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xandermorrisonmusic · 3 months ago

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Song of the day: Porter Robinson - Russian Roulette

Genre: Hyperpop, Happy Hardcore

This one is going to be hard to talk about. TW: Self harm, suicide

This song is the only example I can think of where it is too powerful to be added to my regular listening catalogue. I'm serious, if this thing comes up at any point, I'm tearing up at a minimum. It's the best song off of this excellent album, which as a whole is about Porter's awkwardness and missteps as an adult so far in his life. And I respect that, because there's plenty of stories of how awkward teenage years are, but as a 24 year old living an awkward life, I'm glad to see my era represented so closely to what I experienced myself, for better or worse.

Let's rip the bandaid off right now, I've come very close to killing myself. As in, the only thing stopping me from attempting an overdose was my own lack of energy stopping me from getting out of bed. Obviously this isn't one to one with russian roulette, but since it wasn't certainly going to kill me, it felt like the same kind of gamble: the one I wanted to lose.

The pressures Porter describes that lead him to this point are something on a scale I couldn't imagine. He's a superstar producer, one of the biggest names in electronic music, and one that has a track record of consistently putting out very high quality work. He talks about how he feels this pressure throughout this album, including the opener where he basically voices his fear over releasing something his fans don't like and tarnishing a pretty spotless discography, but in this track, he specifically mentions things like Pitchfork calling him "the next big thing" and wanting to make money off of his identity and prestige, which clearly doesn't sit well with him. But feeling that he has no other way out of that situation once he's been entrenched in it, he contemplates playing russian roulette as a means of escape. He also mentions a friend losing his head and not doing anything about it, which may specifically be a nod to the late Avicii. Porter has cited Avicii's death as a wake up call for him (and many others in the scene) to get sober, and while I don't know if they were close friends or not, Porter feels that they were close enough that he should've done something.

So there he is, two verses and two choruses saying how much he wants to die, plus an extra quiet repeat chorus which forces listeners to get uncomfortably intimate with him in what could be his final moments. But then out of that quietness comes instead a list of reasons why he wants to stay alive, at least for a bit longer. The first one is the most impactful to me: "I wanna see my mom one more time." My mom died after a looong battle with cancer a little over a year ago, and I have to say, you often take for granted what you have until it's gone. If I had known how much I miss her now, she would've been at the top of my list too in my darkest hours.

He lists off several things like that. "I wanna kiss my cat one more time" also hits hard since I have two cats, one of which is newer to the house and is sleeping on me as I type this. "I wanna thank my dad one more time." "I wanna play in the snow one more time." "I wanna marry her one more time." And after listing off enough of these, he comes to the realization that he doesn't really want to go through with this, repeating the simple yet VERY powerful "I wanna live, I don't wanna die" over and over into one of the biggest drops on the album, an all out happy hardcore rave of positive energy at the revelation that he does have things to live for.

Cheesy? Maybe. But in the aftermath of the drop, a goofy text to speech voice comes in to address that, saying "Clichés like this are beautiful, because they reflect us, and we are beautiful" (which is punctuated with a pretty funny YAY sound effect that gets cut off abruptly). And the text to speech voice delivers, very clearly and plainly for those who need it, the moral of the story:

Don't kill yourself, you idiot

And some people need to hear that as unambiguously as possible. If I was 17 or 18, I would be one of those people. This song is literally going to save people's lives, I guarantee it. That's the kind of power I can only wish to reflect on the world if I ever get that big as an artist. Go listen to SMILE! :D and let me know what you think! Such a good album.

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#song of the day #porter robinson #hyperpop #happy hardcore

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confessionsofabargainbinaddict · 11 months ago

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My Favorite Albums of 2023*

*not necessarily from 2023

Last year, I decided that, instead of limiting my "favorite" list to just the past year, I would broaden the scope to include any CD I acquired that year, whether it was released that year or not. Over the past 12 months, I've added 155 CDs to the already over-burdened collection (which may seem like a lot but it's down from 260 last year, so I believe some praise is due). These are my favorite 9, in alphabetical order by album title.

Foo Fighters - But Here We Are

"Times Like These," whether he intended it to be or not, was one of the very few, great post-9/11 songs. And while I might expect that from Springsteen, Grohl didn't immediately spring to mind as a voice of comfort and empathy, so the song's impact may have actually been a bit greater than something akin to "The Rising" (which, don't get me wrong, is an amazing song). And now, a couple decades later, it shouldn't be surprising that a Foo Fighters album dealing with intense and intimate grief would also be stunning, but, like before, I certainly wasn't expecting it and also, like before, I've turned to it a hell of a lot more than I would have thought.

Caroline Polachek - Desire, I Want To Turn Into You

You know those albums where you really like a bunch of the songs but not all of them but you also know that, with each repeated listen, you're going to find ways into the songs you didn't like as much on previous listens and come up with reasons why you actually do like those songs and therefore, think the entire album is brilliant? Yeah, this is one of those albums.

billy woods and kenny segal - maps

Let me preface this by saying that I am years late to the billy woods party, so I do not have any way of comparing this to his previous, abundant discography, but if it is at all indicative of the rest of his work, I have some major catching up to do! woods is a top notch lyricist with a clear love of language and the ways in which it can be structured. His metaphors and imagery are complex and layered but never so obtuse that they alienate the listener. And all of this verbal brilliance is nestled comfortably on segal's inviting but never settled production. I'll come back to this one often.

Stevie Wonder - Original Musiquarium I

I'm not normally a fan of "best of" compilations but this one, with the addition of the four unreleased tracks capping each "side," is so well put together and clearly thought through, I'm thrilled to have it as a part of my collection. Plus, it's really hard to ever go wrong with Stevie.

Laura Mvula - Pink Noise

Roughly 5 years ago, I heard "She," and was blown away. I added Sing to the Moon to my discogs want list but never got around to snagging a copy. About 3 years ago, I heard "Got Me" and decided to be a bit more active in trying to acquire a copy of Pink Noise, but I think there were some transatlantic issues because nothing seemed to be remotely affordable. Fast forward to midway through this year, the album miraculously pops up on Amazon for under 10 bucks and a day or two later, I'm finally blessed with these 10 fiercely intelligent yet uncompromisingly catchy pop bangers.

Pool Kids - Pool Kids

It's mathy, it's tappy, it's stupidly technical, but if you strip that all away, at its heart, these are 12 solid pop-punk/emo songs. So while the base effort is already worthwhile, the tremendous musicality turns them into something truly special.

Atmosphere - Sad Clown Bad Fall 10

Okay, so it's only 5 tracks but hear me out. I was introduced to Slug and Ant through their brief stint with Epitaph Records and their, imho, brilliant album, Seven's Travels. Over the years, I've picked up an Atmosphere album here and there, but my takeaways have been lackluster and I started to wonder whether they were just a one-off in my book. And then I found this at a used record store in Seattle, and it not only reignited the flame but made me want to revisit the rest of my collection. That's pretty impressive for only 16 minutes of music.

Triple Fast Action - Triple Fast Action

Triple Fast Action were probably the favorite band your favorite 90's alt-rock band (The Colour and the Shape was, apparently, greatly influenced by Broadcaster) and with only two albums to their name, it was a wonderful surprise to discover this treasure trove of unreleased and rare tracks, most of which were recorded in their rehearsal studio. While not everything is great, there's a general bittersweet air hovering around this 2-disc compilation - they could have been big, but for whatever reason, the stars didn't align. At least we now have so much more music.

Ratboys - The Window

Ratboys aren't reinventing the wheel here. They pull upon most of the major indie rock tropes of the past couple of years (Americana, pop-punk, prog rock...) but even with the genre hopping, the album shifts seamlessly from track to track and always feels authentic. What would we do with a new wheel anyway? Wouldn't you rather just get the top-of-the-line version?

