#so. never doing an album palette thing again /J

[doctordoombignaturals]

I can make any song about the character. (alternatively, somebody remind me never to do a palette thing with an album cover like this💔)

[elv--eyera]

Ways to watch Jekyll & Hyde online!

I recently saw someone interested in watching Jekyll & Hyde, so I decided to spend some time today to put a post together!  Here’s information about (and links to) six productions of the show that you can watch online! 

The 2001 Broadway Cast DVD

Starring: David Hasselhoff (Jekyll / Hyde), Coleen Sexton (Lucy Harris), Andrea Rivette (Emma Carew)

(Starting with this one because this is the only non-bootleg, commercially available version of Jekyll & Hyde, and I’m sure this is the main version people are familiar with and I wanna go over this before getting to the rest.)

Good: It’s a beautifully filmed professional recording of the show on Broadway, something that most shows never get! The supporting cast (many of whom were from the original cast and played their roles from the beginning of the run to the end) is wonderful. When the focus is on the non-Jekyll aspects of the production, it’s really amazing. Coleen Sexton and Andrea Rivette are truly amazing.

Evil: David Hasselhoff. I give him props for taking on a very difficult role that is well outside of his comfort zone, and it’s clear to see that the man gave it his absolute all. He really wanted to take this on, and he really tried his best. (Here’s a four-minute interview about his experience with the show and the work he put into it - he had oxygen backstage, and he actually passed out onstage briefly after “The Way Back”.) However, watching him as Jekyll and Hyde, it’s just unavoidable that he’s just not very good. I’ll leave it at that.

How Can I Watch It?: It gets uploaded to Youtube and Dailymotion from time to time, but I couldn’t find it there today. However, you can watch it here, and a commercial for his time in J&H here. Just be warned: this is no day at the beach. 

The 2001 Broadway Cast (rehearsal!)

Starring: Rob Evan (Jekyll / Hyde), Coleen Sexton (Lucy Harris), Andrea Rivette (Emma Carew)

Good: If you were thinking “well, I wish that there was a professionally recorded version without David Hasselhoff”, This is basically, shot for shot, the same as the Hasselhoff version, but with Rob Evan instead, and it’s a fundamentally different experience. Rob Evan (who replaced Robert Cuccioli on Broadway in 1998) is a great actor and singer, who went on to play the role again in the “concert” versions in 2005 - 2006. 

Evil: It’s 480p quality, but that’s the only real downside. 

How Can I Watch It?: Right here! 

The Original Broadway Cast (1997)

Starring: Robert Cuccioli as Jekyll and Hyde, Linda Eder as Lucy Harris and Christiane Noll as Emma Carew.

Good: The original Broadway cast is amazing. This is a personal opinion on my part but Robert Cuccioli is the definitive Jekyll / Hyde. His Tony-nominated performance is awesome, and it really elevates the show. Linda Eder and Christiane Noll are also absolutely wonderful in their roles, and the talent in this cast is just amazing. Unlike the above two recordings, this one’s a bootleg, but it’s still a really great watching experience.  

Evil: Really, the only possible downside is that this cast didn’t have a professional recording. Just press reels, a nice bootleg, and TV appearances. That’s really the only downside. This cast is awesome.

How Can I Watch It?: You can watch 20 minutes of professionally shot press reels here (featuring several songs), you can watch the whole show with this cast here, and you can watch some TV appearances here: “In His Eyes” , “This Is The Moment” and “Dangerous Game” (featuring Rob Evan as Jekyll, who was the alternate for Cuccioli before taking over the role himself in 1998) Or if you’re short on time, just watch Cuccioli do “Confrontation” live. 

But wait!  I want something different from the Broadway adaptation!

Well, Jekyll & Hyde went through a lot of changes on the road to Broadway, and after the show hit Broadway, many of productions changed things further or even changed things back to the earlier versions. The following productions all interpret the material differently, and all of them have script / music changes from the Broadway version. (Many of them stick closer to or take elements from the 1994 Concept Album with Anthony Warlow.) 

The Pre-Broadway Tour (1995)

Starring: Robert Cuccioli as Jekyll and Hyde, Linda Eder as Lucy Harris and Christiane Noll as Lisa Carew.

Good: Where Broadway is more subdued, the 95′ tour went for darker Victorian gothic horror / melodrama and I adore it. Much of the staging, sets and costumes are very different from the Broadway version. The script has some really impactful, chilling moments that were cut from the Broadway version.  It incorporates more of the popular ‘94 Gothic Musical Thriller album, with songs like Bring On The Men and Girls Of The Night included. (Lucy Meets Hyde is there and that’s something I want back in the show, dammit). And it’s got the same wonderful cast that went on to originate the role on Broadway. I really, really like this version and wish that the show had stayed a bit closer to this in parts.

Evil: The picture quality is not great and there’s not a lot of super close zooms, however it’s a bootleg of a really interesting time in the show’s history and I can get past it. Some people find some moments in the script overdramatic.

How Can I Watch It?: You can watch the whole thing right here! You can also listen to some clips from the soundboard of the show, of Robert Cuccioli singing “Alive” and “Confrontation” here! 

The Original Bremen Production (1999-2002)

Starring (in this video): Darius Merstein-Macleod (Jekyll / Hyde), Maricel (Lucy Harris), Michaela Kovarikova (Lisa Carew)

Good:  The Bremen production was the first international production of Jekyll & Hyde, and they definitely do not copy the Broadway version exactly. They make interesting changes that I feel make the show stronger, and the design and the orchestra are absolutely gorgeous. They make some changes to the running order of things that I think make the beginning of the show flow so much better. The design choices are gorg (I LOVE the color palette of this production, oh my gosh) and the orchestra is absolutely stunning (though that’s best showcased on the 1999 album, one of my favorites to listen to.) Really, really interesting and awesome production. 

Bad: None, really! This cast isn’t the original cast, if you’re hard pressed on that. 

How Can I Watch It?: You can watch the full show right here, and some professionally shot clips with the lead actor in this video. The same production design and direction all around was used for two more German productions in Vienna and Koln - you can watch the Vienna one here, starring Thomas Borchert, Maya Hakvoort and Eva Maria Marold. And about that 1999 album that’s one of my favorites to listen to... shhhh. SHHHh. Enjoy.

The 2013 Broadway Revival

Starring: Constantine Maroulis as Jekyll / Hyde, Deborah Cox as Lucy Harris, and Teal Wicks as Emma Carew. 

Good: This is the most recent major U.S production of Jekyll & Hyde. The singers are all excellent, and the scenic design has more of a “steampunk” edge to it, and they use projections in an interesting way, especially in “Confrontation”. They do relatively little to fundamentally change the currently licensed script, but all the songs are completely musically reworked in more of a pop-rock style, and there are bits that are reinstated from the concept album (Lucy Meets Hyde, Jekyll’s “It’s over now, I know inside” intro from “Confrontation”). It’s really interesting, the singers are actually fantastic, and I like some of the musical arrangements! 

Evil: Objectively, none. This revival totally changed up the sound and look of the show, and those changes can be polarizing, but it’s really up to you whether or not you personally like it. 

Where can I watch it?: Act 1 is here, and Act 2 is here! Here’s a tiny montage of some songs from the show as well! 

Other Productions:

I didn’t want to leave out a lot of other productions of the show that you can watch online, so here are two other interesting productions of the show I enjoy that you can watch online:

The 2014 Russian Production. The design is fabulous, the singers are great (the music is a nice mix of the classic orchestrations and the 2013 arrangements), and the set is absolutely amazing. Love this production. The set change from “Transformation” to “Alive” is AWESOME. Pick your poison: Ivan Ozhogin: Act 1 / Act 2, Kirill Gordeev: Act 1 / Act 2, or my underrated fave, Rostislav Koplakov: Act 1 / Act 2 . 

