#sipho

[geekgirles]

Hot Take

Season 3 should have revealed Eva is a demigoddess instead of Ruel.

Now, don't get me wrong, I'm actually quite happy with season 4 focusing on her origins and Madagaskan, even if that was clearly only introduced to set up Flopin's character arc during the upcoming Waven series. But the thing I can never seem to get over is how irrelevant the Cra actually are in season 3. Their arc is literally to be rescued/to escape and to give birth (in Eva's case).

Because, let's face it, their relevance in the season hinged entirely on being Tristepin's family. Eva in particular, regardless of how cordial Echo was to her, seemed to have no value outside of being Tristepin's wife who's carrying his third child, who was later revealed to be an extremely powerful demigod.

Meanwhile, poor Flopin's kidnapping didn't even make sense because he just isn't a demigod like his siblings. Yes, he is Iop's son, but he's not an Iop, so he couldn't inherit any of his father's divine powers. As opposed to Élely and Pin, who already displayed theirs at 5 years old and before being even born, respectively. Hell, that ended up being the crux of his character in season 4! His insecurities over not being as extraordinary as his family, especially his siblings!

Yes, you could say Oropo's real plan besides killing the gods was to make Yugo's friends his, and that's why he wanted Eva and Flopin around. But considering he didn't seem all that contrite over Adamaï almost causing Iop's next reincarnation while he couldn't even bring himself to make Amalia age (even though he was not above breaking her spirit so she'd be easier to manipulate), it's fairly obvious he cared more about keeping certain members of the Brotherhood near than others. Which further proves he only kidnapped Eva and Flopin because of their connection to Pinpin.

And let's face it, between that and how out of focus they were compared to the Iops, that's just such a huge disservice to their characters. They deserve so much more than to orbit around Tristepin.

Which is why I believe Eva should have been Cra's daughter and Oropo's target instead of Ruel. Even though nothing really suggested her divine origins before, they could have always hand-waved it and have that explain her craziest feats, like how she was able to keep up with two demigods even while heavily pregnant or her formidable archery skills. Because, come on, until Madagaskan was introduced, the only relevant Cra in the show were Eva, Cleo, and Flopin. It's not like by the time season 3 dropped we'd seen any other member of their race display the same level of dexterity so as to make Eva's prowess being divine in nature not make sense.

Also, in could retroactively explain her exceptional beauty, since most Cra we've seen are actually fairly plain-looking.

Besides, you're telling me that out of the original members of the Brotherhood of the Tofu, only the boys are the ones related to gods? Come on. Is a little bit of parity that much to ask?

And let's face it, Ruel being Enutrof's son doesn't bring anything new to the table other than some shock value. Like, I get he's always been hinted to be more than meets the eye, but being a demigod doesn't really add much to his character.

Hey, maybe I just don't know much about Enutrofs since they don't give me brainrot compared to other classes, but compared to the rest of his kind, Ruel isn't all that unique either, except for how utterly greedy he is. His powers and attacks, while impressive at times, can never reach their full potential because he just doesn't pay tribute to Enutrof, so they remain relatively weak. And though being a demigod would explain how long-lived he is, that falls flat as well when Arpagone seems to be just as old as he is and his grandma's even older.

Again, longevity could be a standard Enutrof power I'm just not aware of. Still, it pretty much proves my point, doesn't it?

Not to mention, it's not like changing Ruel's status as the group's surprise demigod would really change anything from his storyline in season 3. They could have perfectly had Arpagone be the Enutrof demigoddess whose condition to play a part in Oropo's plan was to be allowed to keep her husband even as she ascended to godhood. Hence, you still get your flashback episode and an excuse to capture Ruel and have Sipho replace him to drive a wedge between Yugo and Amalia and kidnap the latter.

But no, let's go with the plot point that won't be touched upon ever again.

And speaking of things that wouldn't necessarily change just because Eva were a Cra demigoddess, you could still keep Madagaskan's role in season 4!

Maybe just make it so Eva and Cleo are actually half-sisters with the same father but a different mother (or vice versa, given the goddesses' apparent distaste for getting pregnant themselves). While I'd personally prefer it if Madagaskan simply had a tryst with Cra and then he fell in love with his late wife, if you're into drama, Eva could always be the result of an affair but his wife chose to take her in and raise her as her own, anyway. Hence, you would have another reason why Madagaskan went along with her last wish, out of love for her and to repay her kindness and forgiveness.