Other assorted 2023 stuff

Favorite Albums NOT acquired in 2023:

Proper. - The Great American Novel

Tigers Jaw - I Don't Care How You Remember Me

Elvis Costello - Brutal Youth

Face to Face - Face to Face

Florence + The Machine - High As Hope

Beauty Pill - The Unsustainable Lifestyle

Favorite Live Bands seen in 2023:

The Verve Pipe (City Winery - 4/23)

Home Is Where (Elsewhere - 7/8)

Four Year Strong (Rocks Off Concert Cruise - 10/15)

The Hold Steady (Brooklyn Bowl - 11/30)

Favorite Movies watched in 2023:

Soft and Quiet

Poor Things

Shotgun Wedding

Pearl

Favorite TV Shows watched in 2023:

Alice in Borderland (Season 1)

The Fall of the House of Usher

The Curse

This is Pop

Channel Zero (Seasons 1 and 2)

Evil (Seasons 1 and 2)

The Last of Us

Favorite Books read in 2023:

Lonesome Dove - Larry McMurtry

In the Dream House - Carmen Maria Machado

Wraith - Joe Hill and Charles Paul Wilson III

Favorite Podcasts listened to in 2023:

Fearful Symmetry

Love and Radio

Detoxcity

U Springing Springsteen on My Bean?

"Finn and the Bell" episode of Radiolab

"Wake" episode of The Memory Palace

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sprinklesandshatters · 3 years ago

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A Review on NCT 127′s 3rd Album <Sticker>

So NCT 127 just came back with their 3rd Full Album <Sticker> and this is my first 127 comeback since I became a fan last year! Neozone is such a special album for me as it was their first album that I explored entirely. I've known NCT as the group who never fails any expectations so I've kept mine up although I know they'll exceed it anyway. And guess what, they did! I absolutely love their new album hence this review~

This isn't a technical music review—as I am not a musician myself—but rather a listener's honest takes, goofy notes, and interpretation on each of the tracks in the album. I admit I've also struggled to build my own opinions on some of the tracks until I listened to them over and over again.

I have also heard there are mixed opinions on the title track <Sticker> and a lot says it's another acquired taste. But I think it's not just that, as it can be a grower, just like how most of NCT's songs were for me. Maybe after a few listens and a right passage of time, it will grow on those people. The bottom line here is, I like it a lot! 😛

So I listed down the songs according to their respective track numbers and followed each with a bulleted list of my opinions and interpretations.

(Viewer/reader discretion: before you continue, minors, do not interact as there are few 18+ contents under the cut. Thank you.)

1. Sticker

THEY DIDN'T JUST PUNCH A NEW NOTCH ON THE BELT LIKE THAT

THIS SONG SLAPS, LITERALLY SLAPS… AND WHIPS

The recorder at the intro boyyyy I thought something was wrong but then I remember it’s NCT lmao

It already stuck in my head from my first listen from the Instagram audio.

With Taeyong opening the verse with his divine rapping, I knew I'm in for a new ride.

STICK-UH STICK-UGH STICK-UGHGHGH

To those complaining it sounding like noise music, imagine it sounding generic. I don't think it would fit as the title track. Not a b-track or in their repertoire, even. They are called NCT because they define the NEO in the music culture and music technology!

It honestly was an unorthodox, just like all of their title tracks, which I’m inherently here for.

Literally, no one does it like them!

The growls and the vocal flexes and adlibs! (You can tell it has Yoo Youngjin's brand.)

The crisp metronome sound that’s consistently ticking except for the pre-chorus and the dance break adds depth to the soundscape. I love how it’s used instead of the usual snaps.

The production quality blew my mind. Like how can someone think those melodies would sound so exquisite? CAN I CALL THEM GENIUS?

The piano at the back, oh my God—Yes! It adds this mystifying element to the song.

I'm not sure if it's a midi violin at the pre-chorus, but it added thrill to the song. It was a great transition from the bass line in the verses to the combination of the flawless harmony with the same instrumental.

"You treat me like a boy, like a grown-up child chasing a dream" JUNGWOO BABY NO MORE HUH

Taeil, Doyoung, and Haechan—the bridge vocal trinity!

But why the heck are they cowboys? I dig the concept, but why? LMAO

BTW GUNSLINGER MARK I’M ON MY KNEES YEEHAW

This is easily one of my favorite tracks from NCT 127's entire discography 💚

2. Lemonade

(⌐■_■)

Jaehyun starting off this song with his deep voice eee

The song opens to a verse oozing with chill confidence. They're like, yeah you're lurking because we’re cool.

This is such a huge slap to their haters. NCT's not chillin' like a villain, nah they're the main characters!

Well maybe they’re villains, but still ya not cooler than them ¯\_(ツ)_/¯

Funny enough how they could have just referred haters as simply lemons whose sour/bitter to the taste, but 127 squad's success is sweeter than all the haters' spiteful remarks so yeah, SIPPY SIPPY LEMONADE 🧃

"WOOF"

I might have just barked too wOW

Yuta’s vocals hooooO his voice just sounds so glamorous mhmm

Also Mark referencing their previous title tracks such as: Firetruck, Cherry Bomb, and Regular (it's Irregular in the lyrics) in his rap part 👌💅

I just love Mark's energy when he raps. HE RESOLUTELY BITES AND STRAIGHT UP EATS EVERY TIME HE DOES.

3. Breakfast

Now breakfast time, oh jeez!

AAAHAHFU—

Summer 127's bestie!

If Summer 127 talks about dancing all night long, Breakfast is the morning after.

You know what it is.

"Even if I gulp and drink you, it's not enough for me." oho Taeyong no you ha—STOP

Sexual innuendos aside, isn't it just sweet if someone tells you they'd want to have breakfast with you every day? Okay maybe I'm melting at the thought 😩🙈💞

And I can see myself dancing to this song as I make breakfast (in the afternoon or at midnight bc I’m crazy)

This was an okay b-track for me at the first skim on the album, but boy it grew on me wildly.

Honestly one of my favorite tracks in this album.

4. Focus

Did I just invade a private call? LMAO

The analog voice filters make it like so.

Dude, this feels intimate in the level of eavesdropping a phone call between seasoned lovers. Then you realize you hear them whispering their kinks over the line and you're ooh, that's sexy! hfgklhfhf

My first listen to this, I almost went feral because,

"I can't wait to eat you…" when it's actually "I can't wait 'til we chill…" aahaha

"Baby call me when you want me." OKAY!

This sounds relaxing and chill. I'd love to play this on a late night drive or just before bed time along with Fly Away With Me, Sun & Moon, My Youth, and Long Flight.

Belongs to ‘make out session’ playlist ( ͡° ͜ʖ ͡°)

That was lowkey a playlist recommendation, huh?

I'd be kidding if I don't say I could touch myself while listening to this song AHAHAFGHFJFJ

I didn't know this would grow on me this much lol I love love LOVE THIS!

5. The Rainy Night

Ooh, the holy melancholy!

Piano at the intro—I knew I'd cry to this.

This song isn't just about break-up, but the heartbreak after one.

The yearning; the remnant pieces from the shattering of what was once there.

I think I crumbled from this one.

This hit so hard I felt like I fit in the shoes with the lyrics throughout the entire song.

What’s fascinating is I clearly forgot the title when I mentally said this sounds like a sad rainy day song from the first listen.

Something I’d turn up when it suddenly rains, just because I want to feel the blues.

Taeil and Haechan singing in lower register? I wanna cry :( they’re just one of the best vocalists in K-music industry right now.

Could have been also nice if they added Yuta to the vocals.

"My selfish heart who waits for you to come back," OKAY WHO HURT THEM?

And the fact that they sang it so good that it translated every ounce of the emotions well even before I looked up for English translations is the reason why I love this song too.

6. Far

Hmm… What the hell?! Do I like this? Wait...

Alright!

The jumpy vibe from the first verse to the pre-chorus set the mood for this song. It sounds merry and heavy. It was honestly too much to take until I’ve reached the chorus part.

Honestly, I think this song could fit NCT Dream better, as it gives off a vibe similar to Hello Future's b-tracks. If some credible source say this could have made HF’s track list, I might believe you too fast.

Also Dream’s Deja Vu where they go na nananananana na na na~

Playful yet confident! That’s what I mean!