This 2007 outdoor German production. Watch it right here! I haven’t watched this whole thing, but it starts during daytime and by the time the show ends it’s dark, which is really cool)

Whichever way you choose to watch Jekyll & Hyde, I really hope you enjoy the show! It’s one of my absolute favorites. 

Also, if you want to listen to the show, you can listen to these albums on Youtube!

1990′ Concept Album 

(Very different from the final show - wouldn’t suggest starting with this one.)

https://www.youtube.com/playlist?list=OLAK5uy_k8KX2WKpxXWD1WReuEEnZWTiQM0brA7OY

1994′ Concept Album:

https://www.youtube.com/playlist?list=PLKELXRdNl-0qpSAZUBEuet90lgNT5vFra

1997 Broadway Cast:

https://www.youtube.com/playlist?list=PLB135F98AE9670DF6

2006 ‘Resurrection’ Album:

https://www.youtube.com/playlist?list=PLp1o87OC81fxi-7LFAWEqAPvf3xZAD7tx

2012 Concept Album:

https://www.youtube.com/playlist?list=PLoIpj63IKuYxuv4nXJjAqoez3bZK2S51J

Enjoy!! 

[kassldyembcrr]

is that [CHRISSY COSTANZA]? no, that’s just [KASSIDY ‘KASSI’ RUOCCO]. [SHE/HER] is [TWENTY ONE] years old and is a [MAKEUP ARTIST]. they’ve been in town for [ALL HER LIFE]. on a good day, they’re [CAPTIVATING & LOVABLE]. but watch out! they can also be [EMOTIONAL & OUTSPOKEN]. [THIS IS GOSPEL BY PANIC! AT THE DISCO] plays in my head whenever i think of them. can’t wait to see them around Springhill! 

( hi friends – admin j again, with my other sweet daughter ! )

BASIC FACTS:

kassidy ‘kassi’ ember ruocco was born right here in springhill to your everyday ‘average’ family !

she’s the oldest of two – having a little brother who means the absolute world to her ! honestly, kassi would take a bullet for her little brother, any day !

kassi actually grew up as quite the tomboy !

she has an undeniable love for skateboarding and video games !

her love for beauty products and being ‘girly’ didn’t develop until she was a teenager !

she got her first makeup palette for her thirteenth birthday, and she’s been hooked ever since !

she made her first youtube makeup tutorial when she was sixteen and almost immediately started to make a name for herself !

since that first video, she’s gained a total of 812k subscribers !

she’s also a massive music junkie ! it’s definitely her favorite pastime ! there’s rarely a minute that goes by where she doesn’t have some kind of music playing - whether it’s out loud or through headphones !

she’s actually got a very beautiful singing voice, though she didn’t believe people at first when they would tell her that !

when she was seventeen, she and two of her best friends got together and filmed a cover video for one of their favorites songs and decided to take a risk and post it to her youtube channel !

the cover ended up going viral, and after a number of people suggesting they do it regularly, the trio decided to form an official band, naming themselves ‘infinity’ !

instead of posting their covers to her personal channel, kassi created a youtube channel strictly for their band, and they began to post a cover a week to their channel !

as of today, their band’s youtube channel has nearly 1m subscribers !

after high school graduation, kassi enrolled in cosmetology school and eventually graduated with a cosmetology degree !

after earning her cosmetology degree, kassi’s goal was to be a ‘makeup artist to the stars’ and after a million and one failed attempts at scoring that job, she finally landed herself a job working as tierney & teagan garcia’s personal makeup artist.

since working with the twins, she’s also done makeup for a number of other celebrities and is always willing to work with new ones if need / want be !

she hasn’t forgotten about the singing thing though, promise !

infinity turned out to be quite the hit around springhill and often does sold out local gigs in and around the town !

they’ve also had the honor of being the opening act for a number of well known bands !

they don’t tend to get out of springhill to perform often, but they still post a number of videos ( including live performances ) to their youtube channel so that fans from across the world can still have access to their music !

infinity has released a couple of albums, but they were all produced independently, as they’ve never been signed to a proper record label !

if she was going to be in that ‘cinnamon roll’ meme, she’s be the ‘looks like a cinnamon roll, could actually kill you’ one !

kassi’s super duper sweet and adorable, but is very blunt and outspoken !

don’t cross her unless you’re prepared to handle the aftermath of her wrath !

oh, and she’s ‘the lost boys’ ( aka danny’s band’s ) like biggest fan ! she’s so platonically in love with him, it’s ridiculous !

POSSIBLE CONNECTIONS:

SPRINGHILL NATIVES - she’s from here, so she probably knows a lot of the people that are also from her, considering they grew up together !

OTHER YOUTUBERS - the youtube community is somewhat like a family, so she’d automatically be drawn to other artists !

FELLOW MAKEUP ARTISTS / BEAUTY GURUS - someone she can talk all things beauty with? yes please !

SOMEONE SHE’S DONE MAKEUP FOR - she’s a celebrity makeup artist, so it would be fun to know people she’s done makeup for. she also does it for non-famous people too though !

FELLOW SINGERS - girl likes to sing, so she’d definitely like someone else that also has a passion for singing !

A MUSICAL MENTOR - just because she’s youtube famous doesn’t mean she 100% knows what she’s doing, so having someone who DOES know what they’re doing to take her under their wing would be epic !

EX(ES) - she’s still fairly young, but she’s old enough to have dated a person or two !

CRUSH(ES) - this could either be someone she has a crush on, or someone who has a crush on her !

BEST FRIEND(S) - girl needs someone she’s close to and can hang out with on a regular basis !

RIDE OR DIE - literally kassi’s favorite person on this planet. her absolute BESTEST friend. someone she trusts with ALL her secrets and would do ANYTHING for ! the yin to her yang. the peanut butter to her jelly. you get the idea !

( i will update this as i come up with more headcanons / facts about kassi, but in the meantime - like this or message me if you want to plot with my adorable cinnamon roll of a child ! )

[lachalaine]

Rules: Answer 21 questions and then tag 21 people you want to get to know better.

tagged by: @oflightningandfire​ thank you very much !!!

I tag: @takusanno / @killrate / @kuebcko / @weiwuxiian / @astrumtristis / @lifedenied / @bruisedpsyches / @ancestcr / @xaconite / @nightlcss / @saikuru-no-owari and YOU READING THIS, just snag it please !!  ✨

1- Nickname(s): J / Lady / Lady J / Crabcake / Sea Pancake / Jlax 

2- Zodiac: A Constantly Emotional Crabby

3- Height: 4′11“ or 5′0“ one of those dshabdhsa

4- Last movie I saw: Avengers Endgame but also ten minutes of Fairy Tail The Phoenix Priestess which i didn’t finish because i was on a treadmill and dying and couldn’t read the damn subtitles at the same time OTL

5- Last thing I googled: San Francisco Timezone

6- Favorite musician: Zedd and Madeon

7- Song stuck in my head: Do You Believe In Me by Eric Gadd

8- Other blogs: @selestiina though I never really used it admittedly whoops 

9- Do I get asks: Most times, yes!! I’m lucky enough to get at least one for every meme I reblog, and honestly, I always so feel eternally blessed and grateful when I do !! 😭 😭 😭 even if your girl is the definition of an actual Slowpoke and generally tends to answer most of them within a time frame of 8 fucking months dbashdhsab I’m so bad at keeping up I know OTL

10- Following: 285

11- Amount of sleep: 6 - 9 Hours

12- Lucky number: 13 ✨

13- What I’m wearing: Blue shorts and a purple shirt

14- Dream job: Travel Blogger

15- Dream Trip: I managed my biggest dream last year when I went to London, though I do absolutely want to go back because I feel like I didn’t get to experience everything I could have just yet, considering I was only there for a week. So London again, only for a month or two this time maybe. And on my own too. Also Japan and France as well hihi !! 

