, Wednesday Campanella have had their entire and absolutely colossal career laid out.

Being one of the most artsy, eclectic, and just hard to pin bands in recent music from anywhere in the entire world, it's hard to even figure out what their thought processes is when defining their releases. Their two debut EPs both vary greatly in size - Norway No Mori is a mere 3 songs long, while Crawl To Sakaagari is 9 songs. Comparatively, last year's SUPERMAN, which was labeled an album, was 10 songs long. This year's Galapagos was 8, 9 if you include the cut single Gala as a bonus track like I did, but it's also still technically considered an EP. Meanwhile their 7 song "UMA" project is considered a mini-album. So fuck it, Galapagos counts as an album for this year.

On to it now, Galapagos was a hard record to stomach at first, if not solely by comparison to their previous...I don't know how many records, actually. Every record by them has always been different, sharing only one similarity - the eccentric artsiness that's so well associated with lead singer KOM_I at this point. What differentiates Galapagos the most however, is just how chill it is compared to their previous work, which is what made this a hard listen compared to last year's ball of high electric energy, SUPERMAN.

But what they delivered this year is no less worthy than any of their previous works, still utilizing the best production in the game right now, still being every bit as innovative as Yasutaka Nakata probably still wishes he could be.

The album opener, The Bamboo Princess, is the perfect starter, beginning with a slow and exotic opening melody, exploding into this huge orchestral and electronic hybrid drop. Melos is the other huge high point here, featuring a tight looping drum beat before building up with a watery, hypnotic pre-chorus, and exploding into the biggest hook on the album.

#14. Perfume - Future Pop

Before anything else, I'd like to pose this question: Yasutaka Nakata, what the fuck are you doing? It's a blessing every time we get a new Perfume album, but it's also a blessing that this album even grew on me enough to make it on my list, because it was a very rough first listen and an even rougher rollout - this is a 12 song, 42 minute album, however the amount of actual new music on here equals four songs and roughly 14 minutes. That's actually 2/3s of the album that we have already heard before it even came out. This is of course, not counting the joke of an "intro" song "Start-Up", which, as an instrumental 50 second intro, isn't really a song. But despite being Perfume’s worst album to date, Future Pop is still worth your time and adoration, as Perfume as a band still stands as one of the most incredible achievements in modern music.

So what did Future Pop do right? Well, it’s best to start with some context: the genre of future bass was born and died in 2014; nothing new has been done with it in 2018 that wasn't already done in 2014, not even what Perfume did here with Future Pop. The reason this happened is solely because the genre of future bass has found some mainstream (as far as “mainstream” goes for electronic sub-genres) success in Japan only just this year; despite not having anything new done with it, the genre that’s partially inspired by Japan, has only just found its way into the country itself. Funny how it do be like that sometimes.

But as far as future bass as a genre goes, we've heard it all before. So what makes Future Pop endearing enough to creep onto this list after such an initially awful first impression?

At it's core, it is still very much Perfume. Yasutaka Nakata, although lacking more self-awareness than ever, is still behind the wheel, and his production is still sparkly, hopeful, and clean as anything you've ever heard. Despite the genre changes, his chord choices and a good amount of his songwriting are still reminiscent of even Perfume's best material, aside from the unfortunate few songs which only have instrumental future bass choruses with ad-libs serving as the only vocal parts; what a great hook, am I right fellas?. Future Pop admittedly could fortunately have been so much worse, however. It also could have been much, much better. If anything, Future Pop has officially made JPN no longer considered the band's worst album.

Songs like Chorairin, Tenku, and Tiny Baby hark back to the heyday of classic Yasutaka Nakata production, whereas songs like Let Me Know and Everyday feel just short of being generic, and the presence of FUSION is elusive to my last two brain cells that remain after the rest of them died trying to figure out why the fuck this song even exists on the album in the first place.

Tokyo Girl and Houseki No Ame, the first single and its respective B-side, both already show their age and lack of place in the album’s main genre styling of “future pop”, sounding more like Cosmic Explorer leftovers than future bass bangers. Mugen Mirai and If You Wanna, however, happen to be the two greatest future bass songs ever recorded, with the latter feeling much too short and leaving listeners wanting more, a theme present through the album’s literal 13 minutes of new music in its 44 minute running time. Did I mention that yet? I’m sure I did, but there’s no amount of times I could repeat that to real drive home the fact that Yasutaka Nakata actually thought it was okay to release 13 minutes of new music and have the nerve to call it a “new” album.

The biggest highlights here are Mugen Mirai (無限未来) which despite the future bass goes so unbelievably hard and also Tiny Baby which happens to be one of my favorite songs in their entire catalogue now and I wish every song on this album sounded like it. The titular Future Pop being their second dive into DnB music is a pretty good one at that, with the first DnB song in their catalogue being Point from their 2013 album Level3.

At the end of the day however, this is new Perfume music, and I will always find a way to love new Perfume music no matter what.

“I feel so happy.”

#13. Rosalía - El Mal Querer

Where do I even start with this? Rosalía did something fucking magic here. Combining elements of both flamenco pop as well as a very slight trap influence, Rosalia and co-producer El Guincho are completely next level in every way. Straight out of Spain, Rosalía picked up traction last year with her debut album Los Angeles, and is already back this year following it up with the absolutely brilliant concept album El Mal Querer.