(Or you could enforce his love for his wife by having him be the one to accept her other child and to make sure both her and his own daughter had a better life).

And from then on, everything could play out exactly like canon.

In fact, Eva being semi-divine would also add another layer to Cleophée's inferiority complex and feelings of inequacy compared to her older sister. Much like Flopin, of course she could never catch up to Eva no matter how hard she tried, she isn't a demigoddess!

Which would make Eva's acceptance and pride over her abilities all the more meaningful too (even if by then they wouldn't know the truth).

And speaking of Flopin, his season 4 storyline would remain the same, too. After all, even if he would now be related to Cra, he'd still be a demigoddess' child first and foremost.

As @cocogum explored in one of her analyses, the children of demigods are their own can of worms. So far, we don't know anything about Kali and Poo's baby, but we do know that Goultard's children certainly didn't inherit immortality of any kind, so it wouldn't be far-fetched to assume they didn't inherit his divine powers either. In other words, Flopin could still feel left out—even with more reason, since now he would be the only "non-exceptional" member of his family—and choose to follow his grandfather in order to find his own path.

I guess what I'm trying to say with all this is that while Amalia might be my blorbo and Yumalia my OTP, I still care for all the members of the Brotherhood of the Tofu, especially Eva. And I can't really forgive that while Pinpin still had focus and issues of his own by virtue of being the reincarnated Iop god, Eva's character was ultimately reduced to being his wife and mother of his children when she's actually so much more than that.

[bichobolitach]

Laurence just goes around collecting kids

[heathcliffgirl1847]

really quick silly temrer doodle. laurence and the kids he keeps adopting

[captainlaurence]

These books got me some type of way.

[snapitkeeper]

I think he'd laugh like K from Bad and Crazy

[doodletastica]

Day 2 of OC-tober(N-oc-vember) New OC! This is Sipho and he is in no way important to my campaign now.

[newmusickarl]

Top 50 Albums of 2023: #30-21

30. Everything Is Alive by Slowdive

I’ll be the first to admit that despite the heavy praise from the amazing Music Twitter community (I’m not calling it X, sorry Elon), before this year I had never completely bought into the Slowdive hype. Although I enjoy their 2017 self-titled comeback record, I had never taken to the shoegaze legends in the same way that I know a lot of my fellow music fans do. But I’m pleased to say with Everything Is Alive, I’ve been well and truly won over.

Their first album in six years, singles like kisses, skin in the game and the slab spiral into fascinating sonic territory and make you want to stay locked there forever. It was an album that completely blew me away on first listen, offering a completely immersive audio experience. One of those records where you just want to stick your headphones on and get lost in all these interesting textures being strung together.

Outside of the singles, shanty and chained to a cloud deliver mesmerising synths, big walls of guitars and the ghostly vocals of Rachel Goswell and Neil Halstead. Alife (or Alfie as I’ve been frequently calling it!) is another standout, whilst Andalucia Plays is just hauntingly melancholic. So not just one of the year’s best records, but a record that proves why I continue to trust Music Twitter’s recommendations - they never seem to steer me wrong.

Best tracks: alife, kisses, the slab

Listen here

29. This Is Why by Paramore

When immensely popular American rockers Paramore announced Bloc Party were the primary influence for their sixth studio album, This Is Why, my interest was naturally piqued. Where Silent Alarm offered a vital soundtrack for the post-9/11 youth back in the mid-00s, Paramore have now done the same for an apathetic generation of kids dealing with COVID lockdowns and ever-growing social and political divide. And whilst it isn’t quite Silent Alarm, this is unquestionably a brilliant indie rock record.

Firstly, the opening title track remains one of my favourite tracks of the last twelve months. With all the catchy, stuttering chords of prime Foals, along with some ever-impressive vocal acrobatics from enigmatic frontwoman Hayley Williams, the mid-song breakdown that ends with Williams’ cries of “I’m floating like a cannonball” is so gloriously cathartic, you can’t help but get won over. Big Man, Little Dignity is another strong favourite, which sees the trio take shots at powerful men not held to account for their deplorable actions (“smooth operator in a shit-stained suit”). Liar, arguably the album’s most subdued moment, is similarly awe-inspiring too thanks to some twinkly guitars and Williams’ graceful falsetto vocals. 

