#suburban legends has a great chorus though

[favroitecrime]

my friend got into t*ylor s*ift prior to like… everything rn and as a result in july she had me indulge in some songs she enjoyed in each album. anyway i’m not a fan/s*iftie for so many reasons but i think my song choices is def a reason considering almost every time i talk she goes ‘🤨’

[petruchio]

What songs would you say are considered to be the great Taylor Swift songs? Despite, of course, iconic ME!

i cant tell if this is sarcastic or not -- but i listed my top ten (not joking) taylor songs here and since you mentioned ME! im going to use this as an opportunity to be a hater. so here is a list 5 of my least favorite taylor swift songs that i wish i could erase from my brain:

you need to calm down. needs no further explanation, that song sucks ass. in my opinion its worse than ME!

i forgot that you existed. absolute garbage. like so much of taylor's songs that i hate, is more concerned with the real life drama and setting up a narrative than it is with being a good song. vocal delivery and production both sound lazy. it was an insane choice to open lover with this song, it sucks so bad, i hate it

so it goes. imo her most boring song and i think she agrees bc she didnt even play it on the rep tour. i posted a comment on reddit saying that once and got downvoted like crazy and i was like youre all lying to yourselves that song sucks

bejeweled. if bejeweled has one hater its me. i despise that song. the hook is so dumb and who allowed the sentence "familiarity breeds contempt dont put me in the basement when i want the penthouse of your heart" to be put to track. like enough of the mixed metaphors taylor. just say "set me free" or something and move on. and the stupid little repetitive synth on the chorus just grates on my nerves. ugh that song sucks. imo worse than vigilante shit even though that song sucks too.

suburban legends. hate everything about it, from the insane plastic summer line to the dumb title (its a bad attempt at a taylor swift "twist on a popular idiom" -- like that isnt even what urban legends means. its so dumb) to the insane wordiness of every line that just makes me doubt that it was actually written during 1989 era (like most 1989 era songs are ... simply not that wordy or obsessed with like 10 different mixed metaphors. taylor didnt really get that wordy until post folklore and i just think the 1989 vault (save for say dont go) is NOT actually from that era there i said it) anyway ya suburban legends haunts me god i hate that song

honorary mention for slut! also, because 1) it also sucks 2) there is no way she actually considered releasing THAT instead of blank space and that was such a bald faced lie i couldnt believe people bought it and 3) clink clink? be so fucking for real with me right now.

[snowflurried]

1989 Taylor's Version!!! :DDD

My opinions and talking about music! Very good time! Waffle too, for breakfast! Long post!

A girl has been a Taylor Swift enjoyer for about a decade so this is great for me. I'm livetweeting my opinions on the songs but I am reminded of just how lifechanging the original album was when it came out 9 years ago!

Back in 2014, my favourites were Shake It Off, Blank Space and Bad Blood. Back then though, when I watched the music video for Bad Blood, I didn't appreciate Kendrick's verse as much as I do now (which is A Lot, he's so fucking talented).

Recently, my favourites from 1989 are New Romantics and You Are In Love. Listening to these so far, being up to Out Of The Woods, I really like them all. They tickle my brain.

I think these versions are better than the originals so far! I'm interested in hearing how my favourite songs sound in this version, which I guess is going to be VERY GOOD.

There are some like All You Had To Do Was Stay, which I have never listened to before. But I like this one! I don't remember all the ones I have listened to, I may have listened to Clean or This Love or I Know Places. I know I haven't listened to I Wish You Would.

This is the fourth time I've listened to an album all the way through in order. First was Save Rock And Roll By FOB, second was Midnights, third was Renaissance by Queen Beyoncé (who I also stan) and now this one! It's weird I guess that I don't go through albums in order, I don't think I did with any P!ATD albums back in 2016, either, but that's when I listened to that FOB album.

I didn't really like the normal Bad Blood version because I only heard it after I grew to love the remix, but I'll see now what my opinions are. I'll compare it to the new remix version, interested to hear the difference in Kendrick's vocals!

The vibes of this album are like a peaceful cool breeze! Very nostalgic!

I like all the songs I have never heard before. Listening to Clean as I write this, I like the instrumental at the start. I like Wonderland's switch in pace towards the start, very exciting! What is also exciting is the fact that You Are In Love and New Romantics are next! My favourites!

Now I am thinking about how I listened to Midnights after finishing an assignment or something and it was an interesting and nice night! A year minus a day ago! The timings are crazy. My favs were Karma, Bejeweled, Lavender Haze, Question? and Mastermind apparently.

With the You Are In Love TV, I need to listen to it more to decide which I like better. This one is much softer. I like this version of New Romantics better, I feel like the instrumentals are softer and work better with her vocals. Feels more nostalgic and ethereal, too, definitely prefer this one I think.

VAULT TRACKS TIME!

"Slut!" is calmer than I thought it would be, I like the instrumentals for this one. It complements her vocals very well. The mixing is good and really fits!