Opening with the moody #1 hit Malamente, brilliantly and minimally produced, the album's tone is set almost immediately. It's both sassy and modest, both maximalist and minimalist. If you're not familiar with the melodic work of Spanish music, the harmonic structure of this album might be jarring and almost entirely new to you. But if you know what you're going to get yourself into, this is going to be one of the most incredible musical experiences you'll hear all year.

The opening track Malamente is of course a huge highlight, but Pienso En Tu Mira is the most standout track here, combining a huge presence of modern R&B-trap in its production and melody with the flamenco stylings of Rosalía’s native Spain.

#12. SOPHIE - Oil Of Every Pearl's Uninsides

Despite losing a lot of its underground steam as well as its cult status in favor of transparency and visibility (which is in no way a bad thing), the PC Music label and associated genre have finally reached their promised potential they showed in the earl 2010s, with records like UMRU's Search Result, last year's POP 2 by Charli XCX, and SOPHIE's "proper" debut album this year. And with Hannah Diamond's debut album Reflections finally releasing early next year, it seems like PC Music's time to truly shine has finally arrived.

Oil Of Every Pearl's Uninsides, which I'll just call "Oil" from here on out, is equal parts breathtaking, uncomfortable, and mysterious. Oil features the kind of absurdist, abstract production SOPHIE came up on, but with a level of polish and palatability that she's never had before. While her original "compilation album”, PRODUCT (which I’m only just now finding out has been relabeled as a “compilation” [Edit: it’s not even officially an album on Spotify, it’s there as an official playlist of the singles that made the album up]), may have sounded like what abstract art looks like, Oil sounds like what a beautiful, colorful, absurdist painting looks like. It’s like Banksy vs. da Vinci, there’s just no comparing.

This is the kind of music that could come to life as a monster. On my first listen, I wouldn't have even flinched if I saw the cones of my stereo bulging as some kind of monster was trying to burst its way out like some kind of scene straight from Stranger Things. This music sounds like that, like something is going to physically break its way out of your speakers. This is the kind of music that I want people who don't believe in the power and capability of electronic music to hear, because it proves something important: those "lifeless" computers, synthesizers, and drum machines can create an absolute hellscape that most guitar players simply aren't capable of or creative enough to make with just a guitar.

The biggest highlights here are Ponyboy, which sounds like the music itself is trying to actually murder you by pounding you against a concrete floor at a rave, and Is It Cold In The Water, which sounds like somebody is trying to murder you by drowning you in a cave.

#11. Daughters - You Won't Get What You Want

What the fuck even is this album. I heard someone say that singer Alexis Marshall sounds like Elvis being forced to sing while being tortured. Musically, Daughters could almost be likened to Nine Inch Nails, but far more raw and more conventional. I really didn't know what to expect when I saw this pop up on Kingdom Leaks weeks before its release, but the artwork looked immediately iconic and it didn't have a pretentious genre tag, so I decided to just give it a go with no expectations.

And that's the best way to go into this. Just know that it's dark, and it might make you feel uncomfortable to the point of anxiety. I'm not even going to say anything else about it. Just go and listen to this, because it is a perfect, beautiful, dark, twisted masterpiece of an album.

Satan In The Wait is the highlight here, for me. It just captures the entire mood of the album. Go get on that.

#10. Band-Maid - WORLD DOMINATION

I'd like to start this off by wholeheartedly apologizing to Band-Maid for how much I've made fun of them and their fans in the past. I'd like to ammend this by saying I do not apologize to their Asian-fetishizing white people fanbase - you're all still creepy, cringey, disgusting little neckbeards.

This really came to me as a surprise. I have ruthlessly made fun of Band-Maid in the past. Like a lot. Despite still enjoying Maid In Japan a lot, which you will get roasted on their subreddit for even saying anything positive about even though it is their second best album next to this one, this one really caught me off guard. And while their first album has a lot of pop centric songwriting, they traded that off on the three records that followed by going super hard and edgy, almost to comedic effect as a way of trying to win over neckbeards who heard a Babymetal and think that you "have to play your own music to be good".

But World Domination does an unbelievable job at combining that hard edge with incredibly catchy pop songwriting, creating a really enjoyable heavy guitar pop experience that I haven't really heard out of Japan since the first BiSH album. Seiko Oomori tried to do similar this year but completely failed at making it stand out to an album like this in the same year, as well as her own past crowning achievements like last year's masterpiece kitixxxgaia.

Anyways, Domination is one of the best songs of the year with a chorus that makes me want to like punch of a fucking window or something, and Anemone is this super emotional pseudo-acoustic banger that will probably make you cry from its chord progression alone.

Band-Maid: I apologize. Band-Maid fans: fuck you ¯\_(ツ)_/¯

#9. Kero Kero Bonito - Time n Place

Not unlike Band-Maid at all...how the fuck did Kero Kero Bonito of all bands manage to make an album this good after years of embarrassment? Now I've been into KKB for years, since the original Intro Bonito mixtape dropped. Sarah was a part of the same online weeb community I used to be a part of. Everybody pretended to like KKB because they were about the only other weeb music group besides Slime Girls that showed some potential to break through into the actual music world.