As usual, the vocals are insane! Vocal flex from left to right!

I swear Jungwoo sounded a bit like Taemin at the second verse that I had to replay it hahaha

I love hearing Johnny as a vocalist! SM, how many signs do you need until you utilize his vocal talent???

Taeil's part where he sings, "go nuts, go nuts, 'til we go bust, go bust" IDEK BUT I SNORTED A LAUGH AT FIRST LISTEN HFCAHKFHK

Not my favorite, but still great though!

But wait it’s actually stuck in my head???

7. Bring The Noize

Yes, they never beat those noise music allegations

HERE'S SOME NOIZE, BITCHES

I love me some noisy percussions. AND THE BASS YO

This screams so much confidence!

The build up from the pre-chorus to the chorus—FIRE!

This song reminds me a lot of SuperM's Super Car, especially with the engine roar samples and the battle cry-like singing at the chorus.

JAEHYUN RAPPING? You mean Jaehyun the visual, the vocalist, the actor, the model, the funny dude, aka my everything?! (markie bb look pls look away for a moment)

THEY DELIVERED IT STRAIGHT FROM NEOCITY THAT'S SOME NCT MUSIC RIGHT THERE NO ONE DOES IT LIKE THEM

When I said I'd play Focus on a late night drive, and if I add this in the playlist, VROOM VROOM SPEED LIMIT WHAT

OUTTA MY WAY

“We got no shame” ouh TAEYONG’S FLOW IS JUST VERY HIM AND HE’S IN A LEAGUE OF HIS OWN

You know what's so clever about this song? It's how it ended with Mark's final rap without any instrumental, leaving you standing there with a doppler effect-like post experience.

A super car on a super speed just whooshed past you and you look its way as it zips through the road. It's gone in an instant but you're floored dumbfounded at a sidewalk. That's how I describe this song.

8. Magic Carpet Ride

This song… Wow. Oh gosh it's so beautiful.

Their harmony in the chorus—it makes me want to kiss someone so passionately that I'd cry.

This makes me want to feel love that transcends the universe. Literally, just please take me on a magic carpet ride :(

The background harmonies too oh my goodness—HEAVENLY.

Jaehyun's voice is so warm and soulful it fits perfectly with songs of this genre.

Okay alright Doyoung Grande!

And Taeil makes me feel like I'm listening to old school R&B.

The first time I heard this from the track video, I can't stop replaying because it's just that great.

This makes me want to love. I think that sums it up.

9. Road Trip

This is such a soothing song for me, especially how I easily become nostalgic thinking about the road trips I've had.

Whenever I listen to this, my brain immediately conjures up thoughts of my ideal getaways. Gazing at the sky through the car window, stirring up from a nap in the middle of the ride, and eventually reaching your destination.

Oh, to travel around anywhere... (curse you covid-19)

Okay that's it. I'M PACKING UP.

But where do I go—

I could also imagine Mark playing this on the guitar and the other members sing along together, something like that.

Just Wholesome™ vibes.

I love how it evokes such a nice emotion within me effortlessly.

This isn't my favorite, but I still love this.

10. Dreamer

Eyyyy such a refreshing song!

This song is so bright it makes me want to dance. I play this first in the shower!

It reminds me so much of Elevator (from Neozone)

The horns make it more lively I think!

Yuta and Jungwoo's voice suits lively songs like this.

The background vocal in low register in Taeyong's part in the first verse is so good ahhfhf

Taeil, the R&B vocal king you are...

There's this part where Doyoung and Johnny harmonized, that at first listen they seemed to clash, but it sounded actually fine after a few listens. Maybe it's just that I've never heard them do it before.

And I think it's Doyoung's laugh at the end of the bridge? Oh my goodness I really love this too!

11. Promise You

MY FIRST LOVE AND MOST FAVORITE SONG IN THE ALBUM!!!

The first time I heard this from their NCIT Sharehouse Sitcom, I fell in love with the song already.

It sounds like something you'd feel from a warm, welcoming hug.

The lyrics are so beautiful and endearing. It's definitely a be-there-for-you type of song that will touch your heart.

It definitely sounds like a promise.

A song about platonic intimacy.

This really fits to be the closing song of the album. It's like the end of it but holds a promise that says “see you soon.”

Because they cherish their fans like that.

It's also like I've watched a movie with a happy ending, where the camera pans up to the clear sky and this song starts playing.

Speaking of ending, I would love to hear them sing this as an encore stage in their concert. You know, that moment just before the stage lights die down at the end of the concert where they send final blows of flying kisses to NCTzens. Then you come home smiling and crying.

This wasn't supposed to be this long since I originally planned to write this with just simple phrases and emojis but I got too engrossed lol. I also meant to include my own ratings but I figured it’s pointless since I can’t really decide about them hahaha

I really enjoyed the whole album and I love how they're progressively defining what NEO means by breaking through standards. It's not NCT music if it doesn't make you say "WHAT THE HECK WAS THAT?" But then you realize it’s stuck in your head and you’re enjoying it already.

✨ OVERALL RATING: 127/10 💚

if you’ve reached until here, thank you for letting me share you a braincell or two 💞

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defdaily · 3 years ago

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Arena Homme+ Magazine September 2021 issue featuring JAY B: Nature, Dreams and Music

Translated by defdaily.

That day, JAY B’s world was filled with grass that came up to his knees, sunset that briefly peeked through the dark clouds, and ghosts of the silent campsite. Insects flew about in the intimate conversation of creation, dreams, and the future. An interview with JAY B amidst the passing seasons.

So you are working on an album?

The album is almost finished. I couldn’t release it at the beginning of the year, so I’m releasing it now in the second half of the year. I’m thinking of preparing things early on for next time so [we] are preparing for the production of another album.

There was a big change this year, you moved from JYP Entertainment to H1GHR MUSIC, right? What did you expect before becoming a part of H1GHR MUSIC?

At first I was worried. and was concerned over what to do if I couldn’t adapt. My goal for this year was to adapt to the agency and its artists, but everyone has made me feel comfortable. I thought I would have to do a lot of adjusting to the new agency staff, but I was surprised by how understanding they were of the system I had experienced. The way there has been no problem in our communication has far exceeded my expectations. Things are flowing smoothly.

It must feel like a fresh start. You must be looking forward to getting to do what you couldn’t do previously, but on the other side you must also have hopes to learn more. Is there anyone that could provide you with blunt advice?

I’m not the demanding type. And I have never strongly demanded anything from the company either. But that doesn’t mean I accept anything the company makes and provides me. The difference is that my opinion is reflected in my work more than before. If I was going to lead everything at work, there would have been no need to join an agency. Joining the agency means communicating with their staff. I also think we should listen to other people's opinions a lot. And you have to give feedback too, of course. I am working well with the company. Be it a push or advice as help, I learnt a lot from my previous company. Since I have learnt a lot from there, I should trust myself a little more now. I try to relay what I know and learn about things I’m not knowledgeable of. I rely on Jay Bum hyung a lot. I contact him right away when there’s something I don’t know, and we have a lot of conversations.

Is it important that an artist is stubborn? Do you feel the need to emphasise your own music and personality?

Artists have different personalities, just as people have different preferences. I don't want to diss an artist who is stubborn, nor do I want to tell anyone who isn’t stubborn that they are not an artist. I acknowledge everyone. I, personally, want to express the way I live. I like making music. An artist should be clear about what they want to do. Whether it be to become a star, or to express themselves through music or to earn money, it has to be clear.

What is your clear stance as an artist?

Whether it’s fiction or reality, I want to make stories. I’m the type that wants to tell a story. It was like that too in my GOT7 days. I believe one should create and establish their own path in life. I think that's fun. It's hard, but it's worth it. It adds more meaning to my job and I think it becomes more valuable. If I didn't do it myself, I would feel less attached to it.

There’s nothing more fun than one’s own work. Showing your work and waiting for the response must also be thrilling.

Exactly. I love hearing that my music is good. I’m very shy so I cannot express it very well but I’m very thankful and proud too. And it reassures me that I’m not going down the wrong path.