At a concise 36 minutes there’s not a second spared, as the band channel their message through the sounds from indie rock’s past, breathing fresh new life into the scene and helping it to resonate with a newer, younger mainstream audience. So, if you are sat there wondering why Paramore are one of the biggest rock bands in the world right now – This Is Why.

Best tracks: This Is Why, Liar, Big Man Little Dignity

Listen here

28. Blondshell by Blondshell

An incredible self-titled debut that has lit me up in the last year is this amazing record from LA-based rockstar-in-the-making, Sabrina Teitelbaum – AKA Blondshell. Hugely accomplished for her first outing, it’s a sharp 32-minute listen packed with big choruses and some truly epic guitar work. Here’s what 5-9 editor Andrew Belt had to say in his brilliant review earlier this year which sums it perfectly:

“The nine tracks on her debut album capture uncomplicated rock tracks which could have been recorded live. Uncomplicated does not mean not compelling, however. Fusing influences from the likes of Nirvana, The Cranberries and Anna Burch, Teitelbaum wears her heart on her sleeve as she chronicles a difficult couple of years which spawned Blondshell. The self-titled record bursts to life with ‘Veronica Mars’ – a two-minute, verse/chorus/guitar solo blast with the TV show referred to in the title causing Teitelbaum to reflect on its impact on her when watching at an early age. Singing ‘Logan’s a dick, I’m learning that’s hot’, Teitelbaum laments the mixed messaging the show could provide to young minds, with the rock track melting away at the end via a red-hot unhinged, high-pitched guitar solo. The sound throughout is cohesive with Yves Tumor-producer, Yves Rothman, teasing out something quite impressive from Teitelbaum as Blondshell. Confessional, edgy, compelling, Blondshell is an accomplished offering belying its debut album status.”

Best tracks: Salad, Sepsis, Dangerous

Read Andrew Belt’s full review on 5-9 here

Listen here

27. Dream Big by Soda Blonde

Back in 2021, Irish indie-pop outfit Soda Blonde emerged out of the ashes of the excellent Little Green Cars, with the four remaining members of that band releasing their debut album under the new Soda Blonde guise. That Soda Blonde debut, titled Small Talk, would finish in my Top 30 Albums of 2021 and even receive a nomination for the Irish Choice Prize (the Irish equivalent of the Mercury Prize). Now with this sophomore outing, they have made the Top 30 again.

Full of confidence, Soda Blonde are sounding more assured in their new skin, with Dream Big presenting a stunning collection of songs full of breathtaking musical variety and killer hooks. The opening run of Midnight Show, Bad Machine, Boys and the title track is particularly mesmerising, as the band guide you through glorious arrangements full of strings, rhythmic guitars and clusters of memorable moments. In the back half, My First Name sees frontwoman Faye O’Rourke’s majestic vocals stand out amongst a magnificent collage of strings, bluesy guitars and stomping drums for one of the record’s biggest highlights. 

This is a phenomenal record from start to finish and if you haven’t heard of Soda Blonde before, now is the time to get yourself acquainted.

Best tracks: My First Name, Boys, Going Out

Listen here

26. When Will We Land? By Barry Can’t Swim

If you’ve listened to the October episode of the 5-9 Album of the Month podcast, you know this debut from rising electronic superstar Barry Can’t Swim was one of my standout records in what was a month full of incredible new music. Taking elements from all my favourite electronic releases of recent years, Barry crafts a vibrant collage that binds together cohesively for an essential and astonishing listening experience. Describing this album better than I ever could, here is what friend of the blog Kiley Larsen had to say in his review for Check This Out:

“When Will We Land? is everything you want from an electronic album and more. It may pull from all of Barry Can’t Swim’s influences and serve them in eleven distinct ways, but Mannie’s vision is clear and never wanders from the bigger picture. While the record should be taken in as a whole when possible, each song is so distinct and fully executed that each is tailor-made for playlists (or mixtapes, if you’re keeping them alive). ….When Will We Land? finds Barry Can’t Swim doing what he’s done best over the past few years by harnessing the energy of that big night out while colouring it with organic instrumentation and a much-needed reminder of the universality of the human experience. For music writers, the year is full of anticipated albums. Sometimes, they match the internal hype, while often, they fall short. When Will We Land? was unquestionably at the top of my list, defying expectations and more. Barry Can’t Swim proved a true talent with his EPs, but this debut album is a colossal next step. Even if you’re not typically into electronic music, this is still worth diving into, as there are few albums this year that successfully convey a complete vision with what should be universal appeal.”

Best tracks: Sunsleeper, Woman, I Won’t Let You Down

Read Kiley’s full review on Check This Out here

Listen here

25. Did You Know That There’s A Tunnel Under Ocean Blvd by Lana Del Rey

A woman who needs no introduction at this point, one of the most hotly anticipated releases of the year was Lana Del Rey’s eighth studio album released back in March – Did you know that there’s a tunnel under Ocean Blvd (which we can all agree is a peak Lana type of album title).

Having delivered her undisputed magnum opus Norman Fucking Rockwell (NFR) back in 2019, Miss Lizzy Grant has not rested on her laurels since, quickly following up with two more albums in 2021 – Chemtrails Over The Country Club and Blue Banisters. Whilst both records had their moments, the former more so, neither quite came close enough to the theatre, majesty and sheer perfection of NFR. However now back with her fourth album in as many years, Lana once again hit some career best highs.

Opener The Grants welcomes the listener with some gorgeous gospel vocal harmonies, before Lana herself takes over with her inimitable vocals, exquisitely sharing memories of her family. The title track is then even better and already one of my favourite Lana tracks, with its stirring strings, anguished vocals and heartbreaking lyrics of self-loathing (“Open me up, tell me you like me, Fuck me to death, love me until I love myself”). As Lana is joined by a choir for the swelling “Don’t Forget Me” refrain in the song’s outro, you’d have to be cold hearted to not be greatly moved.

An album that is definitely in the top half of her discography, and the first half of this record in particular is as good as anything she has ever done. I also admire the work ethic and frequency at which Lana is delivering new music and I’m not going to complain too much about having a mountain of music from her over the last few years. The fact she’s been so productive and still served up some of the very best work of her career, really it can only be admired.

Best tracks: Did You Know That There’s A Tunnel Under Ocean Blvd, A&W, The Grants

Listen here

24. Javelin by Sufjan Stevens

Another of the year’s biggest releases came in early October - the tenth studio album from highly acclaimed singer-songwriter, Sufjan Stevens. In the days following its release, Sufjan dedicated Javelin to his “beloved partner and best friend Evans Richardson” who sadly died in April of this year. With that added context, it made an album that already felt emotionally shattering hit that much harder.

From the moment the cymbals crash and the synths reverberate around Sufjan’s cries of “You know I love you” on opener Goodbye Evergreen, you know you are in for something quite special yet also heartbreaking. Over the next run of tracks Sufjan continues to astound with his unceremonious yet majestic songcraft, as the uplifting instrumentation twinkles around Sufjan’s devastating penmanship on tracks like A Running Start, Genuflecting Ghost and Will Anybody Ever Love Me?

However as great as the first half is, it is the back stretch that left my jaw firmly on the floor. My Red Little Fox is a heartfelt, flute-laden hymnal whilst lead single So You Are Tired is a brutally beautiful, piano-led, string-drenched lament. Shit Talk is then without a doubt one of the songs of the year, a near 9-minute masterpiece centred around a strikingly simple assembly of raw acoustic instrumentation, resonant human emotions, gorgeous choral harmonies and refrains of “I will always love you…I don’t wanna fight at all.” Utterly breathtaking in every single way.

Best tracks: Shit Talk, So You Are Tired, Will Anybody Ever Love Me?

Listen here

23. Struggler by Genesis Owusu

When it comes to an album, two things I tend to look for more than any other - an eclectic mix of sounds and a strong thematic concept to hold it all together. Very few artists achieve both elements these days, but when you do find an album like that, it’s like finding the musical equivalent of the holy grail. Enter Struggler from Ghanian-Australian artist Genesis Owusu, which made history back in August by becoming the first album to gain the coveted maximum 15 points on the 5-9 Album of the Month podcast.