But trading in those sick beats for conventional instruments, while not something I'd ever really endorse because guitars don't automatically make music good, dad, happened to be the best thing they could have done. KKB is a real band here now, and their experimental punk, tweed-pop, noise, J-pop, whatever, songwriting on this album makes it an absolute pleasure to listen to. It also doesn't help that Sarah doesn't sing even a word in her awful native Japanese.

Jolly good show, KKB. The second and third songs Time Today and Only Acting are an immediate attention-holder for the rest of the album and absolute show-stoppers.

#8. cacophony - Harmony

Completely out of left field, and off the suggestion of a friend of mine, who I know for a fact that when he speaks highly of something, it's worth that hype. I initially put this suggestion on the backburner until he came back to tell me that this album is on the level of Ringo Sheena's masterpiece Kalk Zamen Kuri No Hana, which still stands in my opinion as one of the top five greatest albums of all time. That's when I cleared my plate and sat down with this.

Cacophony is an artist from South Korea who is still criminally unheard of, especially after an album as personal and breathtaking as this. While I don't think this will ever be the legendary masterpiece that the Ringo Sheena album is, it truly does share a very similar, dark, and personal vibe. Inspired by the unfortunate passing of her mother, Harmony (known as Hwa in Korean) is a dark introspection into Cacophony's grief, and that feeling alone is presented in its gritty but relaxed production as well as her violently powerful vocal delivery.

You don't need to know a word she's saying here; I for sure don't speak Korean or even the occasional French that these songs are in, but the emotions conveyed here transcend any language. It's a dark album, and you genuinely may walk away from this in a bad mood, but it's an album any music lover simply can't miss, so maybe bring your serotonin along with you.

The biggest highlights here are In The End, a strong track with the most emotionally vulnerable and powerful vocal performance of the entire year, and Sick Boy a violent and brooding song that almost feels like it's dragging its own coffin behind it.

#7. Lucie,Too - LUCKY

Lucie,Too shouldn't be as good as they are. By every rule of music theory, absolutely nothing about this should be as fun and investing as it is. Lucie,Too makes the kind of music that every American band like Cayetana and Soccer Mommy wishes they were making. They're making some pretty decent waves, for a relatively tiny band from a town like Utsunomiya, even in the western world.

Lucie,Too is to the point if anything else. Their songs are short and get right to the good stuff. LUCKY, their most-watched song on YouTube, sits at only a minute and a half long; but don't think this is a punk band anything. The song sits at a really easy 93 beats per minute at double-time and just breezes along at its own pace. Most of their songs follow this mellow, flowing tempo, and feature really honest and genuine production - nothing too raw, but not over-polished either. Nothing about Lucie,Too should be as good as it is, but there's just a simplicity and raw honesty to their music that I haven't really heard from much other guitar music recently.

They also dropped a new EP called "exlover" in November that features one of my top three songs of the year, Saigo No Hi, which means The Last Day.

Anyways, the biggest highlight here is probably Siesta and the title track LUCKY, but honestly, the whole thing is short enough to be one highlight in its own right.

#6. KIDS SEE GHOSTS - KIDS SEE GHOSTS

Yeah, Kanye lost his mind, but that's all over the news so you can hear about that somewhere else some other time. Right here and now though, we're here to talk about how mans Kanye still makes some of the most fire music in the game, and this is the worthy successor to every album he's made in the past that Ye just wasn't, despite the fact that I still like Ye a lot more than everyone else seems to, but let's not digress and just get right into it.

Welcome To Heartbreak is my favorite song on 808s, Gorgeous is my favorite song on Dark Fantasy, and Father Stretch My Hands Part 1 is my favorite song on Pablo. So why wasn't I one of the people who was excited for this destined Kanye x Kid Cudi collab album for years and years like everyone else? I guess I just never made the connection, because this is genuinely the exact perfect step forward that Kanye's perfect discography deserves. It's just unbelievable that at such a shaky and tender time for him, he's still capable of making something brilliant.

I admittedly didn't care for this one on my first listen at all. Then I listened a second time and it clicked immediately; this album is as colorful as the Takashi Murakami artwork on the cover, it's as haunting as the ghosts painted on it, it's as psychedelic and moody as you'd expect anything Cudi doing, and it's as brilliantly produced as you'd expect anything Kanye doing.

At only 7 songs and short of 24 minutes, this album is digestible enough to listen to in one quick sitting and easy enough to be one big highlight. But as far as individual songs here, Freeee (Ghost Town Part 2) (best paired with Ghost Town Part 1 from Kanye's 'Ye' album that came out the week prior) is phenomenal, but the biggest highlight to me is Cudi Montage, which features a guitar riff that's immediately obvious as being played by the late Kurt Cobain himself, and eventually evolves into this huge harmonizing climax that's completely unmatched to anything else in the five album Wyoming Sessions that Kanye did this year.

#5. Vince Staples - FM!

Vince Staples is the best rapper alive. There is a tie for first place, but just know he is the one tying for it and the other best rapper alive will be further down this list.