It does feel like all the hard times disappear when you hear good feedback. But feedback isn’t always good. There are even people who avoid them because of fear of criticism.

To be honest, when it comes to unpleasant feedback, it kind of makes me feel… “ouch!” But I accept it because it is still an evaluation. It also gives me a boost. It’s fun.

You are a solo artist now. Do you feel a burden or pressure?

I don’t feel pressured, but I do feel the burden. I joined H1GHR MUSIC and I feel a sense of belonging. I gain something from this company, but I think this company should gain something from me, too. I have worries about things like whether I’ll be able to benefit the company or not. I feel slightly uneasy about possibly not meeting expectations too.

You feel a sense of responsibility.

There's always a reason and a purpose to start anything. Everyone starts music because they like it, and if they start, there must be music they want to make. So if there is criticism, one would feel down, but if the final product is good, the people that worked on it would feel good. That’s what I hope for.

You uploaded a bunch of your Def. songs onto your YouTube channel. There was quite a lot. Are you the prolific type?

I used to be but… I guess I’m still the type to make many songs. (Laughs). But compared to back then, my production has decreased a lot. My stamina can’t keep up. (Laughs). I used to be able to start and finish working on a song at dawn and when I felt like I could do more, I made more. Nowadays, even when I’m working on only one song, not only is it hard for my body, but I also feel drained so I can’t make many songs.

Isn’t it really fast to make even one song at dawn?

Ah, that’s true. I used to work like that three or four times a week, but now I work once or twice a week. Come to think of it, I don't think I'm the prolific type anymore.

Being able to make a lot of things means you have a lot of ideas.

Having run out of ideas is also a reason for having less work done. There are five mixtapes I’ve uploaded onto YouTube with four to five tracks each. At the time, I not only worked on those but music for GOT7 too. After hustling so hard, I feel like I’ve run out of material. I look around wondering where to find inspiration. When I finish making the melody and want to write lyrics, I feel lost.

In order to be prepared for those situations, creators keep a collection of material. How do you collect resources?

I often read or use my imagination. These days, I often put myself in others’ shoes. When watching a movie, one would empathize with the protagonist. It’s only natural since the plot revolves around them. But I would pay attention to the supporting roles or passerbys in the background and think about the story from their point of view. I would think about what I would do if I heard those words and if I were in that situation. I also pay close attention to any words that might be a good source of inspiration. In the past I would focus on how the plot developed, but now I look at the words that the author uses repeatedly. When I think of any useful words or ideas, I jot them down.

Observing the supporting roles instead of the central narrative is such a novel idea.

I suddenly thought of it while watching a movie at home. The protagonist had said some harsh and rude words to a supporting role. It was something like “Get out of my way.” I thought “How would it have felt to be the one moving out of their way? What would they feel?” These were the thoughts I had.

Has anyone told you that you have a unique perspective?

I’ve often heard that my personality is very unique.

People can say they don’t like something despite others saying they like it. That could come off as unique and fresh ideas come from an uncommon perspective too.

I think it’s 50/50. There are times when something might not feel like much for me while others like it, and times when everyone else seems quite indifferent while I like it. A song I recently liked the idea of is “Smile, Wait for the Flash” by Giriboy where he used the ‘kacha’ shutter sound as gunfire. Using ‘kacha’ like a gunfire as a metaphor for wrapping up your feelings after a breakup was a refreshing idea. It was great.

Do you also often use your instincts?

I try hard to. I don’t naturally use my instincts, but I try to look at things through a different lens. I tend to have random thoughts, and I had one today during the shoot too. This is a camping site, but there was no one camping. So I imagined how it would look when full of people moving about. Also during the shoot, there was a long blade of grass under my feet on a field of grass. I should have avoided it but I accidentally stepped on it. I felt sorry for the grass that got stepped on and out of instinct I said “sorry…”

Seems like you have keen sensibility.

I wish I could be sensible. I’m too cautious to say that I am sensible, though.

I think you would be considered a sensible person because you make music. But I noticed that the comments are disabled for Def.’s mixtapes on YouTube.

The songs that I make under “Def.” are 100% music that I personally wanted to make. I didn’t want to receive feedback, so I disabled the comments. If I release an album under “Def.” in the future, I probably won't be able to disable the comments. I don’t know. The reason I have disabled the comments is because I don’t want to see any praise nor criticism. I don’t look at the comments for my SoundCloud tracks either. Because they’re very personal projects, I’m worried I could be swayed by it so I don’t look at it on purpose. I don’t want to be swayed by anything when it comes to my personal projects. I guess that’s my way of being stubborn.

So it sounds like you’re saying the songs that are made under the name Def. are like a part of you. I can feel your sincerity towards your music.

I would pretend to be indifferent to evaluations, but I’m really scared of receiving negative comments. Not the criticism but I’m scared to look at comments that decide something as ‘not good.’ If they say that it’s not their style, then it’s just personal preference. There may not be songs that match their preference within my discography. But it’s difficult for me to hear people say ‘this is not good, bad, or meh.’ After all, those songs came from me and are like my children.

I remember many tracks with gentle melodies and discovered JAY B’s delicate side. Is this surprising to hear?

This is the first time I’ve been called delicate. I do have several sensitive/vibey songs. I want to try something like a pop, hip-hop, or smug and cocky vibe but I’m not good at that. I don’t think it’s my personality.

What is considered a good melody to you?

Something that feels good at the first listen. My music taste has been so diverse recently that even when I talk to my friends about music, the songs that we all like are different. It’s hard to reach a consensus. In the creator’s perspective, even if something doesn’t sound good to others but it does to the creator, I consider that to be a good melody. I used to stress over how to write a good melody, how to sing it, and if the company would like it. As I move on step by step, I found a standard where at least the melody should sound good enough to me to not abandon the song since everyone has different preferences.

Personal preferences are important but it must be an important job to cater to the general public too. No, I mean, a difficult job.

That’s right. I think I still lack the ability to create melodies that the general public would like. I will have to learn step by step. One thing I feel is that there must be a part that sticks. I can’t exactly describe what type of melody it would be, but to set a minimum standard, it would be ‘a melody that I’m satisfied with. If it’s one that I’m not satisfied with but the public likes, I should follow that.

Do you tend to use many tracks when making music? There’s lot of songs these days that use dozens of layers of tracks.

We used a lot of harmonies with GOT7. Because there were so many harmonies, there was a crazy number of tracks too. These days, I try to be minimal and reduce harmonies. I don’t layer many tracks. I usually have the main track with a few harmonies and some adlibs.

K-Pop in particular mixes many genres and harmonies to create complex music. They are very flashy. What do you think of this phenomenon as someone who prefers to be minimal?

I see it as a good thing, because it means that the general public’s preference is expanding to a variety. It’s rather better. Of course, the basics are also important and I do feel the necessity to study them but we also need to agree with change. We should accept change. Who knows, I might grow old to be someone that can’t accept change and wonder, ‘what kind of music is this?’ But I feel that now is a time to open our eyes to change. When I find that a song is difficult to listen to, I will purposely listen to it repeatedly.

It’s been 10 years since you’ve debuted. How much have you changed over these 10 years?

In the past I was ambitious and had high expectations, but now I am more relaxed. With age, I think my sensitive side is becoming more and more dull. When I let go of some desires, I get to be accepting of more things. The scope of my activities also seems to have widened. I used to have a stubborn side to me in the past. Now I’m like ‘don’t expect too much, don’t anticipate too much,’ just do my job diligently!

There are many artists that use other creative hobbies to ease the burdens of their main job. What do you do to cope with your fuel for creativity?

My hobby is photography so I take many photos. I also learned how to draw at one point but nowadays, I don’t have time to draw since I’m busy. I also make records of things often. I write down my thoughts, even useless things. I also use an audio recorder to record my mood, thoughts, and things I’m currently doing. I also write letters to my future self. Things like ‘this is why I’m struggling, this is what would be good for me now but how it would be for my future self?’ Wondering what I will be thinking about and what I would look like. I write letters to myself about stuff like that. I put them in envelopes according to the year and on the envelope I write down the year the letter was written.