16- Favourite food: 👏 CRAB. 👏 LOBSTER. 👏 TIGER PRAWN. 👏 ALL THE SEAFOOD EVER  👏 👏 👏

17- Play any instruments: The piano a bit, though I really enjoyed playing the drums mostly. 

18- Languages: English and Tagalog. Very, very basic Japanese. 

19- Favourite songs: I have too damn many and I get some new ones every week because of my Discover playlist on Spotify, but these remain to be my absolute favorites no matter how many times I listen to them: Starlight (Lenno Remix) by Jai Wolf // Cyanide Truth by the Strike and SiDizen King // Spectrum and Clarity by Zedd // and nearly every song on Madeon’s first album. 

20- Random fact: Whenever I go to California, the first thing I do is drop by a Lush so I can purchase a large array of colorful bath bombs. One fizzy for each day I’m in the country, because we don’t have a bath tub out here in Manila unless we’re staying at a hotel and goddamn, but I intend to treat myself by lounging in a tub of overly scented bubbles for at least an hour every day that I have access to that ceramic beauty, okay?? my dad once said it smelled like a perfume shop had blown up in my room and i was admittedly very pleased

21- Describe yourself as aesthetic things: periwinkle and lilac / pastel hues / hibiscus flowers / sunlight over the ocean / starfish / pier against the sunset / british roses and japanese cherry blossoms / soft bunnies / an afternoon nap / vibrant acrylic paint on a wooden palette / tight hugs / warm smiles / unadulterated laughter / childlike glee / intentional silliness / cozy sweaters / shooting stars / purple hued twilight / the night sky / the sound of crickets in the evening / marshmallows over a bonfire / a strong breeze / the windows down while driving down a highway / books on old mythos lore / a colorful bath fizzy with sparkles unleashed in the water / glittery mica / spring rain 

[silverglyph]

FRAME BY FRAME - All References in the MIC DROP Fan Video by Kiera and Arwen (with pictures and links)

First of all, go follow @seiyoko and @salukiart, they are amazing artists, animators, and creators!

If I missed any references, please message me and I will add them in!

The opening line of Dope - 0:13

At 0:08 in the video, all member’s names are graffiti’d on the walls.

A line from the song Come Back Home

From about 0:25 to 0:29, Steve Aoki’s eyes watch over the boys from the Mic Drop remix. Also, the TV says ARMY <3

Also at 0:29, there are posters lining the walls from BTS’s past comebacks. If you look closely, you can also see their logo on the controllers (this is much more easily visible later on in the video). The room MIGHT also be modeled to look like a room in their current dorm but I’m not sure.

At 0:30, the first screen of the game finally shows up, and it lasts for about 10 seconds. In that time, we can see:

The stage is modeled from their first music video, No More Dream

J-Hope (who’s character name is written as JHS in the game-- short for Jung Hoseok, his real name) is firing a Supreme gun that shoots fake money (lol).

The little mascot in the Info section is Van, a mascot from the BT21 series created by BTS and Line. Each mascot was made by/represents one member of BTS, except for Van, who represents ARMYs.

“Today, your dream begins! A new path has been opened, don’t hesitate!” I am pretty sure these are lyrics from one of their songs since, throughout the video, Van pretty much mostly speaks in lyrics. I haven’t been able to find this one though.

At 0:41, the stage changes to reflect their We Are Bullet Proof Pt. 2 music video.

Van’s quote “It’s like a desert here, there’s nothing but rocks” is a reference to the hidden song on the LYH album, Sea.

ALSO, a some of the monsters designs are based on lyrics and references from BTS’s music. I’m sure all of them are but I just can’t make the connection. Maybe the rock monster is also a reference to Sea?

Edit: Apparently most of the enemy designs are based off of album covers! This is according to Kiera’s twitter.

At 0:46, Suga joins the party as MYG (short for Min Yoongi, his real name).

J-Hope’s special attack at 0:48 is a reference to the short movie he stars in during the Wings era called MAMA (also the name of his solo song in the Wings album).

I’m not sure I even have to put this, but the great transition at 0:51 is a dead ringer for the iconic MIC MIC BUNGEE move that Suga and J-Hope do in the Mic Drop remix MV.

So now Suga is in the frontlines, attacking. His method of attack is the lighter he’s seen with throughout the entire HYYH series. It first made it’s appearance in the I NEED U music video (seen clearly at 0:29).

The stage has changed to reflect their music video N.O. The red and white color palettes of the monsters in this area are supposed to reflect the red and white album.

And at 1:05 (we’re only A MINUTE INTO THIS VIDEO WOW), they’re in the classroom setting from Boy In Luv. I have no idea what the monster is supposed to be. Is it balancing on a candle? Chalk? Does it represent the red string of fate???

Whoa hey, it’s 1:07 and we’re in the Just One Day music video! I’m fairly sure that paper airplane monster refers to the paper airplane J-Hope had in Spring Day? (At 3:20.) I don’t recall paper airplanes in their other MVs unless there was one in Just One Day that I missed?

Also, it looks like V has shown up! (As KTH, or Kim Taehyung.)

Suga’s special attack starts at about 1:09 and lasts until 1:14. In it, he throws a rock at the monster, an alarm goes off, and a piano falls on the monster’s head. This is a reference to the short film FIRST LOVE, released during the Wings era. In it, Suga throws a rock into a music store, where a piano sits, and an alarm goes off.

Back in the real world at 1:15, we can see more detailed posters from different eras. I just know the Dope era one on the right.

At 1:18, we’re in the underground subway setting for Danger. (If it wasn’t obvious, the stage appearances correspond to the order the actual music videos were released in.) V unleashes his attack, unfurling black wings and firing feathers. In the MV for Blood, Sweat, and Tears, as well as other subsequent material during this era, V was seen and associated with black wings. I think he’s fighting the Gucci snake? Because V loves Gucci in real life?

Also, Van is back! “It’s already your second year, time flows fast...” references their song Second Grade/So 4 More (which is an underrated BANGER btw).

Also, easter egg time: There’s graffiti reading “What Am I to You?” which is the title of one of their intro songs.

New player! Jin (aka KSJ, aka Kim Seokjin) appears at 1:24 and fights by blowing kisses :). Blowing kisses at ARMYs is pretty much his thing lol. Also, blowing kisses sends out hearts that hurt the enemy, and while that’s a common visualization for blowing kisses, I pray that its also a reference to Jin’s heart events.

They’re at the storefront present in the War of Hormone MV. The enemy he’s fighting is, I think, one of the black-clothed goons from Not Today and the Mic Drop remix MV. (It also appeared in Kiera’s last full-length fan animation of Cypher Pt. 3. That video is itself chock-full of references! Incidentally, I believe Van’s quote here is also referencing that song.)

Two seconds later at 1:26, Jimin (aka PJM, aka Park Jimin) makes his appearance. This time, they’re at the bonfire scene from I NEED U (also appears in their prologue MV I think). Their fighting a flower monster that I don’t know the significance of.

Jimin attacks with an umbrella. I think the umbrella is from the Love Yourself short films but I’m not entirely sure.

At 1:37, we get our first look at the achievement system in this game.

It’s all the awards they’ve won up until this point! Really awesome touch.