Just right down to it, FM! is hard, and it's short. Continuing along with The Year Of The Short Album, FM! stands at only 26 minutes long, 11 tracks long, 3 of which are small skits; Vince himself actually laughed at the fact that the industry even bothered to call it an album, seeing as the album is just a minute short of being as long as 2016's Prima Donna EP.

There's nothing here as innovative and forward as Big Fish Theory, but that doesn't even matter here. What's special about FM! is that Vince almost seems to be having fun here, at least on the surface. Dive a little deeper into the lyrics, and you'll see that Vince is just as nihilistic and political as ever.

Thematically, the album is presented as a sort of short radio program, featuring DJ skits between songs and previews for other artists like Tyga and Earl Sweatshirt's new music. The beats are hard and pretty standard, but capture the exact amount of discomfort Vince's debut Summertime '06 delivered.

Outside and FUN! are the bangers here to really keep your ears on.

#4. Noname - Room 25

Noname is also the best rapper alive. Y'all have been ignoring her for too long. There, I said it. There is a tie between her and Vince Staples for best rapper alive title. Following up her brilliant 2016 mixtape Telefone, Room 25 is a much darker and more nihilistic approach to the familiar Chicago sound that her and the rest of her hometown borrowed from the old Kanye.

In an industry where Nicki and Cardi B are at the top despite how problematic and lackluster they've proven themselves to be both musically and lyrically, Noname immediately addresses the game's attitude towards women summed up with the simple one liner:

"And y'all still thought a bitch couldn't rap huh?"

Tackling issues like the sexism not only faced by women in the real world, but also within the industry she is a part of, as well as the black experience in America, Noname really comes through on the honest front here delivering bars that artists like Kendrick Lamar and J. Cole probably wish their labels would let them say.

Prayer Song and Self are the real winners here. Just...please go listen.

[ALBUM COVER REDACTED because Noname said she would be having a new album cover created after sexual abuse allegations came after the artist of the original album cover.]

#3. Haru Nemuri - Haru To Shura

I have to live the rest of my life knowing that I am part of the catalyst to Haru Nemuri's western success. It was I who told Anthony Fantano about her. She is now one of the most streamed Japanese artists (IIRC, don’t quote me on that) on Spotify because of his review. If only that melonheaded fuck understood just the level of influence his platform has to give incredible foreign artists the attention they deserve. Ash, my friend and J-music plug, from Arama, shared her with me much earlier this year, and after Haru To Shura came out, I slipped that and LOONA yyxy to Fantano. But enough about melons.

Haru To Shura is a masterpiece. There's no possible way for someone to describe this album to someone who only listens to western music, and that description alone should interest you. To those who have heard music outside of the western hemisphere, this album almost sounds like what Shinsei Kamattechan would sound like if Seiko Oomori were singing instead of Noko. Which is a great comparison, because both Seiko and Noko have been known to collaborate with Haru recently.

This album is raw and abrasive, but it's also strangely beautiful and avant-garde. Haru likes to call herself a "poetry rapper", who raps, hastily monologues to herself, sings, and screams over disgusting and dreamy shoegazey punk music. I like to think of Haru Nemuri as the next in the lineage of out-of-step women in J-pop, the line of which starts with Jun Togawa and follows Ringo Sheena and Seiko Oomori all the way up to Haru.

Sekai wo Torikaeshite Okure is the song that really made me pay attention, and I'd like to hope it'll be that for you too, so go peep that one first if you're remotely interested. And if you're not - have fun living your whole life without this perfect gamechanger of an album

It’s also worth noting she dropped a fucking amazing EP this year called Kick In The World, featuring its title track, an acoustic version, with four asbolutely batshit remixes of the title song sandwiched in-between them. This song was a leftover from the album that she said would have bloated down the tracklist. Finally an artist who has the self-awareness to cut music in favor of the listening experience. Can’t say the same about Drake.

#2. YESEO - Damn Rules

I don't really know where to even start with this one. I've always considered Neon Bunny, Aseul, and YESEO to be the holy trinity of Korean indie electronic music, and while Neon Bunny's Stay Gold might still be one of my favorite albums ever made, Damn Rules proves that the Korea might have a new underground queen.

YESEO came out of nowhere only two odd years ago, and to say she hasn't had a prolific career in that short time would be insulting; in 2016 and 2017 alone she dropped two mini-albums, an EP, a ton of assorted singles, covers, a feature on I.M (of Monsta X fame)'s mixtape, songs for K-drama soundtracks, and a single with SM Entertainment. But all of that was smooth trap and EDM-infused R&B.

What sets Damn Rules apart from not just the competition, but her own past self, is that it's hard; like really fucking hard, and it's dystopian futuristic sounding. Like, this is what the Cyberpunk 2077 soundtrack should sound like, not some 2000s white people-ass Jack White-ass blues rock bullshit.

The lead single Bitches Rule still stands as one of if not my favorite song of the year. It's gritty, horny, and sounds like a deep cut from the musical landscape of 3018, and that's a theme that continues throughout every song on the album. Even the instrumental track Mess, despite its future bass-driven hook still manages to impress in a way that future bass hasn't since its peak in 2014.

The fact that Damn Rules doesn't have the streaming numbers that last year's Million Things does should honestly be an intergalactic war crime.