So It’s like an archive of your time. Writing, journaling, letters, photos, music, it’s interesting. A very organised way of saving your thoughts to not lose them. Having said that, is there anyone else you would like to show your records to besides your future self?

Ah! I can’t show this to people. They’ll cringe. (Laughs) It’s sort of embarrassing. I can show the photos to everyone but I want to keep voice messages to myself. I hope that when I am older, I can look at them as I laugh and reminisce about my life. They’re records for myself.

Do you also record everyday life in any way?

I record when I find it interesting the way I thought about something. Even looking at my journal from last year or the year before, my thoughts were different from now. I find it intriguing to see the way people can change like this. I think I tend to have many thoughts, so I record them every day.

From the position of a creator, I guess journaling can be seen as an activity to collect one’s senses and emotions to use them as material for inspiration.

That’s right. My brain isn’t good enough for me to remember everything. There are situations when I recall a memory and decide I could write this down.

What was the most fun thing you did lately?

It’s a bit dangerous, but it was when I rode around on my motorcycle with my friend. There was suddenly a heavy downpour. Since I needed to go home, I rode the motorcycle in the rain. I was completely soaked when I got home. The journey home was super difficult, but I was fortunate enough to not have suffered any injuries. It was a completely new experience so it was very fun. I don’t want to experience it again but it felt like an adventure.

Wearing the Burberry 2021 F/W collection in the pictorial today must also be a new experience. Slightly different from the refined and classic Burberry, the collection shows a lot of change. What were your usual thoughts on Burberry?

I thought of it as a clean and straightforward style. Ever since some time, I noticed their young and bold changes. Although today’s outfits contained many new attempts and changes, I felt that their style was still well refined. I felt that Burberry used their own unique perspective to cleanly interpret nature’s elements. Wearing the outfits, I felt like they had a lot of fun ideas.

Which outfit left the biggest impression on you?

Choosing just one is very difficult. There was one that gave off the feel of a medieval knight, and made me feel like a monarch. I’ve heard that in medieval times, people would also wear bearskin from hunting. I think that has some influence on the Burberry outfits that I wore today. Every time I put on an outfit, I always felt like a medieval knight or king. The fur on the clothes had a strong animalistic feel to it. The scenery, weather, and concept were all very harmonious with each other.

Going back to the topic of music, you said that you like to tell stories. Do you also create a universe with music?

Yes, I create a universe for each album. This album creates this universe, while that album creates another. The albums won’t connect to create one universe, though. Each album is its own world, nothing more. I can’t make them magnificently connect into a grand universe. I like to put my story into each album.

Can you use a keyword to describe the universe of the album you are about to release?

It would be “SOMO:FUME.” This is the first album that I made after joining H1GHR MUSIC. This album consists of my energy, feelings, and thoughts, so it contains the meaning of my hopes for people to consume (somo in Korean) this product and and my wishes for my emotions to smear on to you like perfume, which is why I combined [somo] with the [English word] perfume, and named [the album] SOMO:FUME.

In which direction will JAY B’s music flow from now onwards?

I’ve pondered about directionality for a long time, but I couldn’t come up with an answer. The important part is to participate enough for me to not have regrets and be careful. I may disappoint myself if I have too many expectations for the future. I need to work diligently to not be disappointed when I look back; so that in the future, I can see that I worked hard.

Translated by defdaily.

Please support JAY B’s 1st EP album [SOMO:FUME] coming out on August 26 at 6PM KST. jayb1stsoloep.carrd.co

#jaebeom #lim jaebeom #jay b #def.#got7 #got7 jb #interviewtrans #defdaily #defdaily:trans #h1ghrmusic #somofume #style of my own: fume #SOMO:FUME

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whatagirlwants · 3 years ago

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exhale by Sabrina Carpenter lyrics is so slept on. I feel like she was truly opening up about how she feels being in this industry for so long and so young like the first verse hits hard

“who put the baby in charge? It's already hard to buy all the parts and learn to use them who put the world on my back and not in my hands? just give me a chance”

the song is the definition of feeling of doing so much for someone or something and working so hard but not getting recognized for it. I mean anyone can relate to feeling not getting the same energy back into anything maybe a test you studied for or not getting the same energy back from your partner.

I feel like out of all her songs this song comes in next to “skin” as one of her most vulnerable songs and being honest and herself in and definitely a song she made for herself and not for others (in a sense that most of her discography are more upbeat and confident tracks where she shows that side of herself rather than she the vulnerable and more relatable part).

with Exhale it feels like she’s talking to someone maybe a therapist or even her audience trying to make them understand where she is coming from and asking if it okay to say/feel those things but also asking to sit down and breathe because thoughts like this can get overwhelming.

the 2nd verse is very honest as well the last two lines say “I put too much on myself thinking I dont deserve what I've earned but yeah” very interesting because I think that line she kind of Sabrina being straight to the point to what the songs subject is about but also with the double meaning on the lines “thinking I dont deserve what I've earned but yeah” maybe she feels like at times she doesn't get the attention she deserves back but also none deserving of anything, we sometimes as humans do that and put ourselves down and feel none deserving of anything.

in an interview Sabrina revealed that she didn't know if she was going to release “I really didn’t know if I was ever going to release it. It was intimate and I didn’t want it to seem like a moment of like, wanting attention in the wrong way. I’m naturally a very confident person but I think it’s important to know that even people who are always happy and confident, it’s not like that 100% of the time. It’s always good to check in on those people. I wanted my fans to have this song so they know that there’s a lot of people feeling the way that they are.” which I also think is interesting and very honest of her and shows that Sabrina isn’t someone who feel comfortable being vulnerable and it is something that is very hard for her to maybe share and open up with her audience.

which makes me 10x more excited for the new album because as she described it its her most honest and complex album she’s ever done and I'm excited to hear and see here evolution as someone who is always experimenting and evolving and going out of her comfort zone. ALSO love exhale that is why I wrote about it I think not many speak of what she's trying to tell us in the song.

#Sabrina Carpenter #lyrics #album #Taylor Swift #phoebe bridgers

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taehyung-rambles · 4 years ago

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Best BTS Songs of All Time - A.K.A. BTS Songs that Deserve a Grammy (Up To BTS, the Best)

So, I’ve been wanting to make this list ever since the Scammys incident, and I’m excited to share these opinions will all of you.

I’m saying upfront that I really do think, at the very least, BTS’s last three album series deserve a Grammy (for all a Grammy is worth now), but I’ve made this a short list to highlight the very best in BTS’s music. I’m going to post about my favorite BTS songs later because most of BTS’s music, to me, is the best music there is. However, I tried to stay objective with this list and only mention songs that have a special quality about them that sets them apart from even BTS’s own exceptional discography.

Here’s the quick list in order from bottom to the best BTS song of all time:

DNA

Magic Shop

Life Goes On

Mikrokosmos

Dionysus

MIC Drop

BLACK SWAN

Blue & Grey

Spring Day

Note that, by the numbers, Dynamite is technically BTS’s best song of all time. However, I’m not making this list based on commercial success, but rather, the qualities of the songs themselves.

If you want to read my thoughts on these songs, please keep reading:

10. DNA

There have been many BTS songs that hit perfectly the entire way through for different reasons. For instance, Boy In Luv has interesting melodies for every member at all times; the vocal throughout Lights is consistently gorgeous, the production in FAKE LOVE is stunning. DNA is the only song in BTS’s discography that hits all of those elements perfectly, and turns it up to eleven. The other songs on this list have a degree of this, too, but DNA can even be separated from those songs because it’s got a special vibe and energy to it that no other BTS song has. Ergo, I think DNA is probably one of the most well produced BTS songs of all time.

9. Magic Shop

I couldn’t resist dropping Magic Shop on this list. The intent of this song was very important to me in deciding to include it. How many artists today would write such an intimate song dedicated to their fan base? I kind of have a similar reasoning for including MIC Drop, but Magic Shop is always going to be a legendary BTS song. I don’t think sensationalism determines a good song, but in Magic Shop’s case, the sincerity and emotion that was put into everything from the vocal to the production (shoutout to Jungkook for that) makes it feel really special. Beyond that, the melody line is stunning; Magic Shop probably has some of the best melodies in all of BTS’s discography.