Two new players appear this time: Jungkook (JJK, Jeon Jungkook) and RM (KNJ, Kim Namjoon). I have no idea what Jungkook’s attack is: he pulls some string from his wrist and it transforms into a spear?  Jungkook’s attack may be referencing the move from DNA. Strands of DNA come oout of his arm and form a spear. (Thank you @bangpdofficial!)

The stage is a scene from their Dope MV. Van’s quote, “so this is Bangtan style,” references the same song.

I am almost certain that the lion enemy has a mane modeled after the lily flower that appears frequently in the Bangtan Cinematic Universe. It’s even got six petals.

At 1:46, Jimin unleashes his special attack. The attack involves him eating an apple and then teleport-kicking the enemies. I think this is a reference to his short film, LIE.

The stage is from the For You MV, a song/MV exclusively released in Japan. I am not sure what the enemies are supposed to be.

Jimin’s kick transitions into the next scene, where the stage is modeled after the tunnel scene from the RUN MV. I am pretty sure the enemy is a reference to Baepsae/Crow-tit, and this bird represents the wealthy older generation.

A wild BTS lightstick appears at 1:53! (Also, we got some new scenes of their room with some new posters.) 9:18 might refer to the date the Love Yourself album was released (thank you anon!)

A new stage shows up at 1:55. I don’t quite recognize it but it might be the Japanese version of I NEED U? We can also get a clearer look at the bird from Baepsae.

At 1:57 we come to yet another new stage modeled after the Japanese Run MV. It’s filled with graffiti of the names of a ton of their songs. 

V activates his special attack. A single lightbulb hangs from the ceiling and a table appears, which he kicks towards the baepsae. I believe it’s a reference to his interrogation scene in his short film, STIGMA.

Also, in a blink-and-you’ll-miss-it moment, V’s attack animation ends with him giving a peace sign and his adorable puppy Yeontan popping out of his pocket.

Two minutes into the video and we get a new stage (modeled after the Fire MV) and we finally see RM’s attack. He pulls out a giant lollipop and smacks enemies with it. He’s frequently seen with a yellow lollipop in the Bangtan Cinematic Universe.

And now they’re in a stage modeled after the Save Me MV.

Again, the stage changes into one based on Young Forever. I don’t know what that enemy’s supposed to be, but he’s pretty cool looking. And an animation for downed party members has never been so cute. (But what is that in Jin’s arms?)

At 2:08, RM provides an assist move that revives V and Jin. It takes the appearance of his BT21 mascot, Koya.

We get another look at the achievements screen at 2:10. It’s coming along nicely!

And a level selection screen a couple of seconds later! Not only does it show the title of the MV, but the description includes the album the song came from. The level code is also the date of the comeback (thank you @bangpdofficial)

2:18 shows a stage based on the Blood, Sweat, and Tears MV, as well as my favorite enemy design in the whole video: a dear featuring the circle designs from the Wings album cover. 

For his special attack, RM unleashes a phone booth to crush the enemies, referencing his short film REFLECTION.

More awards!

Also, seems like the boys have started taking notes. You can see a DNA strand drawn on the bottom one (blocked a little by the YouTube bar--sorry about that).

New stage at 2:30! It’s the train from Spring Day. Van’s line about forgetting shoes also references the lone pair of shoes featured many times in that video.

Jin summons his pet sugar gliders to restore the HP of the rest of the party (to the bewilderment of Van).

Jin uses his special attack in the Not Today stage at 2:45. He takes a photo with the polaroid camera seen many times in the Bangtan Cinematic Universe, and it turns the enemy to stone. It crumbles away under his touch. This might relate to the way Jin crumbled as though he were stone in the Blood Sweat and Tears MV.

At 2:50, we’re taken to a new stage. I think it’s based on the Japanese MV of Blood Sweat and Tears. Van’s quote is another reference to the song Sea.

A closer look at the controller at 2:55.

Even more awards! Too many that I can’t even count ‘em.

And at 3:03, we see a DNA-based stage. Van’s quote is once again from Sea.

Jungkook’s special attack has all the other members in BTS appear behind him in succession before he delivers a punch to the enemy. It’s safe to say that this references the song (not the short film) BEGIN, which is something of an ode to the hyungs of Bangtan. <3 (song) (film)

3:20. Hey look it’s pretty much a direct replica of that one scene from DNA (at 3:49).

At 3:25 we get our first look at the game over screen. Among a bunch of other “you have failed” messages, there’s this one (”don’t be such a try-hard”) that further references Baepsae.

Looks like they keep getting knocked out in the Mic Drop stage. That weird rainbow ball from DNA is tough.

Van’s words of encouragement are nearly a direct quote from the best-known line in Sea. “Where there’s hope, there’s trials.”

Last but not least, BTS’s achevements have earned them a spot on the world’s scoreboard, their debut on Billboard’s Hot 100 as number 28. <3

This fan animation was absolutely stellar and the attention to detail was mind-blowing. Even the tiniest details like how each member’s idle animation would work had so much thought put into it. Again, mad props to @seiyoko, @salukiart and @yowgurt for their incredible work!  

[felicityb-reviews]

Experimental SHINee - Feature Spotlight

Hello babies, and welcome to the next Feature Spotlight in the SHINee Spotlight series!! My name is Jace (aka Felicity B), and today we're gonna be taking a slow drive through SHINee's more experimental era. This era in SHINee's career actually features my first SHINee comeback (Dream Girl, dahlings), so I am The Most Excited™ for this FSL!! It feels like Dream Girl dropped ten years ago, rather than just five, but I guess that's what K-Pop does to you.

And in case anyone is wondering why I'm going in reverse chronological order, it's because 1of1 and Misconceptions of Me are my favorite SHINee albums.

Era Spotlight

So, I cheated. I really should have featured from DxDxD in this list instead of ones from FIVE, but I don't really like DxDxD!?!??! It's literally my least favorite SHINee album, sis. FIVE, to be frank with you all, fit more in line with the '90s 5HINee era, but it also fits in this experimental era pretty well.

The name of the game here is experimental, folks. SHINee must have gotten a little bored after they decided to go RnB again after LUCIFER. The bulk of the songs on this list were released in 2013, a year that SHINee really pushed the boundaries of who they were as a group, and I almost kind of miss it. Granted, I loved the maturity in sound they came back with on Odd and 1of1 (the former more than the latter, tbh), but this experimental phase was just a fun time to be a SHINee fan. This list includes songs from both Misconceptions albums, the Everybody mini album, and the previously mentioned Japanese album FIVE.

Spoiler (Misconceptions of You ~Dream Girl~)

Gurl... SHINee was not fuckin' around with us with Spoiler.

Spoiler is a song that Jonghyun wrote incorporating all the song titles from the Misconceptions series in the lyrics. And sis, I was like, "This is cute, or whatevahs!!" when he spoiled the tracklisting for Misconceptions of You, but when Misconceptions of Me dropped and we found out he spoiled that too?!?!?! My wig wasn't just lopsided, she was free floating in space.

SHINee really fucking Did That™ with Spoiler, sis.

Spoiler sounds like someone took Sherlock, and turned her into a vampire. Spoiler is Sherlock's darker and more seductive older sister. It's kind of interesting how they kicked off the Misconceptions series with Spoiler, a song that starts out like their previous title track, but with a dark twist. It's almost like they were making a statement, sis. This SHINee is New and Improved™ SHINee. This SHINee is Upgraded™ SHINee. SHINee 2.0, if you will. We snatched you with RnB/Funk, we snatched you with EDM, and now we're gonna snatch you with both. Enjoy!!

Symptoms (Everybody)

I imagine sex feels like what listening to this song feels like.