This is gonna be one of those albums that people are gonna look back at years from now and go "yeah, that was really something else", regardless of what she does next.

The biggest highlights here are of course the lead single Bitches Rule, the hypnotic electro-trap song Cigarette Light, and the club banger Honey Don't Kill My Vibe, which sounds nothing like the Kendrick song it gets its name from.

#1. Travis Scott - ASTROWORLD

2019 kids will never know what it was like to bombard Travis Scott with memes that say something along the lines of "drop Astroworld right now" every time he tweeted. Let me preface all of this by saying I waited for Astroworld longer than you did. I have been listening to La Flame since the Days Before Rodeo days. I pushed Rodeo on all of my friends who liked hip-hop since the day it came out and all y'all ignored me until Astroworld. Y'all still think Birds is bad. Birds is good; it's better than Owl Pharaoh. It's better than Huncho Jack. Granted, anything is. But Astroworld is as good as Rodeo.

Astroworld is the sequel the real ragers have been waiting for. I'll admit, I was worried after Butterfly Effect, Huncho Jack, Watch, and all of his other recent features save for a few quality ones; I was worried that that generic Butterfly Effect flow would predominate Astroworld. But save for a few small hiccups which honestly don't matter in the grand scheme of things, Astroworld completely delivers on all fronts and defies the expectations he set on himself. It is not just a rollercoaster ride, it is a front to back day out at an interstellar theme park.

Sicko Mode actually sounds like you're on a rollercoaster, with the stuttering snare drops before the beat switch taking the place of a rickety chain pulling you up the hill before Drake pushes you off downhill into four loops or something. Astrothunder actually sounds like you're floating through space under a meteor shower. Coffee Bean actually sounds like you're walking back through the park at the end of the day. Thematically, Astroworld is a masterpiece. Musically, it's two levels above anybody and everybody else in the game.

Astroworld is one of the truly rare cases where something so mainstream with such a large mass appeal normally wouldn't be, and that alone makes it so worth the hype. Very rarely do you see an album so innovative and musically brilliant manage to break the top 10, let alone come out as the number one album of the year. Just like when Frank Ocean's Blonde was snubbed for its Grammy despite overwhelming success and critical acclaim, Astroworld too has been snubbed for its well-deserved Grammy over Drake's piss-poor, lukewarmly received Scorpion.

Songs like Skeletons, Astrothunder, and Can't Say shouldn't even be considered rap songs, because hip-hop is only a surface element here. A song like Sicko Mode, with three beat switch-ups, the first of which happens right as the song starts to take off before cutting itself short, with nothing resembling a hook or any traditional pop song structure, shouldn't even be the #1 radio hit that it is, but it just is. This is the rare example of something that in no way should be mainstream but is and 100% deserves to be. It's the kind of genius that can be appreciated on both the surfacelevel as a casual listener, but also for people have a finer knowledge of music to dive deeper in with.

In a world where each of the Migos, Lil Yachty, Drake, Tory Lanez, and RaeSremmurd are dropping 20+ song albums with almost all filler and little to no killer, it's a breath of fresh air to see an album as long as Astroworld filled with nothing but highlights.

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dprdabin · 7 years ago

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Korea's Rising Rap Star DPR LIVE Looks Back on 2017 and Talks New Plans: Exclusive Video & Interview

With an onslaught of addictive bangers and visually-captivating videos in 2017, DPR LIVE has ascended from an elusive, underground rapper to one of the most talked about and celebrated new voices emerging in Korea's rapidly growing hip-hop scene.

Since gaining recognition through knockout bars and a scene-stealing performance on the critically acclaimed viral hit "Eung Freestyle," DPR LIVE―real name Hong Da Bin―has excelled thanks to his chart accolades and internet co-signs.

The 25-year-old spawned two impressive EPs via his explosive debut EP Coming to You Live from March 2017 and stellar follow-up Her in December, the latter peaking at No. 8 on Billboard's World Album chart, despite no big-name features. DPR LIVE also played to sold-out crowds in Korea and London last year, scored a promotional video campaign with Nike, and racked up millions of views on YouTube, all helping him garner a legion of excited fans all across the globe.

Yet what really sets the charismatic rapper apart as one of the more interesting come-ups in 2017 is the fact that he has achieved all this as a completely independent artist -- a rarity in Korea's highly-competitive music scene.

DPR LIVE and his crew Dream Perfect Regime -- a creative collective better known as DPR -- have relentlessly hustled with nothing but talent and determination, all in the name of keeping LIVE’s budding rap career authentic and true to the crew's message. Never bowing to industry standards, the collective's focus on positioning DPR LIVE onto the mainstream radar has already paid off in a big way: The crew received their first major monetary investment in late 201, which helped fund a new Seoul studio.

While DPR LIVE has already made accomplishments most of his indie peers can only dream of, the young talent is eyeing 2018 with higher aspirations. Gaining stateside traction for his witty flow flips between Korean and English and forward-thinking ear, LIVE earned a slot on this year's massively-anticipated, sixth annual "Korea Spotlight" showcase at SXSW 2018 among some of Korean music’s biggest names -- like R&B phenom Crush, rock sensation Hyukoh and powerhouse diva Lee Hi -- all taking place on March 16 at the Belmont in Austin, Tex.