Say Don't Go is nice, I don't feel like I have strong opinions. Until just now, the chorus is nice. Usually not a fan of clap noises like these in music or in general, but it works! It's like the song Hands Clap, it works in that song, too. Unless it's in an ad on TV (television, good to clarify lmao).

Now That We Don't Talk is very relatable to a situation from the fandom I'm in, looking at/listening to the lyrics. I do like this one, too. I feel like I'll grow to have favourite songs as I re-listen again and again. This is just the start. Wish this song was longer!

Suburban Legends reminds me of American college movies, even without me hearing the lyrics. Can picture this in one of those movies. Very much coming-of-age, girl moving out to university in like a city but very much still misses and identifies with the suburbs.

Is It Over Now? intrigues me with the instrumentals. The little "woo" sounds grab my attention. Kind of reminds me of Question? in Midnights, maybe it is in terms of subject matter and sound, a little? This sounds similar to the build-up of Out Of The Woods. I like it.

Bad Blood feat. Kendrick!!! Kendrick's verse bits sound a bit different, especially in the "ain't quite sincere no more" part. There are also these sounds that I can't describe that are now in here and they really catch my attention. Also, am I hearing a tambourine? I don't know! Would have to listen and compare this with the other one to decide which I like more. it is good!

To summarise, really like this album! I think Welcome to NY stands out to me a lot, may be moving up my favourites list! Wonderland was one I had never heard that I really like! Maybe Clean, too. New Romantics is better in this version in terms of instrumental and mixing. I don't think any of these songs are worse than the originals, although I haven't heard all the originals. Taylor did a great job and I'm excited for Rep TV!!! Dress and Delicate TV are gonna destroy me in the best way possible.

[viralnewstime]

A few months back Victoria’s six-part streaming series The State of Music brought a much-needed dose of live music magic to our living rooms, thanks to some standout performances from some of Australia’s most-loved acts.

Now, with the state of Victoria still firmly under lockdown, they’re doing it again! Only this time, they’re placing the spotlight firmly on emerging artists with the four-part series The State of Music: Introducing.

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Produced in partnership with the Victorian Government, The State of Music: Introducing invites established acts and legends of the Aussie music industry to lend a little of their star power to their favourite Victorian up and comer, by ‘introducing’ them to a wider audience.

It’s a wholesome idea that so far, has produced wonderful results with the likes of Paul Kelly, The Chats, The Teskey Brothers, Alex Lahey, Tim Rogers and Vika and Linda bringing some truly stellar young acts some much-deserved attention. As well as the chosen artists absolutely turning it up with some knockout performances.

It is a giant musical lovefest, that not only brings some fantastic musicians some invaluable exposure, but that also brings out the giddy music fan in the acts doing the ‘introducing’.

There’s something truly heartwarming about seeing someone so deeply ingrained in our music culture as Paul Kelly rambling on like a starstruck fanboy as he introduces Jess Hitchcock, or Alex Lahey busting out of her boots with glee at the opportunity to bless us all with the gift of Nancie Shipper.

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It shows that deep down inside, they’re still music tragics like us, and as live music-starved fans ourselves, that feels really nice and comforting to know.

As a bonus, with incredible turns from Jess Hitchcock, Nancie Shipper, CLAMM, Gena Rose Bruce, Pollyman and Kee’ahn, it is also beating the hell out of our lockdown blues here in Victoria, by giving us some quality live music to truly lose ourselves in every episode, while we await the return of our states true god: gigs.

Heading into week four, we’ve witnessed some star-marking moments from this diverse array of acts that showcases the staggering amount of talent that calls Victoria home right now.

Don’t just take our glowing word for it though, check it out for yourself by catching the four most memorable moments from The State of Music: Introducing so far and then do a deep dive on the artists’ back catalogues. Your new musical obsession awaits.

Jess Hitchcock

Introduced by Paul Kelly

“When you sing with Jess, you have to step up to the plate” says Aussie songwriting legend Paul Kelly when introducing Jess Hitchcock. It takes until the end of the first word of her cover of ‘Lay It On Me’ by Vance Joy to understand why.

Jess has one of those voices that just captivates you immediately, whisking you away to another realm for the precious few minutes you are blessed with her company.

Such pristine tone, such power, such emotion, Jess Hitchcock’s voice is a force of nature and it is on full display during this set. Accompanied simply on acoustic guitar by Cristian Barbieri, Jess displays the scope of her considerable talents, as a songwriter, a singer and a performer, making every second of this performance feel like a must watch.

An award winning Indigenous performer, composer and singer-songwriter with three years to her name as a backing vocalist for Kate Miller Heidke, a national run with Paul Kelly during which she was a featured artist every night, and over a decade’s worth of work with Australia’s only Indigenous opera company Short Black, Jess’ list of credentials gives some context to her capabilities, but no amount amount of context will prepare you for THAT voice.