Symptoms is an eletro-RnB song that sounds like it was snatched right from the Billboard Top 40. Which doesn't surprise me, because it was produced by the Underdogs (who also produced EXO's Overdose, another song that's dripping in that Top 40 sound from the time). Symptoms is a song that starts out loud and proud; it gives you Drama™, and it gives zero fucks about it. She looks at you without a care in the world and says, "My name is Symptoms, what did you expect!?!?! A cutesy pop track?!?!?! Boi, if you don't get!!"

And mind you, that's what I love about ha.

I fucking love a SHINee song that gives us all the bells and whistles, because they really don't have to. Look at Odd Eye - she's as stripped back as it gets for RnB midtempos, but SHINee still Shine Bright Like A Diamond!! But here's the thing - these dramatic ass niggas love songs like these. You can't tell me these SHINee boys don't love a beat with all the bells and whistles; the way they always come correct on songs like these says it all.

Become Undone (FIVE)

Speaking of songs that lack bells and whistles, Become Undone is not one of them. You'd have to be a Fool™ to think a song titled Become Undone on a Japanese record could be a toned down track.

These types of songs are usually the most dramatic.

Become Undone is an angsty song. She's a song I can see playing during a scene where an anime protagonist has to make an extremely hard decision. Like, intentionally stepping into a trap to save your friends, or deciding between saving your loved ones or the world (don't look at me like that, you guys have seen Sailor Moon).

The main star of the show here is the chorus. That's true of most pop songs, but especially so for Become Undone. She features The SHINee Specialty™ (their ridiculous ability to blend their harmonies together like fuckin' buttah), the trap beats presented in the verse kicked up 10,000 for Maximum Drama™, and orchestral stabs that tie everything together. Become Undone has one of the most emotionally satisfying choruses I've heard in a pop song. Sis, I'm literally the INTENSIFIES meme listening to this song, it's just so good.

I'm really glad that groups like SHINee have had the pleasure of working with a Japanese team to release music in Japan, because it allows them to play with their sound in a way that they can't in Korea. And that's not to say that SHINee haven't played with their sound in Korea (this FSL is literally on the era they experimented with their sound the most), but there's certain sounds and textures that are specifically J-Pop in feel, and it's really cool to see a group like SHINee tap into that.

Orgel (Misconceptions of Me ~Why So Serious~)

Okay sis, now we're actually bringing it down a notch. Not for long, but I figured y'all could use a break, even if it's short lived.

Orgel is a song that's quite similar to Odd Eye in the fact that it's SHINee driving the song with their vocal performance, and the beat is going along for the ride. Orgel also features a melody that sounds like a something you'd hear in a music box, and while that motif is quite overused in pop music, it doesn't make Orgel feel played out. It's just a really pretty song from five really pretty boys.

Orgel is a really neat song, because even though SHINee are driving the song with their voice, they're really not doing a whole lot on the beat. Their vocal performance on Orgel is subtle in the same way the beat is (or rather, as subtle as these boys get), but they still stand out. It's an interesting experience, sis.

Queen of New York (Everybody)

Now this is A Song™, sis.

Queen of New York feels very lounge cafe, sis; she's very "let me sip my expensive coffee drink while I read the latest copy of Cosmo or OK! Magazine". Queen of New York is also very much something the drag queens are voguing to at the local gay club. Miss Queen of New York is a woman of many moods, okay?!?!?!

Queen of New York was a very fun surprise, because I don't think anyone was expecting a song quite like this on the Everbody mini album. She's very edgy, but in a way that you don't expect songs described as "edgy" to sound. Queen of New York has a very polished feel to her, but there's a dirtiness to her that you can't tame. She's a proper Upper Middle Side woman, but she's not afraid to take a walk on the wild side. She's not afraid to show you how to get down, and I just love that so much.

One Minute Back (Everybody)

This is also A Song™, babes.

One Minute Back is grungy, sis. She's not a proper Upper Middle Side woman, she's a punk rock/biker girl with a flair for the dramatic. Ain't nothin' polished here, ladies!! Well, SHINee's vocals are pretty polished, but that's a given. I've never heard a SHINee song where the vocals weren't produced to a T.

But despite that, Ms One Minute Back and Ms Queen of New York are happily married!!

One Minute Back, like Queen of New York, was a song I was pleasantly surprised to hear on Everybody. One Minute back has such grungy verses, but then the chorus and the bridge are so Funky and so SHINee. BUT THE TWO DIFFERENT VIBES BLEND TOGETHER LIKE IT'S NOTHING!! It's such an aurally pleasing experience, you guys!! The reason I compared One Minute Back to Queen of New Year is that they're both marry these two moods to amazing results. I mean, Queen of New York doesn't fully commit to the grunginess, but there's enough of it lying below the surface that it's worth mentioning.

ABOAB (FIVE)

Ms ABOAB is a Bad Bitch™. She's a Boss Bitch™. She has no time for your games, boo. Ms ABOAB is a brazen ElectroFunk number that makes no apologizes.

If SHINee wanted to make a record like Everybody for the Japanese market, ABOAB would have been the title track/lead single. Miss ABOAB is spicy. She's seductive. Miss ABOAB is full on club bounce, and I McFucking L O V E when SHINee do those kinds of songs. There's just something so sexy about them working that club vibe, sis. I lowkey wasn't ready for ABOAB, but she really didn't care. She mesmerizes with the way she flits between emphasizing her Funk and Electro elements.

And that damn drop with the horn line... BITCH!! My wig has been compromised.

Runaway (Misconceptions of You ~Dream Girl~)

Runaway is another ElectroFunk track, but brighter and poppier in a way that contrasts ABOAB quite nicely. It's no less fun and club ready, tho.

Runaway is mainly driven by a punchy synth stab and SHINee's very fun usage of their vocal harmonies. While Miss ABOAB would whip ha weave in ya face if you ever tried to talk to her, Miss Runaway would make silly faces at you and coax you into doing silly dances. I, always and forever, wanna see SHINee in concert, but I especially wanna see Runaway and ABOAB performed live, because they always do these types of club ready tracks Just Right™.

Hitchhiker (Misconceptions of You ~Dream Girl~)

Because God Knows^™ these boys can't not give us a track that channels the very essence of MJ and his weave.

If Spoiler was too gimmicky of a sequel to Sherlock for you, then Hitchhiker is your song. Hitchhiker, to me, sounds like the perfect representation of this era in SHINee's discography - let's take what we already do well and marry it to a whole new palette of song styles/textures, and see what sticks.

And lemme tell you somethin' - Hitchhiker sticks like fucking glue. Remember what I said about SHINee loving the bells and whistles that comes with doing over the top songs?!?!?! That's in full effect here, sis. Hitchhiker is anthemic as all fuck, and these boys ride that beat like they were made for it. And to be completely, I have no doubt in my mind that they were.

Nothing to Lose (FIVE)

So who else was expecting to get something hella grungy like Natalia Kills' Break You Hard or Seventeen's Clap with how hard that guitar was filtered?!?!?! I can't be the only one here.

Nothing to Lose bait and switches us with that dark n grungy guitar riff, because the majority of the song is rather bright n poppy. But I really can't be mad, because I rather liked the way they transitioned the darker sections into the brighter ones. And Nothing to Lose is pure octane fun. It's kind of a hard song to hate, because it gives zero fucks about how cutesy and cheesy it is.

There's also a rather nice helping of Funk thrown into the mix, but I'm gonna pretend that that had nothing to do with much I like this song. Even though it's what makes me like it the most.

Punch Drunk Love (Misconceptions of You ~Dream Girl~)

Punch Drunk Love channels Love Like Oxygen like SHINee's producers were in the studio intentionally trying to produce a sequel to the song. And if you know anything about me, you know that Love Like Oxygen is literal auditory C R A C K for my black ass. Punch Drunk Love also sounds like SHINee's writers held a seance and channeled MJ's spirit when they were writing the song for the boys.