Ahead of his debut U.S. show, DPR LIVE exclusively sat down with Billboard Koreafor his first-ever, in-depth artist interview at his new studio to share his personal struggles, creative vision and goals.

Watch DPR LIVE’s recap video and read full interview below.

What were some of the challenges you faced in the industry as an indie artist without an actual label?

Oh man, where do I even start? We had a shit-ton of challenges. First of all, financing everything on our own was the hardest thing we had to overcome. We started with zero capital. No investor, no fancy equipment, no nothing. That’s why we had to start as a visual team, but that was probably the smartest move we made, to think about it now. Not only did we get a chance to showcase our talent, but it also helped to connect with other musicians and entertainment labels. It was a good way of learning the ropes of the Korean music industry; how it worked, how we needed to evolve to get to the next level, etc.

For a good two years, DPR REM [creative director] and DPR IAN [visual director] busted their asses shooting materials for other artists in order to help fund any and all of our projects during that time. And the more I think about it now, the more I’m grateful for that, you know? Cause I know it takes a lot of trust and commitment. They were sacrificing a lot, and that’s what fueled me when I was making music. I knew I not only had to do it for myself, but more importantly, for my team.

The second biggest challenge, I guess, was the fact that we were completely clueless. [Laughs.] I didn’t even know what it meant to "mix songs," or how to get distribution for my music. It was all trial and error, because none of us had any prior experience. We had no money or any real knowledge as to how this [music industry] really works― all we had was just a whole lot of untamed passion and a dream. If one approach didn’t work, we would learn from it and move onto the next one. We learned a lot in those years. That experience is what helped us launch our own company. Now, we get to run our own show and do exactly what we want to do. No one tells us what to do, what to make or how to do it. If we like it as a team, then we do it. That kind of freedom is truly incredible. Our struggles brought us closer together and I’m proud that we have accomplished this as a team.

What is your and DPR’s greatest strength and weakness?

Our greatest strength is that whatever we do, it’s organic. We also know each other so well now to the point where we can easily align our thoughts in such a quick way that it allows us to get straight to work. There’s really no buffer period or queue. We have our own system that works efficiently for all of us. But on the other hand, we can improve and learn how to expand and grow our team. We’re known to be mysterious and unpredictable, and we like that because it keeps our fans in suspense and on edge, but it makes it harder for all of us to bring in new members, because we are such a tight-knit group. However, I’m confident we’ll get into the hang of things in due time.

Last year was great year for you. What are some of the most memorable moments?

2017 has been a life-changing year for me and my team. I released two albums, moved into a brand-new, dope studio, got to travel to some awesome places and work with some amazing people. I honestly couldn't have wished for more. Although all these moments were significantly memorable, I’d have to say getting our studio was probably the most memorable moment of 2017 for DPR. Might not sound like a big deal to some, but you have to understand, we used to hold meetings ranging from coffee shops to even local karaoke rooms on a regular basis just to get some privacy at times. Now that we have a place we can all call home, with separate recording, producing and meetings rooms; it’s surreal, to be honest. Really goes to show what can be achieved.

Any mistakes or regrets?

No, I don’t have regrets. Everything I’ve experienced was for a specific purpose, and I really believe in that. Literally everything. Although, I had a fair share of upsets and disappointments, now that I look back on it, I'm starting to see how it all came together. Each experience was meant to happen at that exact moment so that we can draw a bigger picture. I'm a huge believer in the whole "everything happens for a reason" quote and so is my team. DPR was basically founded upon that motto. We all happened to meet by chance if you think about it. A bunch of kids, who grew up in all corners of the world, somehow met up in Seoul and eventually came together to do what we do now as DPR.

Your debut EP Coming to You Live boasts guest features from some of the top names in the industry. How did you get them to collaborate?

It was a mix of good timing and mutual respect, I guess. DPR was slowly getting recognized in the industry as an up-and-coming visual team and that really helped my musical career and credibility. While I was in the studio recording demos, IAN and REM were hustling on the video side and doing whatever they could do to spread our brand name. It also helped us earn some money to finance whatever we wanted to do in-house. [Laughs.] Also, being featured on "Eung Freestyle," which was also produced and directed by my team, gave us a good boost. It helped start a lot of conversations with artists in general.

Your recent release Her has also been successful. What did you want to resonate with this project?

Her is a more genre-specific compilation of songs than my first EP. I wanted to get more personal and intimate with my listeners on themes relating to love and relationships.

Where does your musical inspiration come from?

For me, inspiration comes in many angles. I’d say half of it comes from just an array of talented musicians and their music. The internet in itself is inspiring sometimes. On the other hand, a lot my inspiration comes from my experiences in life and the things I place value on.

Why and how did you start making music?

I started making music when I was stationed in the Korean army. I went relatively early for my age, and I had a lot of free time on my hands so I would start writing whenever I had the chance. That’s where my passion slowly grew. It was a good time for me to reflect on my future; I had a lot of thoughts/things I wanted to say. That’s where I really picked up writing song lyrics.

What goals do you have for 2018?

