#now listening to it i feel the nostalgia from listening to those albums on the turntable in our shitty student flat

[ardate]

Ten years ago I didn't share my ex's obsession with Summoning but, listening to them again, I think I'm starting to understand

[aquareegia]

Transcript of Will Ramos' essay on Sleep Token for Rock Sound magazine

I might play in a metal band as part of my job, but I don't listen to much metal music anymore.

A few years ago though, I remember one of my friends saying to me, "Dude, you've got to check out this band Sleep Token… They're pretty cool".

I'd never heard the name before, but I'd listened to 'Hypnosis' and a couple of other songs from the band's second album, 'This Place Will Become Your Tomb', to see what they were like.

Hitting play for the first time, I was caught off guard. You hear the guitar and these slamming instrumentals and instantly you think, 'This is about to fucking kick ass'. You're so sure that the vocalist is about to come in with some gnarly screaming, but then you hear this man singing, and he's singing so beautifully. I didn't see it coming at all, and as soon as I heard it, I knew that it was exactly what I needed to hear.

At the start of a long drive that I had to make on my own, I hit play on 'This Place Will Become Your Tomb' from the beginning for the first time. As the record began with 'Atlantic', I was vibing to the sound of the music, but as it rolled through each track I started to get more and more caught up in this incredible sonic journey. By the time it was over, I realised that I'd been on this emotional roller coaster of love, pain, happiness, sadness and nostalgia.

Boom, that was it - I was hooked on that album. Every single song on that record was so freaking incredible to me, and I needed to know more about Sleep Token. Believing that my friend and I were the only people in on this hype, I spoke about it to my band one day, and they said to me, "You need to listen to 'Sundowning'!" I was so mad that they knew about this band the whole time, and nobody ever told me, but I went back and listened to Sleep Token's first album like they suggested.

I remember thinking it was very different. It's not as polished, but it's very dynamic and so beautiful. I think it definitely says something when you can see the progression of a band from just their first and second albums. From then, I knew they were onto something incredible.

It feels like more and more people have been catching onto that hype over the last year, and now it seems as though their name is impossible to ignore. I remember when they released 'The Summoning' at the start of 2023, the day after they'd released 'Chokehold', it felt like it all went crazy. They had something like 4-million hits on that song in just two days, and now, it's got over 70-million plays on Spotify. It was the beginning of a huge explosion for Sleep Token, and the first time I heard it, I was genuinely confused by it. It's so ridiculously versatile, and on my first few listens I felt like the super jazzy outro didn't fit at all, but the more I listened the more it began to click. I remember at the time I showed it to Elizabeth Zharoff, a vocal coach from The Charismatic Voice, and the outro was immediately one of her favourite parts.

She's from a completely other world of music, so to hear her approval showed me how capable Sleep Token were of reaching people outside of the metal scene.

I might not listen to metal music anymore, but Sleep Token are revitalising heavy metal. It brings back the nostalgia that I felt when I was a little kid listening to this type of music for the first time and being like, 'Holy shit, what is this? This is so cool'. I had started to lose that feeling over the years, but every time I listen to these songs, all those emotions come flooding back. In my opinion, there's no band out there that sounds like them - and that's a truly impressive feat.

Merging metal with pop, R&B, and rap influences, and bridging all these different gaps that many artists have historically been afraid to explore, there's something here for so many types of music fans. For a long time, metal bands have been putting themselves in a box. There's been this idea that a metal band needs to be heavy, that you need to have a breakdown in every song, and that you need to tick all the boxes in order to succeed. It's been so refreshing to see the evolution of the genre over the last few years, and to see bands like Sleep Token bring all these different sounds to the forefront of metal.

It brings a whole bunch of unique people into the fold. People love to say that metal is dying, but it's music like this that keeps it alive. It doesn't just move the scene forward, it expands it.

Now, there are all these people who didn't listen to metal before listening to Sleep Token. R&B and pop fans are coming into this as fans of Vessel's singing voice and hearing all these metal influences along the way. The second verse of 'Take Me Back To Eden' has this great rap-inspired singing part, and it's these little things that speak to different people in different ways. All of this feeds into our community in some crazy way, shape, or form. It's welcoming people into a genre that they may never have been exposed to otherwise, and I think that s a beautiful thing.

As a vocalist, one thing in particular that draws me to Sleep Token is Vessel's voice. I have always been a screamer, but I've always wanted to be a singer at the same time. I always practise on the side of Lorna Shore, but in my mind I'm like, 'This isn't very good. My voice is not fit for metal at all, as far as singing goes'. When I first heard Sleep Token though, one of the first things I noticed was that Vessel and I have a very similar range. Hearing him lay down all of these incredible parts, it makes me realise that I can actually sing metal vocals.

Back when I first discovered them, I wanted to cover their songs in the hopes that more people would hear them. Now, I just want to cover them so that I can sing something that is in my range.

Obviously though, his voice is much more dynamic than mine because he's been polishing it for a very long time. He does a crazy vibrato and can switch between his head voice and chest voice super easily. It's crazy stuff, and as someone who has been a vocalist for so long, I can appreciate the techniques he's using. I love to hear the different ways he's able to blend his voice into the genre.

Another thing that makes his voice so unique is that it's so emotional. When I hear Vessel sing, I can truly feel the emotion behind his words. He might be this otherworldly figure singing about an ancient deity, but there's a distinct humanity to his vocals. You can sense his sadness and pain, and whether people realise it or not that draws a lot of people to Sleep Token's music. They're the band that you can listen to at two o'clock in the morning when you're driving down the road alone. They're the perfect companion for those moments where you're upset about something, and you just need to listen to something that feels like a release.

That's a beautiful thing, because when you write music, you want people to feel the same emotions that you're feeling when you're writing it. The way that Vessel translates all of that is so incredible, and it's arguably my favourite thing about the band. Between his vocals and the instrumentation behind them, you feel exactly what they want you to feel. Even before thinking about what I knew about Sleep Token, when we were thinking about what we wanted to do with Lorna Shore, that was the goal. We wanted to bring a little bit more emotion into heavy metal music, and now they've done that and brought the singing into it too. Metal's now even more emotional because of the way he uses his beautiful voice, and I think that's what this genre has needed for a long time.

The truth is, from the moment I first heard Sleep Token, I knew they were one of those bands. Between their studio quality, their musical skill, and their ability to conjure up their own lore to incorporate into the music, I could see that they had the potential to be something truly special, they just needed that little push.

As soon as they got that with 'The Summoning', that was it - they were taking over.

First impressions are a big thing, and I think 'This Place Will Become Your Tomb' will always be my favourite album because of the way I first connected with it, but 'Take Me Back To Eden' is phenomenal. They have been able to get all of their emotion out in so many new ways on those songs because there's even more happening from a musical perspective. They've managed to strike the balance between heaviness and beauty perfectly and that's what we strive to create with albums. The goal is to create an album you can sit with, front to back, and feel the waves of emotion. A record to let yourself feel those things, and an opportunity to sit in isolation whilst you experience that journey.

It's a feeling that's amplified within Sleep Token's live shows, and I was able to catch them at Blue Ridge Rock Festival in Virginia. Lorna Shore were also playing, and we had a meet and greet scheduled for that day. It was scheduled to take place from 7pm until 7:30pm, and Sleep Token's set started at 7:30pm. I was a little antsy, because I know that meet and greets always overrun by half an hour or so, and they were the band I was most desperate to catch.

I was sitting there, it was 7:29pm, and the meet and greet line was still as long as it had been when we'd started. I started to hear 'Chokehold' playing in the distance, and I felt so sad.

People online were messaging me to tell me that Sleep Token were playing, and I was like, 'I know! I can hear them, but I'm stuck here!'

That's where it started to set in how freaking massive Sleep Token were becoming. They're one of the biggest metal bands that I'm aware of right now, and there were so many people watching that set. They refer to their live shows as rituals, their fans are the congregation, and the stage as a place of worship. It's something that could easily seem tacky if a band did it with little consideration for the details, but they're so committed to what they do.

After about three minutes, as I heard 'Chokehold' coming to an end, I stood up and said, 'Alright everybody, I've got to go. I'm so sorry, but if you know me, you'll understand'. The people who come to our meet and greets know how much I love Sleep Token, so they were like, 'Dude, go!' I sprinted out of there, leaving the rest of the band still doing the meet and greet, and made my way over to the stage. I thought I was the only one who wanted to see their set, but ten seconds into running I turned around and saw Of Mice & Men's singer, Aaron Pauley, following me. We started running through this huge crowd together, and everybody was so excited. I'm not the type of guy to leave a meet and greet early, but I needed to witness that set. It was an act of true love!

Even when they post on Instagram after shows, the captions are always like, 'The ritual has been completed in Copenhagen'. They totally absorb themselves in the spiritual aspect, physically, visually, and sonically. It's a brand, and they completely own that brand. They've made it exactly what it is, and they stick to it.

When I saw them, they had four people onstage doing harmonies with them, and they just stood there in their cloaks.

They didn't move throughout the entire set, and I began to picture it as a church choir at the side of the ritual. The whole experience does feel super spiritual, and they don't just give 50 per cent to the theming, it's 100 per cent. People feel the emotion, see the way they embody this ideal, and hear this incredible music - and I think that's why people are so ready to absolve themselves in this spiritual moment.