And y'all already K N O W I'm here for that shit.

Punch Drunk Love is the SHINee Five™ on autopilot, sis. SHINee will never not know how to come correct with a Funk song, and it warms my heart. The attitude, the harmonies (THE BUMBACLOT HARMONIES), the overall feel of the song; SHINee gets it right. If you ever needed a pickmeup, then put on SHINee's Punch Drunk Love, and thank me later. This is another song that is unabashedly cheesy, but gives absolutely zero fucks about it.

Isn't it beautiful!?!?!?

Evil (Misconceptions of Me ~Why So Serious~)

Evil can be summed by in two words - Drama and Killer Harmonies.

That's technically three, but you know what the fuck I meant.

Evil is SHINee at their most dramatic. I remember Shawols losing their collective minds at the fancams from the concert performances where they wore blindfolds.

Yes, you read that correctly. These dramatic ass motherfuckers were performing on stage with blindfolds on. They were, more than likely, see through blindfolds, but never doubt SHINee's collective love of the Drama™. They absolutely would dance completely blindfolded.

Evil starts out slow, but I very much doubt that many of us thought the song was gonna stay that way; SHINee were just building the atmosphere (read - creating the perfect environment to torch our weaves). Evil has an almost musical theater vibe to it, except not nearly as cheesy. Evil is honestly a one of a kind experience that we all need in our lives at some point.

Especially because SHINee were on their harmonic A game the day they recorded Evil. When the drums drop out and it's just the orchestral stabs with their voices?!?!? Fuckin' magic, ladies.

Like A Fire (Misconceptions of Me ~Why So Serious~)

We all Know™ Like A Fire, because of that one performance where Jonghyun, Kibum, and Jinki were having a contest to see whom tf could be the most extra (to be honest, I'd say Kibum won, based purely on the fact that I didn't even know he could wail like that). But Like A Fire stands firm on her own by being a wickedly good Funk song.

(Sidenote - I'm about 90% this list has more Funk tracks than my '90s 5HINee FSL, and I want you all know that that was not on purpose. I wont be changing it, but I swear it wasn't done purposefully!!)

Like A Fire, like Punch Drunk Love, is SHINee on autopilot. I don't know what else to say about this song. It's just so Classic SHINee™, sis!! The verses have a more somber, minor tone to them, but the choruses transition (maybe that's a modulation, I'm not Musically Advanced™ enough to make that call) into a killer major groove that is just so beautiful to listen to. I don't know anyone who doesn't like this song. Liking Like A Fire is a requirement for being a Shawol (especially a Shawol of color). If you don't like Like A Fire, you're invalid.

I need to say something about these harmonies and ad libs, tho. Did the producer of Like A Fire tell the SHINee Boys™ to go HAM the day they were laying down tracks for Like A Fire?!?!?! Did they mean for the harmonies and ad libs to get this over the top!?!?! I'm not complaining, I just wanna know. Because the harmonies and ad libs, especially, are so ridiculous!! I love every second of it, but sometimes it K I L L S how extra this song is!!

Diamond Sky (FIVE)

The first time I ever listened to this song, I cackled like a banshee at how extra that intro was, because it's so SHINee. It's so dramatic, and it suits SHINee to a T. I was expecting the verses to be some Final Dragon type shit, or somethin'!!!

Diamond Sky is pretty standard fare for a J-Pop song, imo. It doesn't stop me from loving SHINee's take on it (and it shouldn't stop you), but it's worth mentioning; SHINee + J-Pop = Love. Like I mentioned above, I'm glad that SHINee were able to continue releasing music in Japan, because this is a style of music that suits them well, but would not do well in Korea at all.

Diamond Sky feels like the theme song for a magical girl anime. The twinkly pianos, complemented by the strings and electric guitar give it an air of grandiosity that would have made it a perfect theme or insert song for Sailor Moon. If they had added a modulation at the end for Maximum Drama™, I'd have lost my shit.

Close the Door (Everybody)

Firstly, if you haven't watched the SHINee World IV performance where Jinki tap dances to Close the Door, I'm judging you. Our sweet dubu leader did not bless us with such beauty and grace for you to ignore it!!

Secondly, Close the Door is the cheesiest love song I've ever encountered in K-Pop. It's got the romantic sounding keys, the strings, it's in 6/8 time (perfect for a waltz, babies), the lyrics are so sugary sweet, and the chord progressions utilize mostly major chords. And you know what, I absolutely fucking love it. I'm a cheesy Romantic Gay™, and I fucking love this cheesy ass love song. It's just so aurally pleasing, especially since these SHINee boys all have voices that blend together amazingly when they harmonize. Sue me.

Sleepless Night (Misconceptions of Me ~Why So Serious~)

SHINee ballads are a wonderful, amazing thing, you know?!?!? Especially when they don't give us the typical classical ballad, but go a little left field into something jazzy or RnB. Which is what they do with Sleepless Night.

This week's playlist features a lot of songs that are extremely over the top, sis. And I mean, we've discussed this; these SHINee boys love the drama of it all. But they also love lowkey songs like Sleepless Night. You'd be able to tell if they didn't with a song this stripped back and bare. Sleepless Night is literally the SHINee boys (and their amazing harmonies), a piano, and some strings. And it's fucking amazing. There are quite a few songs from SHINee that I want to experience live, but I think Sleepless Night tops the list. Well, that and Wish Upon A Star, but I'm sure I'd cry my fucking eyes out listening to that. I mean, I might cry my eyes out to Sleepless Night, but there's less of a chance there.

I've accepted that I'm a boring bitch who lives for a good ballad (the amount of ballads I've had to listen to for my RRUs has definitely proven this), but there's nothing quite like a good SHINee ballad, sis. There ain't never been a SHINee ballad that I didn't like.

And that's all for this week's list, loves!! Please tune in next week for the next era in my SHINee Spotlight series, Contemporary SHINee ver.2!! And don't forget to tune in Wednesday for my next Review Roundup, featuring songs released this week!!

Love you, guys!!

[more--than--music]

Albums Of The Decade

Once again, I’m limiting myself to just one sentence about each of these. I have picked 25 albums that I feel were the best of the past decade; I have limited myself to one per artist, and I haven’t ranked them. They appear here in alphabetical order by artist name.

The 1975 – A Brief Inquiry Into Online Relationships

An album for the times if there ever were one, the 1975 here plumb the depths of the millennial consciousness, with awe-inspiring ambition; one can’t help but feel that the 2020s will see them ascend to the stratosphere.

Against All Logic – 2012-2017

What could easily be dismissed as a side-project from Nicholas Jaar, electronic wunderkind and avant-garde darling, 2012-2017 is a gorgeous exploration of house as a genre, replete with flickering samples and breakbeats; you only need listen once, and these tracks will capture you immediately.

Alt-J – This Is All Yours

Each of the 3 albums released by Alt-J this decade could have been here, but I’ve chosen their understated sophomore effort which, despite its ostensible subtleties compared with the rest of their catalogue, is unparalled for moments of sheer beauty; listen to ‘Pusher’ for a perfect example of this kind of subtle beauty.

Arcade Fire – The Suburbs

Although perhaps best known for the emotive rock grandeur of Funeral, for me The Suburbs is Win Butler & co. at their narrative height; essentially a concept album, it ties together so many themes of coming of age, Americana, and what it is to be teenage, that it transcends genre; put simply, it makes me nostalgic for a past I never had.

Arctic Monkeys – Tranquility Base Hotel & Casino

Arctic Monkeys had many directions facing them after the worldbeating rock of 2013’s AM; they chose the path less travelled, in the form of sumptuous lounge rock, and found themselves in possession of the most interesting effort in an already distinguished career, and in Alex Turner, a frontman of prodigial talent.