Struggler is an album that takes you on a journey, both through the lyrics and sonically too. At the heart of it, you’ve got a narrative arc that tells the story of “The Roach vs The Old Man”, a conflict which acts as a metaphor for humanity vs uncontrollable higher powers, both natural and political. Then musically, this record has a little bit of everything - punk rock, hip-hop, funk, soul, all wonderfully blended together to forge a vibrant mesh of sounds.

In terms of favourite tracks, Leaving The Light and The Roach are both propelled by these great synth lines that bounce off thrashes of guitars. Tied Up is then possibly one of the catchiest songs of the year, a track which sucks you into its groove and refuses to let you leave. Stuck To The Fan closes the record perfectly too, offering a really sombre, bluesy send off.

More carefully curated and refined than his debut outing, Genesis Owusu proved himself to be a very special talent to me in 2023, delivering a record that works as a collective whole but doesn’t stay in a single lane either.

Best tracks: The Roach, Tied Up, Stuck To The Fan

Listen here

22. ROACH by Miya Folick

It seems there was something with Roaches in 2023 as we had another incredible album artistically indebted to those pesky insects. This year, American singer-songwriter Miya Folick made the difficult second album look easy with this hugely impressive record, titled ROACH.

Essentially an extension of her previously released 2007 EP, ROACH further builds out the narrative with a deeper dive into her relationship with God, her mother and her own self-esteem. Featuring some of the best songs of her young career, highlights include the hedonistic indie-pop of Bad Thing, brutal break-up anthem Get Out of My House and the tussle with adulthood on the falsetto-kissed 2007.

That said, make sure you stick around for the second half of the album as that’s where Miya Folick’s exceptional songwriting really starts to shine for me. Tetherball is a real stop-you-in-your-tracks moment, with some wonderful ambient electronics backing Folick’s soft vocals to create a gorgeous sound reminiscent of Natasha Khan of Bats For Lashes. These synths then shift into the uplifting pop of So Clear, before Shortstop offers an utterly stunning piano-led finale that you’ll just want to hear again and again.

A fantastic second album that has been on repeat ever since it dropped in the first half of the year.

Best tracks: Tetherball, Shortstop, Get Out Of My House

Listen here

21. PRAYERS & PARANOIA by SIPHO

Just missing out on the Top 20 then, we arrive at an outstanding debut album that I may have missed altogether if it wasn’t for friend of the blog, Andrew Belt. The 5-9 Album of the Month podcast has been my musical highlight of 2023, introducing me to a ton of great new music this year. So I just want to take a moment to give kudos to both Andrew and Kiley for steering me in the right direction over the last 12 months with their fantastic taste in music – cheers lads!

Now Birmingham-based R&B star SIPHO was Andrew’s pick for the podcast back in October and it turned out to be a mightily ambitious first outing that stormed to victory in our most tightly contested Album of the Month battle yet.

With each track anchored by his incredibly powerful vocals, SIPHO remains the star of the show amdist a gorgeous sonic world built on funk, soul, R&B and even a bit of rock on tracks like GLUE. Much like the Genesis record, it is an album that takes an eclectic listening experience and majestically morphs it into a cohesive single piece of work. Listening front-to-back, every song segues seamlessly into the next one, with the track list so intricately stitched together its quite astounding. For SIPHO to craft a record as accomplished as this at the first time of asking is even more remarkable.

The songs have a timelessness quality too, Elevation pulls you in straight away whilst Chemicals boasts spacey synths, bluesy guitars and SIPHO’s incredible falsetto. However it’s all about the final stretch of songs starting with Run For Your Life, which sees just SIPHO and Shae Universe’s voices take centre stage over a minimal piano backing for a track that is just hauntingly beautiful and goosebump-inducing.

An album that I went in to with no real expectations, there was few records that managed to blow me away in 2023 quite like Prayers & Paranoia.

Best tracks: Run For Your Life, Glue, Prayers

Listen here

This weekend, we enter the final Top 20 of the countdown!