8. Life Goes On

Besides the peaceful melodies and relaxing vocals, I think Life Goes On deserves to be on this list because of the message it sent. It came at an extremely necessary time during a difficult period in human history. However, I don’t actually think that’s enough to put it on this list; the reason Life Goes On made it is because it conveyed it’s message throughout every facet of this song. Taehyung’s vocal tells the story, the melodies tell the story, the way Yoongi’s vocal tone was used tells the story, and so on. It’s really rare to be able to tell a story with only sound in modern music, but Life Goes On is able to do it, even if you’re only listening to the instrumental or the hum of the member’s voices.

7. Mikrokosmos

Mikrokosmos has such a punch of emotion to it and, honestly, may have the best melody line out of any song on this list, let alone the rest of BTS’s discography. It’s not easy at all to produce something that's so gripping, so BTS managing to produce that with Mikrokosmos counts for something. It’s an almost unexplainable perfection that comes out of the production, the melodies, and the vocals, but I think “perfection” is the correct word to use. I mean, how could that not be considered one of BTS’s best songs of all time?

6. Dionysus

When I was making this list, this was one of the songs I put on it before even considering what else could be on it. In fact, Dionysus is one of the two songs that made me think about making this list. I mean, what a power song this is. The themes used within the lyrics, the analogies used within the themes, are enough to place Dionysus on this list, but the production. The production value in Dionysus is absolutely through the roof. Everything from the way the instrumental was mixed to the way effects were used on the vocals makes Dionysus stand out. Whatever BTS did to produce this song, it was golden.

5. MIC Drop

We start off the top 5 with MIC Drop. MIC Drop is on this list because it’s iconic, but it isn’t iconic in the same way Dynamite or FAKE LOVE is; it isn’t iconic because of the repeatability or the melody line--it’s iconic because of the quality. That isn’t to say that Dynamite, FAKE LOVE, or any other highly successful BTS song doesn’t have a high degree of quality in them, but MIC Drop was sensationalized despite the lack of a distinct melody line. Again, I’m not doing this based on popularity, but I do think MIC Drop’s popularity came because it’s such a brilliant piece of songwriting. The lyrics of MIC Drop are, more or less, the sole reason it’s made this list--and I think that’s a damn good reason considering the lyrics MIC Drop has. You can find clever and cutting lyrics all over BTS discography, but nothing can touch MIC Drop.

4. BLACK SWAN

BLACK SWAN is so unlike any other BTS song--really, any song at all. There are a lot of things I could say about BLACK SWAN, but the main points are: production and concept. The concept for the lyrics in BLACK SWAN are absolutely heartbreaking, and connecting that to the process of turning into a black swan is genius. The production is--for lack of a better word--insane. Like I said, this sound cannot be found anywhere else in BTS’s discography--not even on MOTS: 7, which is probably BTS’s most experimental album to date (even though BE is a close second). The fact that BLACK SWAN is able to stick out that much in my eyes makes it clear that it’s one of the best BTS songs of all time.

3. Blue & Grey

This song. Oh, my goodness, where do I begin? I genuinely believe that Blue & Grey is one of the best songs ever, period. Taehyung did an amazing job writing and producing this masterpiece. The lyrics alone are enough to include it among BTS’s best songs of all time, but melodies and the vocals are absolute gorgeous. Blue & Grey has the best harmonies of any BTS song, in my opinion. Also, in the same way Life Goes On is able to tell its story throughout every facet of the song, Blue & Grey is able to do that also. You can feel every bit of emotion Taehyung was feeling when he wrote it, whether you’re listening to Yoongi rap, Jikook harmonize, the instrumental, or Taehyung closing out the song. Everything about Blue & Grey speaks, and I don’t think any other BTS song has done that.

2. Spring Day

Were you expecting Spring Day to be on this list? Were you expecting it to be number one? I don’t think there’s a lot to say about Spring Day that hasn’t already been said. It’s a masterpiece. It feels big, doesn’t it? It feels like it’s telling you something important, and you’re beholden to listen. That’s the magic of Spring Day is that it’s so captivating. From the production to the vocals to the melody and everything in between, Spring Day stuns me every time I listen to it. It’s a song that’s very much alive, if that makes sense, and I don’t think anyone would disagree that BTS found something special when they created Spring Day.

1. ON

ON was the main reason I wanted to make this list. I knew it was gonna be on here, and I knew it was gonna be number one. Something about ON is so, so special. The arrangement of the song is exceptional, and that working around the instrumental is absolutely brilliant. By the way, the instrumental is so good? The production slaps; I’d say this is definitely the absolute best production in BTS’s discography. Also, the tone and sound of ON is so unique, similar to BLACK SWAN. A big part of ON being on this list, though, are the lyrics. What a concept, honestly. Every point I’ve made on this list for why these songs are the best BTS songs of all time apply to ON, and more. It’s so hard to explain clearly, but when I listen to ON, it immediately grabs my attention. Ever since I heard it the first time, I’ve known this is BTS best song, and it absolutely deserves a Grammy.

Thank you for reading. Let me know if you agree, disagree, or would change anything about my list. Again, I think BTS’s music is the best there is, so maybe you think there are other songs that deserve a Grammy. Let me know in the replies!

#bts #bangtan sonyeondan #kim taehyung #park jimin #jeon jungkook #min yoongi #kim seokjin #kim namjoon #Jung HoSeok

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lifeonashelf · 3 years ago

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COLDPLAY

Let’s get this straight right off the bat: Coldplay is fucking terrible.

We all know this. Designating Coldplay as terrible isn’t a statement of personal opinion, it is an easily demonstrable fact. Just listen to them; Coldplay’s music proves the existence of Coldplay’s terribleness the same way that breathing proves the existence of oxygen. Surely, even the band’s staunchest supporters understand that their songs are pretentious, monotonous, and unimaginative—they’d kind of have to; I assume these people have listened to Coldplay, too. If you like music as superfluous as Coldplay’s, that’s totally fine. I’m not here to tell you that you shouldn’t, nor to convince you to stop listening to Coldplay (you can’t stop listening to them, anyway; no matter how hard you try to escape, wherever you go, Coldplay will find you). But they are unequivocally fucking awful, and I need to make that clear before we continue in case I end up saying anything courteous about them later. And, who knows? I may indeed find something positive to say about Coldplay—I mean, nothing comes to mind right now, but it’s going to take me a few hours to write this piece so it’s possible something will at some point.

Okay, so we’re all clear on Coldplay being fucking terrible, right? Great. But that isn’t the main reason I hate them. I appreciate plenty of terrible bands just as I appreciate plenty of terrible movies. Listening to a really shitty group is sort of like watching a cast of really shitty actors—though they clearly suck at what they do, there’s something oddly appealing about the charming naiveté they demonstrate by giving it the best go they can anyway.

For instance, since I was still filing most of my Warped Tour emo discs in my punk section when I began this venture, I never got around to writing about a band called Adair. If you’re not familiar with them, don’t worry about it; they only existed for a few years in the mid-aughts and their diminutive discography merely consists of a self-released EP and one full-length album, The Destruction Of Everything Is The Beginning Of Something New. Sonically, Adair were so amusingly prototypical of every baby t-shirt screamo band that was thriving at the time, they essentially sounded like they were parodying the style of music they played (although, to be fair, a lot of those squads did). But, Adair were absolutely serious, regardless of what stridently nasal heights the vocals reached, regardless of how faithfully their compositions adhered to their genre’s textbook page by page, and regardless of the sublimely ridiculous realms some of their allegorical angst lamentations ventured into (the line “lock me up in Guantanamo Bay and throw away the key” from the song “I Buried My Heart In Cosmo Park” may very well be the lyrical apex of their entire genus).