Blood Orange – Negro Swan

Dev Hynes is one of those artists who exists on a different, rarefied creative plane to their contemporaries; Negro Swan demonstrates this with 49 minutes of astoundingly accomplished R&B, interlocked with a narrative addressing race, gender, sexuality and so much more with an admirably light touch.

Drake – Nothing Was The Same

Many may be surprised to see Drake in the company of others on this list, but although I think he has lost his way for several years now, his earlier output is quite masterful in its blend of pop and R&B; I believe Nothing Was The Same is this at its finest, with genuinely masterful production, delivery and direction- ‘Tuscan Leather’ alone is a statement of intent that belied the stratospheric bearing his career was to take.

Father John Misty – Pure Comedy

I’ve been a fan of Father John Misty for a number of years, but Pure Comedy was my introduction to the singer-songwriter, and I was lost for words; the frankly cosmic scale of his ambitions, elevating the inspection of the minutiae of romance he had undergone for 2015’s I Love You Honeybear to examining the entirety of human existence- many other artists would falter, Tillman rises to the task.

Frank Ocean – Blonde

A genuine innovator, an artist of almost no comparison, Frank Ocean released two albums this decade that could beat out most of the competition on this list without breaking a sweat; however, 2016’s Blonde is a truly remarkable feat, an album I could write essays upon essays about, but we don’t have the time, so I will simply say that if you haven’t heard it, what on Earth are you doing, listen!

IDLES – Joy as an Act of Resistance

I can’t quite believe I only discovered IDLES last year, their presence in my life seems like it’s been for decades; a more vital album than Joy you won’t find, bursting with love, loss and beautiful, beautiful rage.

Kanye West – Yeezus

It really wouldn’t be a complete list without at least some Kanye on here; the man revolutionised hip-hop time and again over the course of the decade, and although for many My Beautiful Dark Twisted Fantasy is his opus, nothing hits me quite as much as this abrasive LP does, he really rewrote the book here.

Kendrick Lamar – To Pimp A Butterfly

It feels cruel to limit myself to just one Lamar project, but limit I must; little needs to be said about this album, other than that, for me, it is the absolute peak of hip-hop as a genre thus far, and Kendrick does it better than anyone.

King Krule – The OOZ

Patron saint of cooler-than-thou art kids everywhere, Krule crafts a grimy, grey world here, that nonetheless is populated by brief moments of aching beauty (a notable favourite for me is the slow collapse of Slush Puppy); Archy Marshall does that most captivating thing, creating an album that feels like a world unto itself, quite unlike anything else around.

Lana Del Rey – Norman Fucking Rockwell!

Up until this past summer, a Lana album would’ve made this list, but it would’ve been Ultraviolence, or perhaps Honeymoon; NFR! blew any of her past work clean out of the water with understated ease, a supreme album from a songwriter in her prime.

Leonard Cohen – Thanks For The Dance

It comes as no surprise that Cohen, and this album in particular, should make this list; the man was a master of his craft, and the idea of an album finished after his death by his son, with the help of some of the best musicians working today, was irresistible- and, thank god, it was a beautiful, beautiful record.

Mac DeMarco – This Old Dog

Mac has been a favourite of mine for the best part of the decade, but I can’t help but feel that This Old Dog is him operating at his creative peak- mature, airy songwriting, with real emotional heft.

Metronomy – The English Riviera

Put together a frankly immaculate album of pristine synths and guitar leads, centred on a tranquil concept of the British seaside, all held together by Joe Mount’s Midas touch for pop, and you have on your hands an instant classic.

Nick Cave & The Bad Seeds – Skeleton Tree

For many, Ghosteen is the best album of the trio of Nick’s most recent output, but I find Skeleton Tree, in its barren landscape of harsh electronica and shocking grief, the most fascinating project he’s embarked on this decade.

Parquet Courts – Human Performance

An album of some of the most cerebral art-rock around, it reminds me why I fell in love with guitar music to begin with; smart, funny and often moving tracks with real guitar chops and lyrical chutzpah, there’s an overriding feeling that this could be some dusty old 12” found in a record shop, and it’s remarkable to think that it was recorded post-1980 (and that’s a compliment!)

Phoebe Bridgers – Stranger In The Alps

A supremely melancholy record from a singer-songwriter who is spiritual successor to the likes of Elliott Smith and Jeff Buckley, Bridgers delivers a set of songs that will make you weep, laugh, and weep again, even without knowledge of the infuriating tale of abuse of power that surrounds this album- an essential listen.

Queens Of The Stone Age – …Like Clockwork

Josh Homme and co. are a band that know their sound, and choose here to refine it and refine it until ‘Desert Rock’ feels like a far too meagre label for the pristine sonics here; the guitars roar when necessary, pianos make an appearance, and Homme remains the platonic ideal of the rock frontman, all too-cool lyrics and Californian drawl, holding the whole affair together with barely a sweat, just masterful.

Radiohead – A Moon Shaped Pool

Radiohead are getting on a bit, but 2016’s A Moon Shaped Pool shows that not only do they still have it (as if anyone was ever in doubt), but they have no issue continuing to explore new depths, seeming to approach their music from yet another angle again; the record is coloured by grief, age and modernity, and yet has moments of flooring beauty (all of Daydreaming, the seemingly underwater piano on Glass Eyes, ridiculously pretty guitar on Present Tense), they’re truly aging well indeed.

Tame Impala – Currents

A slice of psychedelia from one of Australia’s most popular exports, Currents is an album from a man who has already proved himself adept at recreating the sounds of other bands, and now turns his gaze toward creating an entirely new sonic palette- the album feels cohesive, and whole, and a statement of intent from one of the brightest talents in alt-rock working today; but also, in a very real way, it has Let It Happen on it, and so immediately earns its spot on this list.

Thom Yorke – ANIMA

Thom Yorke has already earnt his place in the pantheon of alternative with his work with Radiohead, but it’s been delightful this decade to see him flex his creative muscles a little more with his solo work, exploring avenues slightly less suited to the group, and boy, has he explored, with film soundtracks, collaborations, films; but ultimately, ANIMA feels his most accomplished work, and contains some really workable electronica, and incredibly subtle songwriting too- just listen to Dawn Chorus, it’s beautiful.\

Tyler, The Creator – IGOR

Our last entry, Tyler Okonma has also had quite the decade, going from outsider oddball, through provocateur and now all the way to the vanguard of pop culture, pulling together influences unlike anyone else, and really maturing his sound with his most recent works; IGOR is a prime example of this, with a wholly unique sound, and incredibly introspective and personal songwriting, it tops Tyler’s catalogue for me.

Well, that’s it for the decade then. It’s been a very good one indeed for music, and thank god I didn’t make myself rank these, I wouldn’t have known where to start. Here’s to the 2020s bringing more, as ever, thanks for reading.

[noiseartists]

Orange Crate Art: Psychedelia and melodic noise from Sweden

Orange Crate Art is the musical project of Toby, from Malmö, Sweden. he has produced some quality ‘Hallucinatory music since 1995’.

He just released his new LP, Astral Lullabies on the Threshold, which he was very kind to us the Premiere. Thanks Toby.

And he was even kinder in giving us a glance in his music and himself in the following interview.