I can probably make a huge list of what goals I want to hit in 2018, but ultimately, I really just want my team to stay healthy, committed and passionate. That’s not only for 2018, but that’s really a lifetime goal I have.

And what's the biggest drive that motivates you?

I just want to release quality music and materials. I hope we [DPR] never get lazy or complacent, and continue to challenge each other so that we can continuously push boundaries. It’s not easy to impress people these days, but to rise above that, and to see that stamp of approval and recognition from people is where all my adrenaline rush comes from. It drives me and my team to go beyond.

Where do you see yourself in the next few years?

Hopefully in the next few years, I’ll not only be a better artist myself but I hope to see our team grow and continue to do more exciting things together. Whether it be a visual thing, or a music thing, or something completely different, I just want to see us all succeed together. That’s really the main point.

In the end, it's not really the legacy that I leave behind, but the impact we make as a team. There aren’t that many teams like us in Korea and for that reason, it’d be really dope if we could almost set a benchmark or an example for the next up-and-coming generation of creatives to think outside the box and really learn to DIY. In the end, that’s what we did and it's been the best decision we’ve made.

#dpr live #dabin #hong dabin #dpr #article #billboard #im so proud fuck #180117

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aaronafgash · 6 years ago

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Best Songs Under One Minute: A Top 10 List

A majority of songs released throughout history have followed similar structural patterns: most, in some order, utilize a verse, chorus, bridge, hook, and refrain. To fit all of these sections, songs tend to be around three to six minutes in length, depending on factors such as tempo and repetitions of individual structures. Things start to get interesting, though, when artists start to shrink down songs under the traditional three minute mark. Which sections will be cut out? Will there only be a single verse or hook? How will an artist tell a story or capture an emotion in such a limited amount of time? I became fascinated with these sorts of questions, and it led me to paying more and more attention to the best “short” songs. Here is my top 10 list of songs under one minute.

10. Sometimes (Mix #9) - Erykah Badu (0:44)

R&B music was being redefined in the late ‘90s, with songwriters like D’Angelo and Maxwell leading the pack of new-age soul artists. These artists paid homage to greats who came before them in the genre, but added more current hip-hop elements to spice up their songs; “Sometimes (Mix #9)” perfectly exemplifies that sentiment. The song begins with a light bongo drum pattern and distant background vocals, but soon, the mood changes: a harder hitting drum pattern overtakes the previously heard bongos, and in comes Erykah with a smooth, laid back verse. Badu rides the beat like an MC, with lyrics like “I’ve got the paper stacked, and a pimped out track,” but she does so while singing in her unique tone. It’s hard not to believe that artists like Lauryn Hill and Missy Elliott were influenced by previous Badu songs like this one.

9. Demons - Sampha (0:54)

Before the Drake and Kanye features, before “(No One Knows Me) Like The Piano,” before touring with the xx, Sampha was a lesser-known songwriter from South London. “Demons”, the first track off of his 2013 EP Dual, gave us a taste of what was to come with the artist we know now. The track begins with Sampha leaving a voicemail, quietly stating “I rang you earlier but you didn’t pick up.” Immediately, the track begins, driven by a repetitive, dragging bass drum, and distinctive piano chords. Sampha chimes in, singing “I guess I don’t believe you / And I think you don’t believe, too / So take all these demons and go.” It’s a short ballad that introduces us to Sampha; he may now be a world-renowned artist, but he’s still battling his demons just like the rest of us.

8. Her Majesty - The Beatles (0:23)

Written in jest about Queen Elizabeth II, “Her Majesty” is the Beatles shortest song in their spanning discography, yet in 23 seconds, it captures everything that makes the group so undeniably excellent. The subject matter is, of course, silly; Paul McCartney is singing about loving the Queen as if she’s a normal, everyday woman that he’s trying to court at a bar. But when he sings “I wanna tell her that I love her a lot / But I gotta get a bellyful of wine,” he’s still

able to make what is clearly a joke a relatable topic of conversation -- only the Beatles could make a song like this one

7. Track 14 (Chix) - Jai Paul (0:51)

Jai Paul is a mysterious artist. Since 2011, he has only (officially) released two songs. The lack of material left fans yearning for more music, but in 2013, an unidentified Bandcamp user uploaded what looked like Jai Paul’s 16-track debut album to the site. A day later, Paul tweeted out that what was uploaded was a collection of demos that had been previously stolen from one of his laptops. Regardless of how or why the music got out, it undeniably exists, and it is an outstanding piece of work. On “Track 14”, which fans nicknamed “Chix”, Jai Paul shows off his eclectic sonic pallette; in just 51 seconds, we hear a beautiful stringed orchestra, glittering electronic synthesizers, and poetic lyrics of frustration and devotion: he sings “I don’t know what you mean / I’m always on the scene / Your time and your company / Let me get you home with me.” If Paul’s unreleased demos are of this quality, I can’t imagine what an official studio album would sound like. But even if that project doesn’t see the light of day, at least we have this.