Everybody has a different connection to every song because of the different things everyone goes through in life, but they get to experience all of that in a place where everybody else is feeling something too.

Vessel's vocals translate into their live experience so perfectly, too. His screams are even better live than they are in the studio, and he still sings beautifully, which is so impressive. I was genuinely doubtful that he was going to be able to hit all of those vibratos and do all the other crazy vocal work he does on the albums, but he hit every note. Sometimes, he doesn't even hit the notes that he does on the studio versions, but he hits another note that is equally as stunning. He's a true performer.

You can tell a lot about a band from their live performance, but as a band in the modern age you also have to put a lot of thought into your promotion. The way you come across on social media is important, and the way that people perceive you is largely down to how you come across online. That's why I've always been fascinated by Sleep Token choosing to keep the identities of their band members a secret, refusing to do interviews and placing the focus on their visual identity.

I definitely think that's played a part in their success, because it's allowed the music to take centre stage. I remember when I was first talking to the rest of Lorna Shore about Sleep Token, they told me about the lore behind the band and that the members are all anonymous. That was before 'The Summoning' came out, but since people have caught on there have been some serious investigative deep dives, so l'm pretty sure the internet has found out who Vessel is.

I didn't look that up though, because personally for me, I always really appreciated the fact that they were totally anonymous. I like the feeling that Vessel is just a voice in the ether. You can hear it, but you can't classify it as being the voice of any one person, it's just this intriguing mystery. I've heard a lot of people say that it reminds them of when they first got into Slipknot because when a lot of people I know first listened to that band, nobody knew who was behind the masks. They were just a bunch of dudes making music with no outside perceptions, but then obviously people found out. I think that Sleep Token have that similar allure for a whole new generation, but sadly for me that mystery was shattered when I met them after a show.

It was great to meet them, but I also really didn't want to know who they were. I loved not knowing and I think that the anonymous aspect of what they do plays such an important role in the impact they're having on the heavy metal world.

It's a bit of a double-edged sword because everyone wants to know their identities, but once you do know - you miss the anonymity.

There's something special about the way they're putting their music out into the world with no need for individual validation, and I think it takes a lot of guts and confidence in what you're creating to do what Sleep Token are doing.

Usually, you almost want everyone to know who's in the band, because often that helps push you forwards. If you have someone in your line-up who's been in a well-known band before, you want to use that name to get yourselves out into the scene more. Sleep Token aren't anybody, and that takes a lot of courage and humbleness to do. There's no predisposed idea of what their music is supposed to be or what it's going to be, and that's part of the magic.

It's something that also comes out in the lore, the symbolism, and the cryptic clues that Sleep Token scatter throughout everything they do. There are Reddit threads dissecting every single word in the songs and analysing each pixel within their visuals, but it's not something I've had the chance to fall into just yet.

When I first listened to 'This Place Will Become Your Tomb', I could only find one or two articles about Sleep Token online.

They were basic articles explaining the idea of the band and what they were trying to do, which I thought were cool, but I never really looked it up again.

Over the last year or so, it seems that these conversations have spiralled. People are coming up with these different ideas about the band's story, and there are all these hints appearing constantly. I don't know any of the Easter eggs yet. I'm still just fascinated by the music and their wicked aesthetics, but I love that they've got people talking. It's become this kind of community around the band, and as someone who grew up in this scene, seeing artists who are able to foster that feeling amongst fellow music fans is such an incredible thing.

I think that's one of the reasons why Sleep Token have been able to find success on such a wide level so quickly, because there's a constant conversation about them. If people aren't talking about their music, they're talking about the lore and the stories behind it, or they're talking about the potential identities of the band members. They have this perfect package in place that lends itself to a world class metal band, but they're achieving it at such an incredible speed.

They thought out every single element of this band before they even started, from how the melodies work with the vocals, to the emotion and the quality of the sound. A lot of people put out music that sounds like they're hitting a trash can, and whilst they might have really good singing over the top of it, you can't ignore that trash can. Sleep Token have got incredible production value though, which is even more impressive when you consider how versatile their sound is.

It's so well thought out that you hear new things in each song on every listen. If you listen to 'Take Me Back To Eden', the title track of their third album, there's an allusion to a particular part of 'Chokehold', and it's details like that which make their production so unique. They wanted to make sure that it came out perfect, and maybe - like all musicians I know - they think they could have made certain parts of it better in retrospect, but I honestly can't imagine how.

Between the versatility, the emotion that people feel when they listen to it, the heaviness, the quality, and the songwriting, Sleep Token don't cut any corners anywhere. That's why they're already playing these huge, career defining shows, and putting out music that's changing people's perception of heavy music as a whole. It's so exciting to be a Sleep Token fan, and I just want them to write even more mind-blowing music and play even bigger places because they truly deserve it.

The bigger the places that they play, the better they're going to sound live. They're already playing arenas over in the UK, and with the size of those venues I just know they're going to sound absolutely incredible. They're reaching heights much higher than most metal bands that I know, and the bigger they get, the better their production value is going to be all round.

'Take Me Back To Eden' only came out earlier this year, but I already can't wait to hear them put out more music. lf what we heard on album three is the direction that they're going in, I'm very optimistic to see what the future holds for Sleep Token. I imagine at one point, they're going to make it on the radio - and honestly it could happen sooner rather than later. I knew it when I first heard them, and I'm even more certain of it now - they're going to be huge.

[seaofreverie]

Sparkstember Day 10: Whomp That Sucker (Where's My Girl)

A good time!!! That's the first thing I associate with this album. It's one of the earlier ones I've heard too and I was certainly a big fan of it from the very start. Not only that, but I think it was a bit of a groundbreaking point in my experience as a new Sparks fan, since I was trying to figure out where to go next and this was a good plunge somewhere in the midst of it all that proved that no matter where you go, you're going to get something special! And after a couple more months (I mean, it's been a bit over a year since that first listen already! How time flies) it still holds up in my personal rankings. Soooo well. Definitely very special to me!

I think it's safe to say by now that between the pair of Whomp and Angst I'll always stay partial to Whomp. The latter seems to be much more popular among fans, and I can understand that, but something about Whomp speaks to me much more. Both are fun, energetic new-wavey albums, still in the realm of rock but with some cool use of synths that would soon become even more important and a core element of the music. Still though, I think Whomp is more PURE fun - between many hilarious lyrics and the overall playful and lighthearted nature of it, I don't think it's possible to listen to this one and not feel even a little bit happier afterwards.

I especially love the whole atmosphere of it, what I call the spacey / sparkly synth, that gives it a little bit of an outer space feel, much moreso than the actual album called In Outer Space (but i'd better not get ahead of myself yet when it comes to that one, lol). This album really feels sparkly and even glittery to me in a weird way, and unexplainably, this all reminds me of like, sweets and chocolates like those cosmic brownies or daim candy?? That's what this album would taste like to me! Sweet and a little extra and always a good little treat. Damn, and now I want to try a cosmic brownie.

Favourite songs (and other highlights):

I don't even have that many personal favourites from this album even though I really really love it as a whole!! I guess it's a bit of a Propaganda situation, where there isn't that many super big standouts compared to the rest of the tracks, they're all just very cool and I mostly don't have that much to say about them individually, they're all just!! So fun!! (I mean, ok, Suzie Safety might be the only one here that I don't care about all that much. I'm sorry, Suzie.) So this is more of a Moments list than anything

I Married A Martian: mostly I'm just incredibly charmed by the story here

Where's My Girl: AARGHHH!!! WAAUUGHGH!!! I LOVE THIS SONG!!!! SO MUCH!!!! The closest I can come to describing the feeling here is something like... song you heard a couple times when you were very young, enough that you remember how it goes when you hear it again, but can't recall it on the spot otherwise, and you forget about the song's existence until you hear it again after all those years and are hit by the biggest wave of nostalgia and longing for the past that you've ever experienced in your life. All that despite me never hearing this song until last year. Or is there just something I'm not aware of... Anyway, this was one of those rare and treasured moments of THIS IS WHAT I'VE BEEN LOOKING FOR!! *MY* MUSIC!! Needless to say, this song stayed on repeat countless of times and I will never get over how awesome this guitar solo is. And again, the spacey synth!!

Upstairs: upstAAAAAAirs!!! upstAAAAAAirs!!!

Don't Shoot Me: big fan of the whole thing but I'm especially charmed by the little high-pitched "shoot!"s and such in the background, and "WHO'S HEEE???"

The Willys: the song itself isn't even my fav but the PHYSICALLY! MENTALLY! MORALLY! part is always very chuckle-worthy. That's the wondrous humour I'm talking about here

That's Not Nastassia: Sparks songs with uncomfortably long endings my beloved... can also be pretty hilarious under the right circumstances (like listening to the vinyl of this album with my dad and watching his reaction). And can't forget how cool the transition into the last song is

[jacqueline-p-rose]

In this year I finally ditched Spotify for good in favour of rebuilding my music library offline and, since May, I have been collecting again the music that was lost to time in the great iPod crash of 2016. 98% of the music I listen to now are mp3s on my phone (using the Poweramp app), and most of those songs are ripped from CDs bought cheaply and secondhandly from eBay. I feel that I listen to music differently from the yoothes in that I put on an entire album and listen to it through, so in light of the recent flight from Spotify in hand with my unsuppressed FOMO, I've decided to give you my top ten albums of 2024. So hear, my Not-ify Wrapped 2024!