His music work to date is as follows:

2019: Astral Lullabies on the Threshold, LP;  Song for Celluloid Babylon: The Visionary Photographs of William Mortensen in the Silent Film Era (Original Soundtrack), Single

2018: Microscopic Liquid Subway to Oblivion , LP; Inside Out: The Art of Susan Te Kahurangi King (Original Soundtrack), LP;

2017: Quantum Distortion in Empty Space, LP; The Exegesis of Matt Marello (Original Soundtrack), LP; Circular Rays of Infinity Cells, EP

2016: Extraordinary Gradations of Mauve, LP;  In a Sea of Crystal Radiance, EP; The Tibetan Year of the Dead, EP

2015: oca EP, 2015; ehs EP #1; Italian futurism, LP; ehs EP #2; ehs EP #3; ehs EP #4; Exploding head syndrome, LP

What is your music about?

Nothing in particular. It's more a state of... being in between states. Like hypnagogia. Trance-like and somewhere else, but with a physical presence. Even though the songs might have choruses and verses and vocals etc. Not comparing OCA to painters like Heron or Rothko, but.

I see quite a similarity between what I do and abstract impressionism, or painters like the above. What I put into the music is usually very to the point but the actual output, the expression, tends to come out as kind of blurry, see-through, or geometrical shapes in layers with blurred outlines. So what's it all about, when you sort it out... Alfie?

Once something is released, I have no say, but hopefully, the music can draw the listeners into a rewarding musical experience that they can define for themselves.

What are your goals as an artist artistically/commercially?

I don't really have any commercial goals. It's not a career. It's not an intentional anti-approach, I just don't think like that. I would love if the income from OCA could pay the rent and food, but I don't see it coming. Once something is recorded, I'm already working on the next thing. It's always about the next record. I'm making soundtracks for my friend and director Brian Chidester in New York, and ultimately, I'd like to make a living out of making music for film and television, but... I don't dream about it.

Since everything I do is DIY and on a small budget, I have gone the digital release route, but the plan is still to release/reissue everything on vinyl. These days, I'm more open to releasing music on other labels. I'm going to give Somewhere Cold something, for example, and that will probably come out on CD too.

I have a huge backlog of unreleased albums and EP dating back to 1995s. Most of these recordings will come out one day, so one of the rules I try to follow is to finish old stuff before recording new material. On the other hand, I really love the immediacy of recording something today and releasing it tomorrow. The "OCA" and "Tibetan Year of the Dead" EPs were recorded and released within the space of a few weeks.

The album I'm finishing right now is fairly new, recorded right after the Matt Marello documentary soundtrack in August/September 2017. The idea was to make a more song-based version of the soundtrack. It evolved into a gentle folk-psych collection of songs. Mantras and cosmic lullabies. The vocals are always record last, and I didn't get around to record them until February/March this year. I'd say the record is a bit more accessible . Less noise, more focused.

Who would you want as a dream producer, and why?

I have never thought of anybody else producing my music, so not really sure. It'd would have been interesting to have worked with Gary Usher around the time of his first Sagitarrius album and The Byrds' "Notorious..." album. His productions are so experimental and crisp sounding.

On a similar but different sounding note, Curt Boettcher. He'd put his usual Ballroom cast of vocalists on my tracks, which would've been lovely. Have you heard the Bobby Jameson record Curt produced in 1967? Those background harmonies by him, Michelle O'Malley and others..! And his work with tape delay, reverse reverb, Chamberlin, oboe and tremolo guitar on a lot of his backing tracks... he's a huge influence on OCA. I have a song called "In the Direction of the Non-Believer" which is sonically sort of a mix of a 1997-era Kevin Shields-remix and the album Curt did with Tommy Roe. A bit of Arthur Lee in the middle-eight but the rest of the music was kind of like that Tommy Roe album, with Boettcher-ish backwards tambourine and more.

As for current producers, it'd be interesting to see what somebody like Tim Hecker would do with an OCA record. It would end up radically different to everything I've done so far.

But generally, I will more than likely continue to produce my own stuff, but in the future, I'll probably hand the mastering over to a professional mastering engineer. And I'm always open to collaborations with other artists or musicians.

What are you trying to avoid as a band?

I don't think I'm trying to avoid anything. I just do it, like Nike footwear. I might not have their swoosh, though. Generally, I think it's better to try something than to avoid it.

Explain your songwriting process.

It used to be fairly traditional. Writing songs on the guitar and, later, the keyboard. These days, the process is more like people in electronica and film scoring: the writing and recording process is the same. One method I use a lot is to just press record and begin writing the song as it is being recorded. That's one reason why many of my songs change key so often... the songs just take off in their own directions.

I tend to mix a song right from the start, for every track I add, so it's continually molded into the final product. I usually mix into the two-bus, ie. I let EQ, compression, tape saturation etc colour the recording from the get go, rather than adding everything to the final mix. That essentially comes from the dance or electronic music world. Traditional rock engineers would probably disapprove. Again, it's maybe a bit like painting. I work really fast. Apart from the vocals, 90% of any released record is what was recorded in the first hour or two.

Why do you make the music you make? Is it in you? Is it your environment?

I have no idea why I make it. I just do it, and have done since I was a kid. It's an inner experience, but we're all connected to the cosmos.

Describe your palette of sound.

This is like the moment when John Lennon wanted a track to sound like an orange and George Martin was like "ok... I'll try to make it sound like an orange" :-) My bandmates would probably agree that I'm not that good at explaining what I want. I can be very precise for myself, but that's just the input into the music. Explaining the output to others is very hard, because everybody has their own idea of what X or Y is. Essentially, like any other artist, it's not my job to define what I do. It's up to the listener.

But from a more technical point of view, or in terms of arrangements, I have an anything goes attitude. I'll use whatever I have around me. Generally speaking, I do tend to come back to the same sets of arrangements. Usually one or two guitar, two bass guitars (one fuzz, one clean), organ and drums. I usually go for Vox or Fender Tweed amp tones, maybe a Mellotron, maybe a tack piano, sometimes brass, a lot of flute actually... for the soundtracks, it all depends on what the director wants and I try to translate it into music.

The guitars I use the most: a J Mascis Jazzmaster, a Squire Jaguar with Curtis Novak vintage pickups, one of those really cheap Danelectro guitars and a Danelectro electric 12-string guitar. I also have different acoustic guitars, and about one hundred effect pedals. Mostly fuzz and overdrive, but also several envelope filters, delays, tremolos, etc. I used to collect Devi Ever pedals and I use them a lot. Lately, I've come back to Boss pedals. Their overdrive pedals are so warm and musical.

If you could guest on someone else’s album , who would it be and why? What would you play?

I would probably play the guitar, my J Mascis Jazzmaster, which sounds three times as good as it costs. Can't actually think of a specific artist, sorry... maybe one of the newer London free jazz groups, or somebody who makes pure abstract or electronic music. Tim Hecker, hello? :-) What musical skills would you like to acquire or get better at?

Playing in time :-)

Which other musician/artist would you date?

Yoko Ono.

Is there a band that if they didn’t exist you wouldn’t be making the music you make?

Sure. OCA would sound radically different without My Bloody Valentine, Stereolab, High Llamas, Mouse on Mars, and many others.

You’re from Sweden, what are the advantages and disavantages?

Of the country? Politically, I'm Old Labour, so I'm completely lost in today's landscape with morons on all sides of the political spectrum. The new left might have good intentions but the road leads directly to neo-liberalism. I guess living in this country has influenced me to check out of current times, musically. Being painfully aware of reality and choosing the inner, cosmic musical experience.

Musically, we've always been more international than local, attracting pockets of listeners all around the world. I love looking at the streaming statistics and see people from South America, Asia, the States, mainland Europe... it's like the Stereolab scene in the late '90s. Always international, with bands like Mouse on Mars in Germany, Tortoise in the States, Cornelius in Japan, and so on. I don't really see any particular advantages living here, as an artist. Being a 20 minute train ride away from Copenhagen makes a huge difference, though.

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