6. Fertilizer - Frank Ocean (0:39)

Acting as an interlude on the critically acclaimed Channel Orange, “Fertilizer” sonically comes off as a fun little pop track, but in one poetic lyric, we quickly discover that Frank is not singing a happy song. When he sings “Fertilizer / I’ll take bullshit if that’s all you’ve got,” he’s attempting to elicit any sort of response from a person who he loves and cares about; even if they aren’t going to tell him what he wants to hear, he’ll take it. In a 2012 Esquire article, Gavin Matthew’s affirms this, stating that “Ocean begs for his love not to treat him like the titular bullshit. But the sorrow in his voice and the painful laugh track tell us he’s not having much luck.” Frank’s unparalleled writing abilities allow for him to pack a surprising amount of meaning into shorter tracks; he may or may not appear later on this list.

5. Parachutes - Coldplay (0:46)

Most people today know Coldplay as one of the biggest bands in the world, with pop hits like “A Sky Full of Stars” and “Something Just Like This”, but at their best, Coldplay gave us well- produced albums of interesting, unique alternative music. Their debut album, Parachutes, balanced bright, upbeat tracks with calmer, acoustic songs to create a near-perfect alternative masterpiece. The project peaks, though, on the title track “Parachutes”: here, Chris Martin, backed by only an acoustic guitar, sings quietly of fidelity and commitment, with lyrics like “ Here I am and I’ll take my time / Here I am and I’ll wait in line, always / Always.” The gentle nature of the song allows listeners to feel like Martin is personally telling them his story, and that quality makes for a captivating track.

4. Intro - Brandy (0:49)

Brandy burst onto the scene in 1994; at 15 years old (!!!), she had just released her self-titled debut Brandy, and soon, the album was receiving critical acclaim. Eventually, Brandy went on to go 4x platinum, allowing Brandy to establish herself as a successful R&B solo artist. While Brandy was an excellent project , the topics of her songs were (understandably) a bit childish considering her age. So when Brandy released her next album, Never Say Never four years later in ‘98, she knew she had to prove that she could be a grown up. Any doubts that critics might have had immediately went out the window when Never Say Never dropped, and “Intro” perfectly set the tone for Brandy’s newfound maturity. The production of the track is tighter and darker, and Brandy sounds like a totally different artist; while she may just be singing “Never say, never say, never say never” repeatedly, her tone is now provocative and seductive. Her experiences with love and life have given her a new outlook on relationships; in an interview around time the album was released, she stated “I’m not the little girl I was when I made my first record.” Brandy grew up, and “Intro” sets the tone perfectly for her transition into adulthood.

3. Commes des Garcons - Frank Ocean (0:53)

On “Commes des Garcons”, a track off of the criminally underrated visual album Endless, Frank Ocean weaves together a complex love story over playful, tropically-infused production. Frank cleverley sings of infidelities (“We was dating on the side / He was seeing double”) and makes witty sexual references related to items you’d find at a local hardware store (“All this drillin’ got this dick feelin’ like a power tool”). To close out the song, he repeats the phrase “Commes des Garcons”, which means “like boys” -- in doing so, Ocean is referencing his coming out letter in which he brings up the first time he fell in love with a man. Just as he did in “Fertilizer”, Frank makes efficient use of his limited time on “Commes des Garcons”, but this time, he’s telling a sophisticated story.

2. Beach is Better - Jay-Z (0:55)

No one expected 44-year-old Jay-Z to include a Mike-Will-Made-It produced trap anthem on his 2013 album Magna Carter Holy Grail, but he did just that with “Beach is Better”. For all the album’s flaws, “Beach is Better” immediately became one of the best Jay-Z songs we’ve heard in the last decade. The beat is slithering and metallic at first, but suddenly, monstrous 808- drums kick in with mesmerizing synth blips that give the production more melody and a plethora of different high-hat patterns to give the beat a sense of chaos. Jay-Z is at his absolute best, rapping about what he loves flaunting the most: his wife, his money, and his dominance in the rap game. Lyrics like “Girl, why you never ready? / For as long as you took you better look like Halle Berry / Or Beyoncé...shit, then we gettin’ married!” exemplify peak Jay-Z boasts. In an interview with MTV, producer Mike-Will was quoted saying “[Jay] was like, ‘Man, let’s do something so effortless,’ and that just stuck with me when he said ‘effortless.’” This idea of effortlessness for both Jay-Z and Mike-Will resulted in a track where they’re both in their comfort zones, and the combination allowed for a perfect rap interlude.

1. Elephant Parade - Jon Brion (0:28)

In composer Jon Brion’s “Elephant Parade” off of the soundtrack to the 2004 film Eternal Sunshine of the Spotless Mind, there are no sophisticated lyrics to analyze. There are no complicated allegories or connections to make. There is simply a piano and an acoustic guitar, softly playing together for 28 seconds to construct a short song. But those 28 seconds provide some of the purest, most blissful musical moments you could ever capture. Brion’s ability to create so much out of so little is remarkable; “Elephant Parade” is everything you could ask for in a sub-minute song, and it does so using two of the most basic, universally-known instruments known to man. To this day, it strikes a certain emotional chord with me that I have a hard time putting into words. The ability to leave a listener speechless is nearly an impossible task, but “Elephant Parade” manages to do that to me. For that reason, it’s my favorite song under one minute.

#music #minute #song #sampha #frank ocean #jay z #brandy #jai paul #coldplay #badu #hiphop #r&b #pop

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