1 - Antemasque - Antemasque

This is the real reason it's a list of top ten albums and not top ten songs, because the top 12 most played songs on my list are the 12 songs on this album. It's great, not only my favourite album of (2014) 2024, but one of my favourite of all time. I wrote a little more about why here if you're feeling read-y.

2 - London Grammar - If You Wait

A classic of a specifically difficult time in my life, brought back into another increasingly difficult time of my life. "Interlude" specifically gets to me and makes me cry, and you KNOW how I love to cry!

3 - Soundgarden - Superunknown

When I first heard Soundgarden as a pre-teen I remember thinking it was a bit too heavy for me, like... Too metal. It's taken being in my 30s to finally appreciate this bad boy. I don't know what I was thinking back then, maybe I was as soft as un-moulded jelly, but it's now one of my favourite albums of all time.

4 - Le Butcherettes - Sin Sin Sin

A prize for accepting the challenge of trying new things. I love how perfectly this slots in alongside The Dead Weather, while being far more interesting. Beautiful, beautiful, wonderful thing to come into my life.

5 - Boys Next Door - Door Door

Nick Cave was a better father to me than my real father. This album (along with Henry's Dream with the Black Seeds) I have plucked from the nostalgia of dads cigarette-ridden Pajero and claimed as my own. I hope my children have a more positive memory of it in future.

6 - Made Out Of Babies - The Ruiner

Made Out Of Babies is my answer if someone were to ask me what my favourite band is, so it's a little surprising to me to see it so low down on the list, although it's really an even match for play count with most of the other stuff on this list. The Ruiner and Trophy are a fantastic extrapolation of 90's grunge into the new millennia. Coward I don't like so much, maybe I'll appreciate it the same one day, but it is not today.

7 - Warpaint - Warpaint/Exquisite Corpse/The Fool

Really it's only Warpaint that is this high on the list, but I'm including the other two because I often play them all in a row. These are very new purchases to be on the list at all, but my partner likes it so I can get away with playing it during the day. Drone-pop my beloved.

8 - Spectacular Spectacular - Blur

This album is always left off those lists of trans musicians that get shared about tumblr, which is a shame. It's not screamy punk or noisy synth so maybe it gets overlooked amongst the GLOSS and HERS and Against Me! types, but there are other trans experiences and expressions, and this is one. Beautiful and heartfelt, a must listen when I'm sad about boys (which is often).

9 - Audioslave - Audioslave

Though often thought of by the cool kids as less than the sum of its parts, I really dig Audioslave. Just because it plays on the radio doesn't mean you can't enjoy it too, loose your grip on ego and enjoy yourself, I know I am.

10 - Portishead - Portishead/Dummy

Some guy I used to work with put on Portishead one day and was crestfallen when I said "I used to cry to this as a lovesick teenager." He clearly thought he had found something super obscure and was proud of himself for showing it off. Serves him right for playing "Sour Times" the day after I broke up with my girlfriend.

Honourary mention - Adam And The Ants - Kings Of The Wild Frontier

The reason I say 98% of my music is offline is because I listen to Adam Ant a lot on Youtube. This album seems impossible to find as a CD for some reason, even though it was reissued in 2004. It's on Spotify, but I've been struggling to find a copy of it off the streams, so while it's not in my top 10 from Poweramp, it is top 10 in my heart.

So there you have it, my top 10 albums of 2024. There are at least another five albums I would have thought would be on this list and aren't, but I guess the stats don't lie. In an era where Spotify doesn't pay artists unless they get over 1000 listens, and even then their cut is split with the giants till it's almost nothing, I think there's no better time to cut the umbilical to constant access and be more intentional about the music we listen to and the artists we support. I buy digital albums from Bandcamp when I can, but even when I'm buying old CDs at least I'm actually getting something for my $15 a month. The wait for them to arrive in the mail and the space they take up means that I have to be very deliberate about what music I enjoy and will actively choose to listen to, and that makes me enjoy them more. Sitting with the album cover reading through the booklet as it rips onto my hard drive and plays in the background is very grounding, in a way it gives me confidence in other life decisions, it's small practice in making choices and expressing intention, and being rewarded for it. I highly recommend you to try this too, and maybe next year your wrapped will be music you have had a connection with and felt something about, and not just a bunch of songs you listened to without thinking.

[cleolinda]

Weekend links, April 7, 2024

My posts

This week feels like it has been a hundred years long (not in a bad way). 

Somehow we joined together to balance the seesaw just right so Ava Gardner and Jean Seberg could both go through in the Hot Vintage Lady polls (percentages rounded). Like, I’m wearing the Ava jersey and even I encouraged people to vote Jean when necessary. Honestly, I just wanted to see if it could be done. And it COULD. 

Round three has begun. It is already horrific. This is the first round that’s really going to hurt because we spent the last one really getting down in the dirt and championing our ladies, or learning about actresses we’d never heard of before and getting attached to them. And now? We are reminded: memento mori. Everyone loses but one. 

(I personally pitched in for Sara Montiel. “BUT JUST LOOK AT--” Yeah, I did, thanks.)

Reblogs of interest

April Fool’s Day: You were here for the Boopening, yes? The whole thing was that you only got badges for giving boops, not receiving them, which is a great way to not reward popularity contests, but also means that every last one of us was out here trying to figure out who to bap with a cat’s paw 1000 times. I said, listen, my notifications are already trash garbage today. I’ll take the bullet. Boop at will.

The Activity graph isn’t too clear on this point, but it looks like I had something like 65,000--hits? engagements? boops?--that day. Listen, I got the black paw badge too. We all did what we had to do in the Boopening. 

A Shakespearean boop of goodly length: “And, Meowntague, come you this afternoon, to know our further pleasure in this case, to old Food-bowl, our common judgment-place.” 

I had to go lie down awhile after a pun like “The Purrge.”

--

I had just gotten up from that pun and then I had to go lie down again.

Account security gothic

The Canada griffin

Dinotopia nostalgia

Two pairs of spectacles, one made from slices of emerald, and the other from slices of diamond

An old favorite: Cerberus as a puppy, guarding the gates to heck

I feel like these two posts have the same energy: Time cops will not let you travel back to the Titanic and bloodthirsty gazebos are currently in a dormancy period.

The birds are still troubled

PSA: The best sunscreens for your face

Video

A collection of various American Indian/indigenous American languages, including Navajo, Tlingit, Lakota, Colville Okanagan Salish, Cherokee, Yucatec Maya, Greenlandic, Mohawk, Yup'ik, and Mi'kmawi'simk. 

A trans health-and-wellness fundraiser (Mercury Stardust, Point of Pride, and friends) kept getting banned off Tiktok due to assholes. Here’s how to donate; I saw a few “here’s how they helped me” notes, so it seems like these programs are both legit and effective. 

You think you’re going to sit staring at this video because Chocolate Guy is weaving chocolate. Then you get into it, and it just keeps going.

“Too Sweet” is doing hilariously well on the charts for a song that didn’t even make the album proper. Hozier’s bees would like to thank you for your support.

I know I said that Stevie Nicks would make you sing backup on your own haunting, but late in this 1997 live performance of “Silver Springs,” she makes Lindsey Buckingham, the man she wrote this song about, look her in the eye while she belts it at him. This specific performance was released as a single (I was there, Gandalf) and nominated for a Grammy. Watch the video and you will see why.

The Women Those ‘Evolution Of Beauty’ Videos Leave Out

I don’t really know how to describe this rubberhose-style cartoon of Cab Calloway as a singing nightmare clown. Betty Boop is also there. “You just described it!” No, I really didn’t. 

How movable type worked 1000 years ago, from scratch.

Unrestrained seasonal yak fun

A snowy raven photoshoot

The sacred texts

I don’t know how to explain this double Sacred Text about ominous dreams that comes with its own comic, except to say that they’re so iconic that I first saw both posts in lo-res Pinterest screencaps.

April Fool’s: The ultimate sacred text.

Personal tag of the week

Wet beast Wednesday, which had both a headshake stickflip and bears on a swan boat.

[seeminglydark]

hi! is there are reason that you decided that cassette tapes would be john’s chosen form of physical media? how would john organize his music (i.e., genre, band name, release date) and what would john keep his cassettes in? i can imagine him either having stuff in old shoe boxes or a cassette case that he hand-painted himself!

Yes! It's my personal favorite form of media, I'm really partial to cassettes, i think from growing up in the early 90's when it was the norm, so imprinted on my brain. I love mix tapes, jumping up to smash the record button when my fave tune came on the radio, so id always miss the first 10 seconds haha, my first several cars had tape decks. i love Walkmans, it was such a HUGE thing in my life to be able to put headphones on and take my music with me for the first time. I translate a lot of that nostalgia to john. I always imagine him with his Walkman and headphones, or small portable stereo, in bed with all the lights off except the white christmas lights that criss cross his ceiling, Creaky on his chest, listening to the episodes on repeat.

John organizes his music by How Much he Currently Likes A Band, grouped by band name and then oddly enough by album color. (so if he had several cassettes by say, Social D, they'd be next to each other in rainbow or light to dark.) He does most things by color, he's slower at reading and alphabetizing is a bit of a chore and makes him feel self-conscious and stressed. He doesn't mix music and books on tape, they each have their own shelf. He does rearrange a LOT.