Adair’s music is so inane that it makes me laugh out loud when I sing along to it—but here’s the thing: I do sing along to it. I have probably played The Destruction Of Everything Is The Beginning Of Something New a hundred times from start to finish since my copy was sent to me to review for some website back in 2006, and I have cued up individual high(low?)points like “The Diamond Ring” and “Folding and Unfolding” even more times than that. As silly as they sound—and trust me, they sound very fucking silly—I still sincerely enjoy their tunes and have spent enough hours listening to TDOEITBOSN for it to possibly qualify as one of my favorite records ever. Shit, even writing about it right now makes me feel like hearing the disc, so I’ll probably end up blasting it in my truck tomorrow (ed. note: I actually did). If they ever decided to do a reunion tour, I would absolutely go see them, and if vocalist Rob Tweedie did that whole “hold the microphone out toward the crowd so they can finish the lyric” thing which every frontman in every band that sounds like Adair does at least a dozen times per show, I would totally be able to fill in each of those blanks and enthusiastically do so.

Sorry, we were talking about Coldplay. To recap, they’re fucking terrible.

Unlike a frivolous whimper-core ensemble like Adair, the most off-putting thing about Coldplay isn’t their music. They’ve actually managed to excrete a few tracks that I grudgingly enjoy over the years. However, sporadically releasing songs which don’t sound like they were specifically written for Gap commercials actually works against Coldplay in this instance. Sure, most of their output is noxious twaddle, but since they occasionally come across as a marginally decent band, their work isn’t awful enough to at least ironically appreciate it for being awful.

In fact, there’s absolutely nothing ironic about Coldplay—other than U2 and Radiohead (more on them in a minute), I can’t think of another band that seems to take itself as dreadfully seriously as Coldplay does. There isn’t a single lighthearted number in their entire catalog, and the demeanor of their music is so staid and cheerless that it’s hard to imagine the dudes ever cracking a smile while they’re making it. Their approach to songwriting is rigidly Pavlovian—when the music gets louder, ring ring ring, that signals the listener the *really* poignant part of the tune has arrived and cues them to emotionally salivate in kind—yet despite their calculated use of sonic dynamics to manufacture sentiment, the vapid and unspontaneous nature of the delivery saps their tunes of anything resembling genuine soul or passion. Even when thrusting through the more energetic tracks in their litany, the musicians in Coldplay always sound like they’re actively striving to not play their instruments too hard. The result is that they consistently deliver some of the safest and least edgy rock ever created, shaping their ethos around a formula so willfully tepid and cuddly that they barely qualify as a rock band at all. Coldplay aren’t quite the musical equivalent of plain yogurt (that would be Jack Johnson, an artist so comprehensively flavorless that even his name is fucking boring) but the granola in their mixture is always judiciously distributed so as not to agitate anyone’s tastebuds.

And at the center of this slow-motion kaleidoscope, you have Chris fucking Martin (I find it difficult to cite his name without including the “fucking” in there; he’s just one of those guys—like Jason fucking Mraz, Blake fucking Shelton, or fucking Bono). Coldplay’s music may be stagnant, but you’d never know it from beholding the practiced arsenal of slinky paroxysms their vocalist bursts into while that music is playing. In performance and in their videos, Martin’s appendages are incessantly in motion, his hands ever-swaying gently through the air like he’s waving a pair of invisible cigarette lighters or finger painting on the goddamn sky, ostensibly so deeply lost in his band’s reverie of sound that he simply can’t help himself from moving his body in a cadenced pantomime of the way their music is meant to superficially move your spirit.

For the three non-ballads the group has written in their career, Chris usually switches things up by crouching in an incongruous bobbing panther-stance like a battle rapper delivering a diss track about fucking his opponent’s mama in the mouth, until it’s time to freeze in the tried and true messiah-statue pose as the number’s final notes chime into the ether. But it is in the quiet moments when Martin truly shines—which makes perfect sense given that he’s the leader of a group so systematically anodyne they probably should have actually named themselves Quiet Moments. These are the obligatory interims where the frontman takes the stage on his own to sit down at the piano, resplendent in the spotlight, and perform an intimate solo rendition of one of his most tender hits to show everyone in the audience that Chris fucking Martin is a bonafide fucking musician who, if he really felt like it, could totally do the whole Coldplay thing without the other three dudes whose names no one knows. His soaring falsetto croon is custom-feigned for the arenas the band was destined to coldplay from the moment they dropped their breakthrough single “Yellow” and caused a nation of book-sensitive sociology majors eagerly anticipating the arrival of their generation’s U2 to cream their Dockers in unison. When Martin opens his pipes to summon those indelibly contrived choruses about birds and stars and other monosyllabic nouns, it hardly even matters what words he’s singing—the leitmotifs in most of the tunes are basically interchangeable anyway. What matters is that Chris sounds like he really, really, really means it when he says he will try to fix you.

That analysis probably makes it seem like I hate Chris fucking Martin as much as I hate his band. I actually don’t—he’s too benign a character to elicit such a fervid response; hating Chris Martin is like hating turtleneck sweaters, or actual turtles. In fact, I suspect he’s probably a really nice dude. At least, I’ve never heard any creepy stories about him showing his penis to under-aged fans on Skype or anything like that.

Regardless, while I don’t specifically despise either Martin, Dude Who Plays Guitar, or the other two anonymous members of Coldplay, I do gauge their collective as the fourth or fifth worst band of all time. And the reason I loathe them more than any of their neighbors on that list is because they aren’t the kind of prodigiously abysmal group you can just ignore until their moment in the spotlight inevitably passes—which is how I dealt with Five For Fighting from September 2001 through February 2002 and how I’ve been dealing with Twenty-One Pilots for the last four years (seriously, are you fuckers done yet?). Coldplay is a far cagier nuisance because they are massively popular and have been for a ludicrously long time. I’ve been patiently waiting for them to go away for two decades now, yet they continue to pop up every third summer or so to drop a new album and remind us that, yes, they’re still here assiduously mining the middle of the road for new ways to write more tunes about clouds being pretty.

Even worse, I can’t disregard their music because it’s everywhere. I hear “The Scientist” while I’m shopping for cereal at the grocery store, I hear “Talk” when I sit down to eat at any chain restaurant, and I imagine I’ll be viewing that idiotic video for “Adventure of a Lifetime” with the posse of animated dancing monkeys on an infinite Clockwork-Orange-eyes-gaping loop for the rest of eternity when my mortal essence exits this world and I am cast into the fiery pits of Hell. I can’t even watch football without encountering Coldplay, as I discovered with horror in 2016 when they took part in the most fatuous jumbled fucking mess of a Super Bowl halftime show the NFL had ever presented (a zenith of suckery which seemed impossible to eclipse until this past February, when Adam Levine showed up covered with prison tattoos and said, “hold my beer”).

The pervasive level of esteem Coldplay has reached dumbfounds me. This is a group that has sold millions and millions of albums worldwide, even though I have never once heard a single person utter the phrase, “man, that new Coldplay song kicks ass.” I’m sure their most dedicated fans have favorite hits, tracks that are significant to them in some way, etc. But their remarkable success is patently disproportionate to how patently unremarkable the work which garnered that success really is. Nobody ever describes the band’s music as “awesome”, just as nobody ever describes a glass of pinot gris as awesome—the term simply does not apply to their province; actually, in this case, describing the mouthfeel of Coldplay tunes and recommending cheeses they best pair with is probably more relevant than discussing how they sound. Coldplay is as universally popular as they are precisely because they aren’t awesome. They’re not beloved because they’re extraordinary; most people love them because they’re innocuous, functional, and suitable for almost any occasion—Coldplay is akin to a pair of cargo shorts, and no one thinks cargo shorts kick ass. Coldplay isn’t an alternative band (on the contrary, almost every good band is an alternative to Coldplay); they are a lowest common denominator band, undemanding and ubiquitous and safe to like because everyone else likes them. Their work is specifically geared toward people who think appreciating music demonstrates sophistication, but don’t ultimately give enough of a shit about the artform to put any effort into finding music that is actually sophisticated or appreciable. You may assume Coldplay is erudite because they’re British and they cite books you’ve never read when discussing the lyrical themes in their work, but they’re merely recycling the same emotional territory as every other pop act that writes tunes about finding love, losing love, missing love, and the 18th Century French peasantry.