[minody]

THIS IS PHENOMENAL

[geekgirles]

I was hit with the realisation that even if Echo hadn't intervened to stop Oropo, his plan, to destroy the gods and replace them with the Brotherhood of the Forgotten, would have failed nonetheless. 

If I'm not mistaken, Oropo intended to weaken the gods by severing their connection to the World of Twelve and then destroying them so his followers could ascend and replace them. However, by severing that connection, he, too, would have robbed himself of his new pantheon. Because the demigods' powers aren't a result of their divine parentage, but of their alignment. 

True, being descended from gods grants the Siblings semi-immortality and stronger abilities than their mortal counterparts, but they still owe their powers to their race. In other words, Coqueline, for example, is an Osamodas demigoddess not only because her father is indeed the god Osamodas, but because she herself is an Osamodas. 

The best example of this is actually Flopin. Technically speaking, he is a demigod—his father is Iop's latest reincarnation—and Oropo chose him to become the next Cra God. However, with the reveal that, as an Eliotrope, Oropo shares Yugo's memories and feelings, then it becomes plain to see his insistence on Flopin and Élely joining his cause had less to do with them being legitimately good candidates and more with his desire to make the Brotherhood of the Tofu his.

Just like he targeted Amalia despite already having Dathura as his next Sadida goddess and Echo as his lover. Those were Yugo's feelings clouding his judgement.

But back to Flopin and how he proves Oropo's plan was futile since the very beginning, unlike Élely and Pin, Eva's Little Wolf has never displayed any special powers beyond those of a normal Cra, something he himself is acutely aware of in season 4. That is because, while he might be Tristepin's son, he is not an Iop, and therefore, he can't inherit any divine power because he is not actually connected to the god Iop like Élely, Pin, and Goultard are. 

And that is the most basic aspect of the franchise: your powers come from the god you worship. 

This all comes to show that if Oropo had succeeded in destroying the gods, his chosen ones would have not been able to replace them as he intended, because if he killed the gods and severed the Twelvians' connection to them, then the Siblings would have been rendered powerless too, maybe even gone back to being regular humans. Meaning everything Oropo had done to fulfill his dream would have been for naught. 

In fact, I'd go as far as to say the only ones who wouldn't have suffered the same fate would have been Adamaï, Yugo (since, before season 4, there was no indication that the goddess Eliatrope lived in Inglorium), Echo and Sipho (due to their dragon heritage), and Oropo himself, as he draws his power from Yugo and the other Eliotropes.

But who's to say he wasn't counting precisely on that to become the Supreme God as he declared back in season 3? After all, he was a master manipulator...

Some food for thought.

[penguino713]

Who needs to study when you can draw three idiots in a funky chair?

[captainlaurence]

Anyway, now that I’ve finished my read through, thanks to anyone who has tolerated my rants.

I’m a few years late to this fandom but please feel free to message me whenever. I’d love to connect with more Temeraire fans ;-;

Cheers.

[snapitkeeper]

Sipho yet again

[rachelltheartist]

[geekgirles]

OMG, I'VE BEEN THINKING THE SAME THING.

Seriously, what's with the disrespect? And calling Amalia an artificial flower of all things??? Dude, girl is the princess of the world's tree people, her beauty literally cannot get any more natural.

(Unrelated, but I sort of can't get over the fact that despite all this, Qilby still refers to her as Queen of the Sadidas despite that title technically belonging to her sister-in-law. It's almost like Qilby doesn't recognise Armand's authority and sees Amalia as the true heir to the throne instead).

And Sipho's such a bitch, though. Literally the only reasonable explanation I can find to his attitude towards her is that he might have been trying to get in her head to make it easier for Oropo to manipulate her later on and, given the implications that only he was aware of Oropo's intentions with her, he actually meant he didn't understand what Oropo saw in her out of loyalty for Echo.

But yeah, somebody get him a mirror, please.

What do y’all have against Amalia, man???

First it’s Sipho who’s telling her how he’s genuinely confused that Yugo can love her and now it’s Qilby?? (even tho he at least admitted she was pretty unlike that ugly lizard Sipho). Literally what is going on??

Since when did people around Yugo think it was weird for him to like sassy flowers???

[sipho-pearl]

TANTRUM