Right again re: shoe box and painting the cases! I actually wrote a little snippet of this a long long time ago that didn't make it into the comic, but you can have it now, under the cut.

'Caro eyes a shoe box on the shelf curiously, its covered in stickers, anti fascism and punk rock bands. 'Can i look at this?' they ask, he nods, his back to them. They pull it down and settle it in their lap, lifting off the top to discover... cassette tapes! Oh wait, John did say Maddie recorded their show for him onto cassettes. There were at least 40, all lined up in the order of episodes. Caro pulled one out, the white paper inside the case was filled in with bright colors and shapes, elaborate images of ghosts and snakes and monsters. They pulled out another. A cartoon portrait of the little blond, violet eyes wide at the barrage of brightly colored spirits hovering behind them. 'Is this me?' they ask out loud. John turns to look and freezes. 'Oh….' embarrassed. 'Uh yeah…' 'Wow the art is so…?' they murmur, pulling out another, this one done in greens and blues with metallics. 'Ive never seen anything like these before?' They saw a lot of fanart, but this was different somehow. It felt more personal. Like the person who made them really put their soul into it, like it wasn't just fanart to the artist, but something really deeply important. 'I…um….' Johns face is bright red now..' um…I mean, you know I dont have social media..' he reminds them softly, rubbing the back of his neck. 'Wait.' Caro looks up, he's so flustered now, shuffling his feet, ears on fire. 'These are YOURS? You did these?' Somehow they've forgotten he used to fill up notebooks with colorful drawings, street art and tagging. Liquid letters and cartoon animals with thick black outlines. 'Sure.' He shrugs and turns away, back to them again, 'I would draw on them while listening, you know. It just felt kinda sad to leave them blank. Maddie showed me some of the fanart online, and the box set of the first season. I can't do the same kind of art, I'm not good like those other people, but…I didn't want to leave them blank, so I made my own I guess.' he pauses. 'I'm sorry…you must think I'm so fucking weird.' 'I don't think its weird…' they murmur looking at the tapes. 'I think its really cool. I didn't know you were such a talented artist.' He laughs, a short bark that sounds like a cough. They put the box gently back on the shelf, and sit on the bed, deciding to spare him. They can see he's smiling though, even if he's trying to hide it with his fist pressed against his lips.'

[imhereonthekitchenfloor]

⭐️Now that I have listened through TTPD 6 times, I have reached my magic number where I usually can process an album. Review time⭐️

Review sorted by sections: 2 reasons this is not my usual cup of tea, musicality, lyrics, overall thoughts

I think every Taylor Swift album is good. This is a good album. This is not an album I would ever listen to if it were not by Taylor Swift. The "not my usual cup of tea" comes from the dark emotions and the sound.

The dark emotions are ugly as they are supposed to be. I know us tumblrinas love our high horse and "fake fans never saw Taylor as human" okay but I think I have but also I have an idealized version of everyone in my mind. It's hard to hear Taylor be happy at the time about being with problematic people or partaking in not ideal behavior. This is not what I want to hear from my older sister bestie figure

Musically not much is happening here? Slow tempo. Hard beat. Some synthetic sound as Taylor talk sings to some melody that consists of 2 notes. What happened to actually creating a musical experience with a melody😭😭😭 this is my biggest gripe with Taylor from folklore and on. She sacrifices musicality, and it's only getting worse.

These two combined means Taylor is painting a picture I don't like but isn't even giving me songs that are traditionally fun to listen to. I will say this album feels like an extension of Midnights but the chillness of folklore/evermore. It feels familiar to me. Thank you aimee, Robin, and the manuscript definitely scream sleepless nights looking at her past. The non midnights rejects feel like catharsis songs. Taylor had them in her head and had to release them (thus why they may sound lazy or alike). I love a long album (rip the Lover haters), but I wish there was more differentiation than Taylor's music becoming a chill synthpop melting pot. That's not why I signed on to being a swiftie. I signed on because I love her musicality. That's no longer what she is delivering.

⭐️Musicality⭐️

I feel like Taylor can do whatever she wants at this point and she has enough fans that will eat it up. But like any market, you make changes and you lose customers and gain different customers. She is not going to change to maintain her old fans. That being said, I know SO many people who listened to Taylor and love her country music but don't listen to her pop. I agree with them her country was better. It was so much more musicality focused!!! It was about writing songs that were enjoyable to listen to! And now for the fandoms "this is so satisfying to listen to" we get synth beats with a singular synthetic background instrument. (This is a jack antonoff hate blog btw.) This isn't why I am here!! I have been clear about that from folklore on I was here for the music not some chill song that has poetic lyrics. I might be the only one here for those reasons but I still hear hints of that insane musicality in her songs and I am invested in Taylor personally. That being said:

⭐️Lyrics⭐️

The lyrics are obviously carrying the album. I enjoy debut and would not say that about debut. But it's the truth for ttpd. Lyrics are not why i became a fan but they are what made me invested. The reviews complaining about the album tend to point to the lyrics as nonsense but I think they were very purposeful. But to go back to me being invested in Taylor herself, I WANT to know what the lyrics are about. This "don't paternity test the lyrics" business combined with lack of traditional bops or fun songs (I can do it with a broken heart excluded of course) is SUCH a boring perspective from someone who is invested in Taylor and what happened to her. Yeah yeah she doesn't want us judging her and choosing what's best for her a la who's afraid of little old me and but daddy I love him. However, if I am not here for Taylor personally and I am not here for the musical sound, why am I here? Nostalgia of what once was?

⭐️Closing Thoughts⭐️

Overall, this album is good but stagnant. On a 1-10 scale, I would rate most songs between 4 and 6 with a couple 8's. Midnights was a more dynamic version of this album and was 3-7 with a couple 10's. Debut through lover was the full 1-10 scale. I feel like we are melting towards an average of "good enough". Lyrically Taylor writes poetry. I am not a poet. I am a nosy girl who likes Taylor's melodies. I enjoy the album. Taylor can never disappoint me. Every album my standards for her drop. I will fight anyone who dislikes her. TTPD was not written for me and I get it. But I feel conflicted not being all adoration on the adoration and praise fandom website.

[sharktunes]

Golden Days and Gray Skies: The Nostalgia of Fearless (Taylor's Version)

As a longtime Taylor Swift fan, I was beyond excited for the release of Fearless (Taylor's Version). This album holds a special place in my heart, as the original Fearless was the soundtrack to my childhood year. Taylor’s decision to re-record her early albums is not just a business move, it’s a powerful reclaiming of her music and her story.

Track list

Fearless The title track is such a perfect opener. It captures that feeling of young love and adventure. Taylor’s voice sounds even more powerful now, and it makes me feel all the butterflies again.

Fifteen This song just feel so high school. It’s all about those first crushes and the lessons we learn. The way she tells the story is so relatable, and I love how it feels like she’s giving us advice from a big sister.

Love Story This is an absolute classic. It still gives me chills every time I hear it. The romance in this song is timeless, and it feels just as magical now as it did back in 2008.

Hey Stephen This track is just pure fun. It has such a catchy beat, and the lyrics are super cute. You can’t help but smile when you listen to it. It’s all about those exciting crush moments.

White Horse This song hits hard. It’s about realizing that not every relationship is a fairy tale, and Taylor nails the emotion here. Her voice is so raw and beautiful, it really pulls at your heartstrings.

You Belong With Me Who doesn’t love this anthem? It perfectly captures that feeling of wanting someone who doesn’t see you that way. The chorus is super catchy, and I still find myself singing along every time.

Breathe (feat. Colbie Caillat) This collaboration is so soothing. It talks about the pain of letting go, and both their voices blend beautifully together. It’s one of those songs that makes you feel all the emotions.

Tell Me Why This track really captures confusion in relationships. You can feel her frustration in every line, and it’s so relatable for anyone who’s been through a tough breakup.

You’re Not Sorry This song is all about betrayal, and Taylor delivers it with such power. You can hear the hurt in her voice, making it a standout moment on the album for sure.

The Way I Loved You I love how this song contrasts a passionate relationship with a more stable one. It really shows how complicated love can be, and the storytelling is just amazing.

Forever & Always This one hits home too. It talks about heartbreak, and Taylor’s delivery makes it feel so real. You can really sense the pain in her voice.

The Best Day Aww, this song always makes me tear up! It’s such a sweet tribute to her family, especially her mom. The love she expresses here is so genuine, it warms my heart.

Change This track is all about overcoming obstacles, and it gives me chills. The message of resilience is uplifting, and I love singing along to this one. It feels empowering.

Jump Then Fall This track is such a bubbly addition to the album! It’s all about the excitement and innocence of falling in love. The cheerful melody always puts a smile on my face.

Untouchable The dreamy, soft vibes of this song are mesmerizing. It has a unique atmosphere compared to the rest of the album, and Taylor’s voice sounds magical here.

Forever & Always (Piano Version) This stripped-down version is heartbreakingly beautiful. The raw emotion in her voice paired with the piano makes it even more poignant than the original version.

Come In with the Rain A hidden gem! This song is so underrated. It’s about waiting for someone to come back into your life, and Taylor expresses that yearning so well.

Superstar This sweet song feels like a love letter to a distant crush. The starstruck tone and tender lyrics make it feel personal yet relatable.

The Other Side of the Door This is one of my favorite tracks! The bridge is absolutely iconic, with Taylor pouring her emotions out in a way that feels so authentic. It’s a perfect mix of drama and vulnerability.