Whether hitting stunning highs on the aforementioned Vance Joy cover or taking you on a gorgeous journey of self-discovery on the title track of her debut album Bloodline, a song about discovering and connecting with your identity as an Indigenous person, Jess’ voice will leave you spellbound.

Checkout ‘Bloodline’ below then take a listen into the rest of her wonderful debut album.

CLAMM

Introduced by Eamon Sandwith (The Chats)

“If you’re a fan of fuzzed-out punk music with aggro lyrics and sick riffs, I reckon you’ll be a fan of CLAMM,” Eamon Sandwith of The Chats decrees and you know what, Eamon, no truer words have bloody been spoken, mate. Exploding from the screen with a ferocious brand of punk, CLAMM bring some much needed danger to proceedings with an opening riot of romp through ‘Keystone Pols’ off of their bonza full-length record Beseech Me.

With guitarist/vocalist, Jack Summers, barking out anti-authoritarian lyrics and ripping out fierce riffs, bass player Maisie Everett hammering down the low end, and drummer Miles Harding going ballistic on the kit, CLAMM unleash a unique and rare energy that cuts through all the bullshit and has you looking around the house for the nearest thing to stage dive off of.

Backing it up with an absolute corker of a cover of Aussie punk legends The Saints ‘This Perfect Day’, proves that this band of inner-southern suburban types have the street cred, taste and talents to be the next big thing in Australian punk.

Check out the banging ‘Keystone Pols’ from this episode filmed at Collingwood’s iconic ‘Gasometer Hotel’ (the ‘Gaso’ to locals) then head to their Bandcamp to pick up the whole ‘Beseech Me’ record. It was the 3RRR Album of the Week for a reason. It rips.

Pollyman

Introduced by Tim Rogers

“They’re my favourite band. It is my enormous pleasure to introduce you, you lucky buggers, to Pollyman.” when Tim Rogers. TIM FREAKIN’ ROGERS, is this hyped about a band, you know you’re in for something special, so it is not surprising that Pollyman absolutely lives up to that sparkling intro.

From the moment frontman George Carroll Wilson steps up to the mic in his retro swag and lets out a rockin’ croon, it is apparent that this is not your average rock band.

Oh no, this is a terrific, original, breath of fresh air of a rock band, one that calls to mind greats of the past, while sounding so contemporary they could almost be from tomorrow.

Opening with ‘Inhibitions’ a slow-burning, off-kilter rocker that showcases George’s unique timbre, by pairing it with artfully chosen chord shapes, rumblin’ rhythms, and just enough space to go on some haunting runs.

‘Inhibitions’ calls to mind so many rock legends, while at the same time sounding nothing like any of them.

The song, much like the performance here, is incredibly accomplished, a perfect display of power-pop infused rock and roll with a sort of weathered sophistication that leaves you thinking about it for days.

Pollyman serves this up alongside a faithful and fabulous cover of Aussie icon Billy Thorpe and the Aztecs’ ‘Most People I Know’ that adds to the timeless quality of their sound. It provides a subtle hint to the origin and intentions of their sound while gifting everyone the chance to have a blast singing along to THAT chorus. This is two songs of rock done right.

Checkout ‘Inhibitions’ below then check out all things Pollyman. Tim wasn’t lying. That album is great.

Kee’ahn

Introduced by Vika and Linda

When industry veterans like Vika and Linda are left in awe of a young performer, you best be prepared for that performer to blow you away.

That’s what Kee’ahn does here with a stunning solo performance of her debut single ‘Better Things’.

Armed with nothing but a white strat, a microphone, and a voice that will leave you breathless, Kee’ahn introduces herself to the national stage with a silky smooth yet emotionally gripping rendition of a genuinely special song.

With a name that comes from the Wik people that means “to dance, to sing, to play”, Kee’ahn lives up to the meaning of her name, in a manner that gives you the sense of something spiritual at play.

There’s a soulful feeling to every note played, while every syllable sung evokes a depth of emotion that has you thinking of the adage ‘an old soul, in a young body’.

A song about reflection and looking forward to the future, this take on ‘Better Things’ has us looking forward to a future when we can see Kee’ahn live IRL.

The accompanying cover of The Temper Trap’s ‘Trembling Hands’ showcases Kee’ahn’s ability to embody a song so effectively that it sounds like it is her own, while somehow still remaining faithful to the musicality and narrative of the original.

The delicate delivery on the chorus’ vocals makes the hairs stand on end. A proud Gugu Yalanji, Jirrbal, Zenadth Kes song woman who has recently ventured from her home town in North Queensland, to pursue her dream in the Kulin Nation (Melbourne, Australia), Kee’ahn is on the verge of something big when her debut full-length In Full Bloom drops.

Checkout ‘Better Things’ here then go follow Kee’ahn on socials so you don’t miss out on the next step of her story.

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Catch up on past episodes of ‘The State of Music: Introducing’ here. 

The post The Four Most Memorable Moments From The State Of Music’s ‘Introducing’ Series appeared first on Music Feeds.

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