Today Was a Fairytale This song is pure magic. It’s light, romantic, and feels like it was taken straight out of a fairy tale. It’s a timeless track that complements the album beautifully.

Vault Tracks

You All Over Me (feat. Maren Morris) This new track is fantastic. It talks about memories after a breakup, and Maren’s voice adds something special to it. I can totally relate to the lyrics.

Mr. Perfectly Fine Such an upbeat song! It’s catchy and fun while reflecting on moving on from someone who wasn’t right for you. I find myself dancing every time I hear it.

We Were Happy This one feels nostalgic and bittersweet, like looking back at happier times in a relationship. You can really feel the longing in her voice, which makes it so relatable.

That’s When (feat. Keith Urban) A beautiful duet about timing in love. Their voices work so well together, and the lyrics are heartfelt, definitely one of my favorites from the vault!

Don’t You (feat. Phoebe Bridgers) Wow, this song is hauntingly beautiful! It dives deep into heartbreak, and both artists bring so much emotion to it. It just sticks with you.

Bye Bye Baby This closing track wraps up everything nicely. It reflects on loss but also hints at moving forward. Such a perfect ending to an amazing album.

As a Swiftie, I absolutely love this album so I would give the whole album a 9/10 rating. It's nostalgic yet fresh, showcasing Taylor's incredible talent as both a songwriter and performer. If you are a person who loves country pop, I really do recommend this album for you to listen.

-Ashjoe

[not-the-dum-e]

Definitely gonna need to read lyrics for these songs, the music is so interesting.

Drum Beat

Straight off, great choice for title track, it's such a catchy, feel good song that sets up the pace for the rest of the album.

Onew's rapping is so good in this, it suits the song perfectly a highlight on a song full of great moments.

I love the outro, that kinda talky bit at the end sounds so nice I don't even know why but hm, hits just right.

I wish it was longer, I could listen to a five minute version of it, but I will have to settle for looping it ┐⁠(⁠￣⁠ヘ⁠￣⁠)⁠┌

Hola!

The vocal melody in the beginning of the verses reminds me a lot of latin american pop from the 70s and 80s. It's such a strange thing to me because the song instrumental itself (sans the percusion) is very different, taking sounds more specific to bosa nova, at least that is what it sounds like to me, I had not heard that combination before and gives me a strange sense of familiarity and nostalgia (at this point I was interrupted by Onew's live lol)

Made me wonder if the latin influence is on purpose, since the title is hola, if so 10/10 executed perfectly. Why haven't i heard any latin american artists do something like this?(if anyone has any recs for something that has this same kind of sound, in any language, but specially spanish please let me know)

Maestro

Contender for favorite on the album from the first listen, the bass line, the syncopation and how spacious? the chorus sounds. Floaty, idk you get what I'm saying?

The robotic voice too just fits the mood, the entire song is full of so many textures and layers, pulling forward and falling back, it's so engaging.

It reminds me a little of MGMT's Little Dark Age, but with the added charm of melodic breaks that are more grounded.

To say that I love it is just not enough.

Shape of My Heart

There is this sound in the background, that sounds to me like someone is carving/shaving ice? or perhaps sharpening a blade, i need lyrics for this one haha.

Either way the piano chords sound kinda out of tune at times, like a really old piano; or perhaps it's like a distortion —like the piano is coming in and out of focus, some chords are rattly, out of tune. This song has a lot of interesting stuff going on in the background.

The outro though, it feels like suddenly everything is finally sorted out, every element fits together by the end, the vocal melody, the chords on the piano stop sounding distorted, and it all sounds melodic and sweet. Also those backing harmonies to boost that feeling of order and peace, where before everything was extremely chaotic, going in and out of focus.

It sounds like resolution, i really need the lyrics for this one. I looped it a lot just to get this down, it's such an interesting sounding song.

월화수목금토일 (All Day)

Now I've been listening to this one quite a lot since it came out, and it still is such a feel good kinda song, which seems to be a thread through this whole album, it's so catchy no wonder he picked it for a pre-release.

It showcases his vocals beautifully, what else can I say?

Focus

The synths, the dramatic rests, come on.

I think Shape of My Heart took most of my brain power cause I'm struggling to come up with more than that, but it's a great song, great closer.

The instrumentals in the whole album compliment his voice perfectly, I can't imagine how hard it was to pick the title, half the songs in the album could be strong contenders for title.

I do wish the songs were a bit longer though, but that is just a teeny tiny thing, really.

I keep thinking about it and there is a lot of joy in this album, idk why i got that impression, because it's not like all the songs are happy, maybe it's just Beat Drum, All Day, and Hola!.

I love it so much.

It is just as 'Onew like' as Circle, even though it is so different.

I hadn't really realized how much I had missed him during this hiatus, and it seems to have hit me all at once now. I'm so happy that he is back and maybe that plays a role on it too.

It does seem like the ten months of rest did wonders for him and I can feel a huge amount of joy in the music. He seems to be really happy to be back making music again, and it shows in every second of this album.

He really seems to know how to express himself through music, and it's just wonderful to be here to witness it💖

[shineemoon]

SHINee ✨ Femina India Interview FULL Interview → HERE

You’ve always been completely ahead of the curve when it comes to genre, often blending several sonic elements in one album. In this album, for instance, you have wobbly drum and bass and soulful vocals on The Feeling, a really fresh take on the clear drum breaks of ’90s hip-hop on HARD, and dance-pop on Identity. Yet, you can tell a SHINee track from a mile away. How do you connect so many diverse sounds to the SHINee colour, and what – in the first place – would you say is SHINee’s colour? KEY: Rather than defining SHINee with one colour, I believe SHINee’s colour consists of all the colours each one of our fans sees us as. MINHO: SHINee is quite an interesting team because we have the ability to make any song into SHINee’s own colours. It’s our biggest weapon. We’ve built up this skill since our first album, and it only strengthened as we tried out various genres and concepts. Now, all our members know how to make any track SHINee-like. TAEMIN: SHINee’s colour is a combination of the various music styles we’ve experimented with. Without being limited to a specific genre, we capture several different colours and find SHINee’s own way of uniting everything into one.

SHINee has a way of tapping into a collective sense of nostalgia – whether we go back to View, Married To The Music, or 1 of 1 even. Yet, you somehow manage doing this in a future-forward way with both your look and sound. How do you access and communicate a wide spectrum of emotions for people across borders and gender? KEY: Songs and melodies are very effective in expressing emotions and conveying messages to different people and genders. Though the lyrics might be interpreted differently depending on one’s culture, I believe a melody has a relatable power for everyone. MINHO: We try to convey emotions directly instead of hiding them. One of those characteristics is being upfront about how one feels and not hiding one’s emotions. TAEMIN: Even if we do not speak the same language, it’s the energy we’ve poured into this album that makes it possible for us to connect and communicate with those who listen to it.

Often, when you’re with a group of people who end up knowing you inside out, it helps you to see yourself more clearly. How would you say the close bond that exists between all of you has affected or changed you? TAEMIN: I was able to learn a lot from my (fellow band) members since they are all very talented. The bond we’ve formed through our time and experiences together is such a valuable gift to me.

How does the future look? KEY: SHINee will always remain the same. MINHO: The future will always be SHINee. TAEMIN: I’d like to live a happier life by giving back to our fans with good music and maintaining the precious relationships we have together. And I hope to perform overseas more often.

[brighteyedbushybrowed]

Do you think you could do headcanons for the Papas and a reader who has their own band?

Aaaaa this gave me memories of when I used to write band fics 10 years ago and I felt such a wonderful sense of nostalgia bc of it so tysm for this request!!!

𝐏𝐫𝐢𝐦𝐨

Primo loves that you also have a band!!

Even though he's retired now, he likes to have little writing sessions with you where you both write song lyrics

He attends as many shows as he can

Unfortunately with his age and his body being a little more frail than he'd like he can't attend every single show

Sometimes he'll sit in on your band's practice sessions and will simply watch and listen

He doesn't give any opinions or feedback unless you ask him to as he doesn't want to overstep

If you ever dedicate a song to him during a performance, get ready for a very emotional Primo afterwards

He buys all your albums, both on CD and vinyl, as well as t-shirts and merch for the siblings at the abbey so that they can support you too

𝐒𝐞𝐜𝐨𝐧𝐝𝐨

There's a little bit of playful rivalry between the two of you

This was especially prevalent when he was Papa

It was never a serious rivalry. It was a silly but fun one that pushed the two of you to be the best you could be

Now that he's no longer Papa, Secondo will frequently attend your shows

Absolutely will pay extra to buy VIP tickets so that he can meet you backstage rather than using his influence to get what he wants

Wants to feature on one of your songs but he also doesn't want you to feel like he's trying to insert himself in your professional life

Anyone who tries to say that your band is only successful because of your association with Ghost will live to regret those words

Incredibly proud of you and everything you do. He's even got a few framed posters of your band in his room (though he'll never admit that to anyone other than you)

𝐓𝐞𝐫𝐳𝐨

Probably met you and your band at an awards ceremony

Definitely became one of your biggest fans after he looked up your music and videos of your performances and live shows

Frequently wears your brand's merch around the abbey when he doesn't have to be dressed all smart and formal

Offers for Special to go on the road with you to act as like a spokesperson for your band like he was for Ghost before Terzo got removed from his position as Papa

You should probably expect to find him waiting for you in your hotel room after shows he attends because he always wants to congratulate you in person as himself, not with the makeup and the costumes and the persona he puts on for everyone else

Now that he's no longer Papa, he has more time to attend any awards shows with you or events you get invited to e.g. movie premieres

And let me tell you, the cameras and the paparazzi eat the two of you up every time you attend an event together

However, Terzo makes it very clear to anyone and everyone who'll listen that your success and fame is all because of the hard work you and your band put in and nothing to do with him or Ghost

𝐂𝐨𝐩𝐢𝐚

You know how we're all simps for Copia and would die for him? (Work with me here if you don't feel this way)

Well that's Copia with you and your band

He doesn't write fics or make fan art because honestly he doesn't have the confidence in himself or his skills to do it

But he loves to see all the fan art that people post online of your band

Will send you links to some of his favourites because as Papa he knows how much that can boost your confidence and reassure you that your fans love you, no matter what pissy little haters hiding behind their keyboards may say

Will hum or quietly sing your band's songs while he works, even if you're in the room with him

Puts you in touch with the costume designers and stylists for the band any time your band has photoshoots or big events

Like Terzo, he will attend events with you but he prefers to let you have the spotlight. He already gets so much attention as Papa, he wants you to have your moment to shine and bask in your achievements

𝐍𝐢𝐡𝐢𝐥

I'll be honest, he gets a little jealous at first

Things didn't work out when he was the frontman of Ghost so of course he becomes envious of you and your band's success

This manifests itself a little as him being kinda snarky at first

But after a while the jealousy stops and he turns his shit around to become more supportive of you

Now he's a big supporter!!

Admires how your band have been able to be so successful where he failed in his youth

Doesn't attend shows due to his age, but he will meet you backstage at the ones closest to him to wish you luck and congratulate you before and after shows

Has vinyls of your albums in his office to listen to when he's alone

[spiders-hth-is-an-outlier]

This is a post absolutely nobody asked for because 0 of you follow me for Takes on music, but one of the pop music podcasts I listen to has been all in on Pop Girl Spring, and they played a little game the other week where they did a draft for the top 10 songs from all the albums they’ve been covering – so that’s the new releases by Taylor Swift, Beyonce, Maggie Rogers, Gracie Abrams, Dua Lipa, Billie Eilish, Charli XCX, Ariana Grande, and Kacey Musgraves, plus the currently charting album-less singles by Sabrina Carpenter and Chappell Roan.  And while I don’t have the fun structure of a competitive draft to play with, it did make me sit down and hash out my own Top 10, and I have literally nowhere to put the fruits of all that effort except Tumblr, so here’s way, way more words than anyone asked for about POP GIRL SPRING.

Listed in not-exactly no particular order, but also not in This Specific Order, like, this is not a countdown, I’m not ranking them with great specificity or anything.  The 10 songs I need on my imaginary Pop League Team.

Good Luck, Babe! (Chappell Roan): Rise and Fall of a Midwest Princess is a great album and I think Roan has a great career ahead of her (knock on wood), but this is the first song she’s released that feels like a Timeless Hit to me, like the kind of thing that’s going to show up in Buzzfeed quizzes in the 2040s about picking the best songs from this decade.  On god, this could be one of the best pop choruses ever written – starting with that fucking high note is such a flex! – and it’s such a poster child for how great, earwormy pop music can tell a fairly specific story and make it feel deeply universal.  Legendary.  No notes.

Espresso (Sabrina Carpenter): SONG OF THE SUMMER.  Is it a better pop song than Good Luck, Babe?  No.  Is it the Song of the Summer anyway?  Yes, because those aren’t supposed to be Timeless, they’re supposed to make you forever remember *this specific summer* in your life.  It’s a great song with an unbeatable hook, and I dig the fact that it makes just slightly less sense than it probably should – caffeine is the metaphor for…how you’re going to stay up nights thinking about Sabrina Carpenter?  Okay.  Whatever you say.  It’s not a song about anything, which sometimes is bad but in this case is amazing, and there’s something marvelously audacious about committing to lines like “walked in and dream-came-true’d it for ya.”  Bonkers.  Delightful.  Carpenter has put out like 4 albums which does not seem possible for someone I up until now only vaguely remembered as “was on that nostalgia-bait Boy Meets World sequel series,” but man, she came to play with this one.

BILLIE GETS TWO

BIRDS OF A FEATHER: Hit Me Hard and Soft is a fantastic album, managing to edge further into straight-up pop territory without compromising the distinctive voice that’s made Eilish the Snobby Music Critic’s Pop Princess.  I have no idea how long she’s going to be able to (or want to) keep splitting the difference between these two identities, but she’s doing it right now, probably doing it better than anyone since Little-Earthquakes-era Tori Amos.  I chose this song because I think it does the best job of fusing those elements: it’s a right-down-the-middle love song in the classic pop vein of “i know my baby is a life-ruining trainwreck but honestly i do not care,” and it’s got good mid-tempo ballad structure with that little bit of haunted-ness that is Eilish’s signature sound, and I just think it’s probably the most solid song on the album.

CHIHIRO: This one is my *favorite* song on the album, which is why it’s here.  I don’t know what it’s about.  It’s not particularly “radio-friendly” (is that a thing anymore? What do we say instead of that? Digestible?)  It’s slinky and vaguely threatening and it just feels like a song that nobody else could do. It’s the one that’s been most consistently stuck in my head since I first listened to the album.  I feel like it’s flying under the radar a little, but I’m super here for it.

The Kill (Maggie Rogers): I feel like people sleep on Maggie Rogers because her marketing aesthetic seems kind of like, navel-gazing folky singer-songwriter, which is not all that Of the Moment right now.  But the thing is, that’s really not accurate at all!  Her music is just straight down-the-middle, strongly crafted pop, WHY is she not more famous?  She’s so good!  Don’t Forget Me is just so, so solid as a pop album, crammed full of songs that are massive hits in some alternate universe. “It Was Coming All Along” is my personal favorite, but for this list I’m sticking with The Kill, just because it seems to be the closest thing to a breakout hit off the album and I want to hype it up.  It’s a bouncy, incredibly sing-along-able song about a mutually destructive relationship, what is not to love.  Pop music was invented for this.

BEYONCE ALSO GETS TWO

BODYGUARD:  Look, I’m going to level with you, I wanted to like Cowboy Carter a lot more than I did. For me, the album has exactly the same flaw as Renaissance did, which is that it fundamentally feels like Beyonce has done a *ton* of research for her music history degree, stuffed every bit of it into the album, and by god you are going to listen to her senior thesis on the Black roots of popular music.  Both albums are like – so smart and so sincere and they just feel – a little bogged down to me.  I don’t know.  This may be entirely because I am just not on Beyonce’s level here, but there’s something about Cowboy Carter that makes it hard for me to really love as an album, rather than as a project.  That said, there were several tracks I really liked, and this one’s probably my favorite, maybe because it sounds the most authentically like a Beyonce track to me.  Whatever you think of Jay-Z or of the Carters’ marriage, it’s undeniable that a huge part of her as an artist and a human is tied up in this idea of being one half of their partnership, and when she does these “it’s me and my baby versus all the rest of you bitches” songs, she always strikes what to my ear is her most authentic, heartfelt notes.  BODYGUARD has a cool, California-road-trip kind of vibe that puts me in mind a little of “03 Bonnie & Clyde,” but appropriately, more grown-up now.

YA YA: After complaining that a lot of her recent music feels a little too overstuffed with References, I have to say that this is one of the worst offenders – but it fuckin works.  This feels deeply retro but not at all in a corny way, a great update of a certain kind of mid-century honky-tonk music that makes it feel vital and current.  I don’t think Beyonce has truly hit the same high in terms of weaving her politics and her music together since Lemonade, but to me this song stands up well alongside that album (which for the record, I think was a generational achievement, a truly transcendent work of art).  Also, as appropriate for a song whose theme is “shake your ass in defiance of a world that does not care about you,” the ass-shaking game is on point!  I honestly wish this song had received all the success that went to TEXAS HOLD ‘EM, which is a song I truthfully feel is hokey and try-hard.  This one covers the same ground but infinitely better.

Von Dutch (Charli XCX): I am a naysayer to Brat Summer, I’m sorry to say; I think Charli is a fairly decent pop musician and Brat is a fairly decent pop album, but I do Not get the hype.  It’s got some worthwhile tracks, and I do appreciate that she’s allowed some space to excavate less-common themes in pop music – songs about wondering if now is when she should be having kids, about wrestling with the way that other women bring out her personal insecurities – rather than just the genre staples of Love and Partying and Being Awesome.  That said.  I think the best song on the album is just a regular-degular banger about partying and being awesome.  If it ain’t broke, don’t fix it.

YES, TAYLOR ALSO GETS TWO (man, it’s a 31-track double album! Get off my back!)

Down Bad: One of the things I don’t think Swift gets credit for, due to being overshadowed by the Harrowing Constant Drama of her personal life, is that she legitimately has a dry, off-kilter sense of humor that brings much-needed levity to the Harrowing Constant Drama of her body of work.  TTPD is, among other things, a *funny,* self-aware album about how knowing full well that your emotions are absolutely unhinged vis-a-vis actual reality doesn’t actually do jack shit to keep you from drowning in those emotions.  A lot of the hate for this album has really come from people who Do Not get the joke, who are cherry-picking verses and single lines from deeply self-aware songs without providing the context of that self-awareness.  I love this song.  I love the chorus: crying at the gym is a detail that’s perfectly, wryly relatable in its absurdity, and “everything comes out teenage petulance / fuck it, if I can’t have him I might just die” in that swingy, chipper groove is exactly why no one does it like she does, packing all that ambiguity and frustration and self-loathing of your own irrationality into a great hook.  I love the fuckin alien abduction framing device to talk about a relationship whose impact inside your own head and heart is wildly out of proportion to its impact on the materiality of your daily life – a relationship that *might as well have* happened on an entirely different planet than the one everyone else lives on.  It’s great.  This is a great song.

The Albatross: So I wanted for the second TTPD track to pick something from the other side of Swift, the one that *is* deeply, irretrievably, uncomfortably emotionally sincere.  There were definitely some strong contenders, but I kept coming back to this song, which I actually have heard very little chatter about, but has snuck up on me as an album favorite.  I try not to get too lost in the labyrinth of Swift’s endless Easter eggs and self-mythologizing, but this is a song that I do think benefits from understanding its place in her personal biography; specifically I think it gains a lot from seeing it as a companion piece to “The Archer,” a softly agonized song from the beginning of a relationship about the duality of predator and prey, about wanting to go all-in but dreading the part of you that you know is capable of sabotaging this.  The Albatross is – a softly agonized song from the ending of that same relationship about the duality of destruction and salvation, about wanting so much to protect someone you used to love from the havoc *that same love* has ultimately inflicted on their life.  There’s a whole novel lying in the space between these two songs, and both of them feel raw and intimate in the way they expose the pain and vulnerability and shame that shadow the act of allowing yourself to love someone.  TTPD was, in my opinion, rushed out too quickly, an experiment in presenting Swift’s emotions in a more unprocessed, uncrafted way to make a statement about art as a survival mechanism during emotional times, but an experiment that doesn’t entirely work; it truly could have benefited from another six to twelve months of cooking and a strong editorial pass.  To me, this song is a glimpse of what TTPD could have been if instead of being rushed to press in the middle of her ginormous tour for the sake of her own catharsis, it had been given the space and attention that Folklore/Evermore were given.  The Albatross is truly (like The Archer before it) an optimal wedding of Swift as a chronicler of her own interiority and Swift as a generationally gifted musical craftsman.

(I had a couple of also-rans, so shout out to Dua Lipa’s “Happy For You,” a song I really loved off an album I thought was kinda phoned-in overall, and Gracie Abrams’s “Tough Love,” through which I learned that there could potentially be something interesting about Gracie Abrams, someday.)

[seaofreverie]

Sparkstember Day 24: FFS (Things I Won't Get)

I have something terrible to confess, which is that at first I was not much of an FFS fan, at all. I actually actively DISLIKED most of what I've know from them at that point, which was what the Spotify algorithm seemed very content to throw at me whenever possible until it eventually forgot about it. Well, nothing wrong with that I guess, but I also want to think that most of my initial aversion to this project came from how I was still pretty, uh, close-minded in a sense when it comes to music at the time (and I'm saying all this as though FFS is even THAT much of a departure from Sparks, which it's really not? But maybe I just I saw it differently back then, which I guess is also fair).

But yeah anyway, I had a huge change of heart a couple months later, decided that all these songs are incredibly cool actually and I'm a huge fan now. This is a very solid collaboration and album and I'm so glad this happened. Like, it really is among my very favourite things from Sparks that I barely ever think about in such terms for some reason. Because I've noticed that I treat FFS more like a compliation than an album maybe? Cause yeah I'm pretty sure this is the only album where I have 30-40+ plays on several songs and only around 5 or so on a couple others. And I'm not super attached to the order of the tracklist either, and I'm mostly saying this because I've been a 100% albums over playlists type of person for the longest time. I will listen to the whole album start to end even if I don't like everything on it. It's like, well, if I like the whole thing enough to revisit it, then too bad, I'm sitting through it all until I can enjoy everything on it to at least some extent.

Overall, to me this album embodies that mid-2010s electro pop / indie rock energy that I love very deeply, in the sense that it feels appropriate to think, had I known about it back in the day, I feel like I would have LOVED it and it would have been my personal soundtrack of those early middle-school years of my life (or even earlier, I have this one note of me saying that "FFS is so primary school-core it hurts", so. While it didn't exist in the world yet at that time it still FEELS like that time, and I absolutely love it when music reminds me of a period in my life from around its release even if I was absolutely not aware of it yet at that point. It's like this source of free nostalgia that you didn't know would be attainable from this particular place.)

Also I will just say that it's ENTIRELY because of FFS that I eventually decided to give FF a go as well, and now I'd consider them one of my favourite bands, so, well, heck yeah to that!!

Favourite songs (and other highlights):

Johnny Delusional: oh yeah, I think it's important to note that it was especially THIS song that I found annoying as heck in the beginning. I thought it got very schematic and predictable at points (the long pause after the bridge especially I found to be so.... ahhhh come on, I could see this coming from a mile away!!) All of, which... well, maybe that was still a valid point in a way, but who cares since I love this song now, absolutely and completely and it's just soooo replayable. Every day is a good day to listen to Johnny Delusional a dozen of times

Call Girl: huge huge fan of the intro on this one and that whole wobbly synth sound it has

Dictator's Son: I really like that little guitar riff moment during the bridge

Police Encounters: notably the only FFS song among those early ones for me that I really liked from the start. And it's the ultimate jam, it's incredible how instantly happy and energized this song always makes me feel even after so many listens

Save Me From Myself

So Desu Ne: maybe the biggest offender (positively) when it comes to that "primary school-core" sound. Those cutesy synths are so important to me personally

The Man Without A Tan: realized quite regrettably late how much of a banger this is

Things I Won't Get: you know how it is with me and Russell's falsetto

So Many Bridges

[emotionallychargedtowel]

shuffled (sort of)

I was tagged for this by @lurkingshan and it looked like fun, so I made up a way to participate even though I don't listen to music on any of those services that people tend to use for these things. The closest I get is listening to things on youtube so I made a list of songs the YT algorithm suggested to me. That list was a bit long so I used a random number generator to pick ten. Well, I really hit paydirt. I couldn't have come up with a better list if I had chosen it all myself.

And then weeks went by and I sat on this nearly-finished post for no good reason! Now I'm dusting it off and getting it out of my drafts.

I'm never big on tagging people on these things, it makes me incredibly anxious. But after this much time has passed, I really can't imagine doing it. That said, if anyone reads this and feels inspired to do it too, please consider yourself tagged.

Orange Juice - I Can’t Help Myself

One of the best tracks on my favorite Orange Juice album. This is a really good distillation of their sound that shows their influences really clearly (postpunk, classic soul, the Velvet Underground, Chic, the Buzzcocks, etc. etc.) while showing how they did something with them that's completely their own. It doesn't hurt that no one sounds quite like Edwyn Collins.

SZA - Ghost in the Machine

For a couple of years now I've been trading song recommendations with a close friend of mine. In other words, we take turns giving each other a song to listen to. It's been great, in part because our tastes are pretty danged different (though with enough overlap to have common ground). I've found out about a lot of amazing stuff through her but I don't think there's a song that has stuck with me more from this project than Ghost in the Machine. This song just keeps giving me goosebumps after...it's been a year and change, I think.

Taemin - Criminal

Years ago I asked my old internet friend Kate (who I've been interacting with since our livejournal days) about kpop. She has always been better than I am at keeping up with new music and I knew she knew a thing or two about it. She gave me a short list of songs to check out and Criminal was on it. It didn't quite click at first but it stuck in my brain somehow. I came back to it later and boom. It clicked big time. It reminds me of a few things. The la-la-la part definitely has a debt to Kylie Minogue's Can't Get You Out of My Head and the lead-up to the chorus reminds me of Roy Orbison's I Drove All Night. It has a retro quality that probably makes it more palatable to a middle-aged listener like myself but when I hear the synthpop tones of my childhood through a contemporary filter I don't get nostalgia so much as a distorted time-warp feeling (in a nice way).

Brave Girls - We Ride

A while back I was emailing back and forth with another friend of mine who I talk to about music a lot--wow, I didn't know that was going to be such a theme here, but I love it--and we were talking about new and old East Asian pop genres. He made me a list of a few recent kpop and jpop songs that he thought were reminiscent of city pop, an 80s genre out of Japan that's a favorite of his. There were quite a few winners on that list but this song is the one I've listened to the most. There's another theme: sounds from my formative years filtered through a contemporary lens. I can see why my friend associated it with city pop. The combination of disco/funk elements (like that choppy Nile Rodgers guitar part) and soft pop (the harmonies, the synth strings) fits right into that category. These elements were everywhere when I was a kid but they didn't get put together in this way.

Tsunami - Be Like That

This song about a has-been ex-boyfriend is more relatable to me in my 40s than it was when I first heard it in my 20s, but that's how old Jenny Toomey was when she wrote it. I've never gotten super into Tsunami despite liking a couple of their songs quite a lot (this one, and Valentine, from their album Deep End). I should probably revisit them. They always had a way with washy guitars and interesting chords, and Jenny Toomey's voice is legendary for a reason. (The version of I Only Have Eyes for You that she recorded with Grenadine, her side project with Mark Robinson from Unrest and the drummer from the Eggs, makes really good use of that voice. It's fucking exquisite and literally gives me goosebumps.)

Spoon - Me and the Bean

This one's a bit personal. I was active in the indie rock scene in Austin in the early 'aughts when Spoon was transitioning from their status as a cautionary tale of major label abandonment* into the period where they reached greater heights on an indie than that major label ever would have allowed. That scene wasn't very big so it's not surprising that in addition to Girls Can Tell-era Spoon being nearly omnipresent for a period of my life, I also have some personal connections there. Anyway, people seldom notice that this song is a cover. I never saw the Sidehackers, the band who originally performed the song (I'm not sure if they even managed to record it). But if this song ends up being what people remember most about them, it would make a respectable legacy. I don't know the later Spoon stuff as well as this era, but back then, there weren't a lot of Spoon originals that were as overtly emotional as this one. (You didn't typically hear a line like "I have your blood inside my heart" in an original Spoon song.) Britt Daniel may not have written this, but he doesn't hold back in his performance. So I always appreciated how it balanced out the more emotionally reserved style of the other songs on Girls Can Tell.

*They channeled the experience into songwriting to good effect. "The Agony of Lafitte," about the A&R guy that signed them to Elektra before the label screwed them over, is probably my favorite Spoon song.

the Chills - Pink Frost

I feel like so much has been written about this song that there isn't much point trying to say anything about it. It has a truly important place in the history of New Zealand indie music, and the events surrounding it are pretty interesting. But mostly it's just a really well-crafted piece of dark, sneakily poppy post-postpunk. Among people my age with similar tastes to mine, I can't think of a song that ended up on more mixtapes. (Though a friend of mine always used to say he regretted that he couldn't really put it on mixtapes for girls he was interested in because of the whole murdered girlfriend aspect of it.)

Veronica Falls - Misery

This song is obscenely catchy. It only takes one listen to get me singing it to myself in the kitchen for months. It's pretty fun to sing to oneself, in the kitchen or otherwise, but I'm sure it would be a million times more so if you could reproduce the harmonies with a partner. Veronica Falls really are unparalleled in the harmony department, and it's even more enjoyable because they usually use those pretty harmonies to sing about morbid, depressing things. And that juxtaposition never feels like a schtick to me, which it easily could in the wrong hands.

Bolbbalgan4 - Dream

I've gotten into quite a few songs because they were featured on kdramas, but this is the only song where it happened the other way around—I liked it first, then watched Hwarang because of it. There was a video for it on youtube with clips from the series and the song made the show seem more interesting. Not to imply anything negative about the series, I think there's a lot to be said for it. But it was this song that made me want to watch it. I love this kind of super emotional kpop song that's so plentiful in kdramas. Maybe it's because during the decades when rock music was de facto banned in South Korea the country's dominant genre was the ballad. Maybe it's because of that particular brand of despair that kdramas excel at so much, coming up in a slightly different setting. This type of song is just more emotional in a certain way that any other genre I've run across. And this particularly example is, to my mind, the pièce de résistance.

Shearwater - Breaking the Yearlings

This is one of the highlights of Animal Life, which is my favorite Shearwater album. It took me a while to warm up to Shearwater. The thing that really sold me on them was going on a whim to see Jonathan Meiburg play a solo acoustic set in front of a tiny audience at the Cactus Cafe. I think maybe some friends of mine opened for him or something, because something must have gotten me in the door. I ended up being really glad I went. Meiburg's set was downright mesmerizing, and I was sold on Shearwater from that point on. This particular song gets in my head a lot because the washing machine in my building puts out this one repetitive tone when you're starting a load of clothes that is really close to the opening notes of this song.

[koolades-world]

Spellbound Secrets

playlist

current length: 32 minutes long

current amount of tracks: 8

hello! i assume you're here from a chapter of spellbound secrets, but if not, here's the prologue to get you started :)

the playlist is a youtube/youtube music playlist since that's just what i use but if you guys ask for it, i can make a spotify one too! i think there are a couple songs i wouldn't be able to add but i could see what i could do. before you go listen, i highly recommend reading more about the explanation for each song since i thought a lot about it before adding each song. my taste in music is very vocaloid leaning just so you know haha (also please let me know if those links are working!!!)

as time goes on and i release more chapters, i'll be adding more songs since some of them have to do with later plot points. i'll also just be adding songs in general if and when i find more i want to add. if you have any suggestions, i may add them so fire away if you think something might, don't be afraid to let me know <3

now, let's begin!!

Our Destiny by Solomon (VA: Kazuki Kawata): does this song even need an explanation? it's on this playlist because it's a solomon fic, it's gotta be haha

Hole Dwelling by Kikuo: this is the song that inspired me to start the playlist. the lyrics themselves could apply, but what got me to add this more than anything was the deep feeling of dread and hopelessness from the the song. if you'd like to listen to an english version to get a better grasp on the lyrics, i recommend this one over any other cover. this person did an amazing job!!

Language of the Lost by Riproducer: i adore riproducer. they're great for stepping into the vocaloid community since almost all of their songs are in english. i could go on and on about them. the lyrics in this one i feel like could be applied to mc after the events of the prologue and how solomon is going to be the one to help them and help them dig their way out of what feels like their grave

Love Again by Dua Lipa: i absolutely loved dua's album future nostalgia so i combed it trying to pick at least one song to add and settled on this one. this isn't necessarily exclusive to spellbound secrets, but the lyrics could read as solomon's feelings towards mc ahhh it's too cute

Float Planner by More More Jump!: i'm a HUGE project sekai fan which you'll see. this song and the next go hand in hand. this song is all about 'soaring' into the future together. there's one line about having difficulties overcoming but holding hands would give them the strength to continue it's so cute man. i won't yap about song and the characters who sing it but just know, i could. here's a version with an english translation

Jumpin' Over by More More Jump!: this song was released after the previous song so the messages line up. the lyrics are about looking back over past obstacles and observing growth. it feels better as an end of the fic song, but this could be for any obstacles solomon and mc have overcome together. here's a great english translation

Ultra C by Vivid Bad Squad: love this song too! at first i tried really hard to justify why this was here and i came up with a feeble reason before realizing it was my playlist and i could put a song on it because i wanted too lol. but the reason was the lyrics are about overcoming obstacles and the instrumentals are wicked. idk i'm just a huge vbs fan. eyestrain warning for the mv so here's an english translation

Hope is the Thing With Feathers by Robin: another one that i kinda struggled to justify but i just felt like the vibes matched? if i come up with a stronger reason i will list it lol

[tipsheda]

Favorite Music I Listened to in 2023

Through Census Designated this year and her various Dariacore albums, I discovered Jane Remover in 2023 and I'm really glad I did (thanks for the recommendation, Imogen!). Census Designated has an utterly fantastic vibe that resonates with feelings of nostalgia and melancholy like nothing else for me. It puts me in such a unique headspace and I will treasure it for that.

The album is supposed to embody dead grass, and it nails it. It makes me recall timeless moments with friends doing nothing together. Of countless nights driving back and forth between Rochester and Minneapolis back when I didn't live in Minneapolis yet but had friends there. It brought me back to some of the feelings I had right after college when I had to leave so many friends behind to join the Real World, and how I was able to hold on to some of those relationships despite distance and change. I didn't even like this album that much on first listen. It's been through repeated listens in different contexts that it's won its way into my heart. In my basement, listening with a friend. Outside, listening with some friends around a bonfire. On lonely drives to and from my various old stomping grounds.

TLDR: I have imprinted on this album and it's now a core memory and feeling that I can reference back to in the future when I want to revel in the emotions of a certain time period in my life. Good shit. Also, good companion piece to the game, Fallow.

I listened to some of the songs from Caroline Polachek's new album, Desire, I Want to Turn Into You, for the first time in the car with some friends driving through a small town in Wisconsin. It was on full blast. What a sound! The album has so much energy. It's just absolute banger city.

Say what you want. But I've waited so long for a new Skrillex album and we got 2 in one year. Been a fan ever since listening over and over again to every single track he put out back in middle and high school on my school bus rides from 2011-2014. His work had a huge impact on my musical taste and my own music. Not every track on these albums hit for me. They never have on any of the past albums. But the ones that hit, fucking hit.

I had listened to some underscores songs a couple years ago and liked them, but never looked much further into the artist's music until a friend brought them up again. Then they released a new album this year and all hell broke loose. Great music. Energy, passion, emotion, all the good stuff.

Frost Children is great. Saw them live this year. They sound even better live. Listen to Frost Children. Favorite song is COUP.

Also saw Arooj Aftab play live with Vijay Iyer and Shahzad Ismaily and it was just chill and beautiful sounds with haunting vocals the whole time. Good stuff.

Dodgr had only really put out the occasional single for so long and each one was an absolute banger with a great and unique vocal style over some good beats. I missed that she put out a whole album last year. It slaps.

Also, I want to give one final shoutout to a band I forgot to mention, Geese and their album this year 3D Country. It's like neo-Dad Rock or punk country. A blend of country/rock music with punk cowboy vocals. It was the music that was the most out of my wheelhouse out of everything I've listened to this year and I love it now. Saw them live and they were great.

Honorable mentions:

Elise Trouw - Losing Sleep

KNOWER - KNOWER FOREVER

Alexander Panos - Nascent (2022)

Rebecca Black - Let Her Burn