The best thing about being a Coldplay fan is that it’s easy. You don’t have to buy their records, go see them live, or make any concerted effort at all to receive their music. If you listen to the radio for any extended period of time (or eat at an Applebee’s), you will eventually hear one of their songs; all you have to do is not hate it and, voila, you’re officially a Coldplay fan. There, don’t you just love the security of venerating a critically and commercially acclaimed band that will never challenge you or be unpopular?

Okay, I do strive to be fair—even in this arena where I can say whatever I want and no one can argue with me. I gave this a lot of thought, so here are four things about Coldplay that are not terrible:

1) “Clocks”: I resisted it for many years, but I finally had to concede that it’s kind of a pretty song. Notes of red currant and blackberries, and it goes superbly with a nice aged brie.

2) “God Put A Smile On Your Face”: It doesn’t put a smile on mine, but that’s why I enjoy it. Most Coldplay songs sound like they’re aiming to evoke what being hugged by a koala bear feels like, so I appreciate Chris fucking Martin delivering a darker number that seems intent on making me feel depressed instead. Well played, sir.

3) Viva La Vida, Or Death And All His Friends: I sincerely respect their effort to broaden their palate a bit by working with Brian Eno and making Dude Who Plays Guitar buy a distortion pedal to use on one song. This is still an archetypal shitty Coldplay record, but at least it sounds a little different than all of the other archetypal shitty Coldplay records.

4) Nah. They’re still fucking terrible; they were lucky to get three things.

There is one additional facet of the group’s career which has fascinated me over these past several years, even though it relates more to bands that are not Coldplay rather than the band that is Coldplay. Earlier I dubbed them the U2 of their generation, and recent events in particular have coalesced to underscore that comparison. See, when Coldplay came out, the tributes to their Irish brethren in choreographed affectation were far from subtle. Chris fucking Martin’s warbling was plainly modeled after fucking Bono’s, Dude Who Plays Guitar served up an endless cycle of repetitive but hooky high-register licks that were striking similar to the distinctive methodology of The Edge, and both bands’ workmanlike rhythm sections held things down with competent yet discreet backing tracks which militantly fulfilled each song’s basic requirements rather than showcasing the musicians’ dexterity. I don’t think anyone ever disputed the collective homage in Coldplay’s dogma, and no one was terribly bothered by it either; at the time there were a lot of people craving a band that sounded just like U2, because U2 didn’t sound like U2 anymore.

When Coldplay’s debut album Parachutes was released in July 2000, fucking Bono and company’s career was on a downward arc after they largely vacated their signature approach to instead craft a couple poorly-received discs dominated by insipid rave-lite tunes that not even the members of U2 listen to anymore. Though they would temporarily rebound later that year with “Beautiful Day”, the last honestly excellent song they would ever record, U2 had left a gap that needed filling. And the most obvious inheritors of their kingdom, Radiohead, had grown tired of anthemic guitar rock; they were hunkered down creating their demanding but exceptional opus Kid A, which sounded nothing like U2, nothing like Radiohead, and indeed nothing like any other music being made on planet Earth. Kid A still had some anthems, still had some guitar, and still had a little rock, but its oblique delivery clearly demonstrated that Radiohead was chasing a far different muse and had little interest in claiming the crown (of course, this would be abundantly clarified in hindsight when they subsequently slid further down their rabbit-hole, gradually abandoning the anthems and guitars and rock altogether, until finally settling upon their current songwriting formula, which seems to mostly involve Thom Yorke masturbating on his laptop, naming ten of his climaxes, and calling it an album).

So while U2 were busy trying to figure out why they weren’t relevant anymore and Radiohead were busy doing whatever the fuck they were doing, the lads in Coldplay stepped up and said, hey, why not us? They seized the ersatz-earnest arena rock mantle with A Rush Of Blood To The Head and never looked back. Now, 17 years and seven multi-platinum albums later, they can ruin the Super Bowl, collaborate with the Chainsmokers, and even make the same kind of lameass dance music that essentially buried U2’s career with impunity. Even more significant, they have come full circle. A group that started out playing second-rate U2 facsimiles under the moniker Pectoralz (this is absolutely true, by the way) is now one of the hugest pop institutions in the universe, beloved by millions of music and wine connoisseurs across the globe. And the student has eclipsed the teacher; U2’s desperate efforts to play catchup have made their modern work sound unmistakably like second-rate Coldplay facsimiles. Chris fucking Martin and those other three guys are no longer pretenders to the throne—they are Coldplay, and this is their empire now, bitches.

These days, U2 has to reprise their old records in their entirety on nostalgia tours to get anyone to come to their concerts, and Radiohead continues to release unlistenable albums which their fans claim to love while sheepishly casting them aside to listen to OK Computer for the thousandth time instead. But Coldplay has strategically situated themselves for an eternity as the undisputed emperors of rock mediocrity. I think they’ve got another two decades in them, too; I have no doubt that long after Twenty-One Pilots is (finally) relegated to the county fair circuit where they belong, Chris fucking Martin will still be promising sold-out crowds that lights will lead them home and having a series of polite, gently-articulated seizures while he sings “Speed Of Sound”.

It seems I respect Coldplay a little more than I suspected. You know what? I’m going to amend my original valuation right here and now. As of this moment, I am formally designating Coldplay the sixth worst band of all time.

Your move, Godsmack.

May 15, 2019

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oneweekoneband · 4 years ago

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Scrambles

To me, at least, this is the big one. I originally listened to BTMI!��s discography in chronological order, but if I was trying to get someone into them right away, I would probably tell them to listen to Scrambles first. As a collection of great songs, as a coherent album, as a testament to what BTMI! could achieve, it’s my first pick by...well, not a long shot, considering I love a few of their other albums almost as much, but I will say that it always comes out on top in my rankings.

Of course, there’s a lot of personal bias here; Scrambles came to define my high school experience in part because of its regrettably-relatable lyrics that convey an all-consuming anxiety and frustration with the world around you. That might seem like a strange thing to experience nostalgia for, but for better or worse, that is exactly what it invokes for me.

It’s a cliché that high school is a stressful time – though I think people who say that tend to be thinking about the pressures of trying to “find yourself,” “fitting in,” gaining autonomy from parents, etc. I’m not saying that those things didn’t concern me, but for some reason my anxiety about the future was running something like a decade ahead of me. And so I found myself imagining a future in line with fears about what might happen if I followed Jeff down the path of “Stand There Until You’re Sober” – unable to move forward in life “’cause I can’t grow up.” The songs on Scrambles took this kind of stress one step further, and I found myself identifying with the chorus of the Springsteenian anti-anthem “Fresh Attitude, Young Body”: “If you don’t find a steady job now, / If you don’t find someone to love now, / Oh, you will die freezing cold and alone.”

Is that ridiculous, for a high school kid to be thinking that far ahead? I still don’t know. Capitalism puts an absurd amount of pressure on people to decide what they want to do with the rest of their lives from what feels like a young age, and I was facing a serious dilemma that a lot of musicians face: I wanted to try playing in a band for a living, but I also wanted to have some kind of stable future...and unfortunately, these two things rarely go hand-in-hand. So I worried a lot over whether I would be able to make the right choice for myself; would I move on with my life and get a job that I probably wouldn’t like, forever resenting the fact that I didn’t choose music? Or would I choose the music and watch my life fall apart because I wouldn’t be able to earn enough to gain any kind of independence, still living with my parents like the narrator of “25” (which is, by the way, one of BTMI!’s catchiest-ever songs) at 25 years old? Many of the songs on this album perfectly capture that tension, which I think extends beyond my own specific situation – anyone who’s felt the crushing pressure of a hegemonic system coming down around them, whispering threats of a future spent scrambling to catch up with their peers in their ears when they can’t sleep at night can probably relate to the lyrics of this side of Scrambles.

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There’s the personal angle, but then there’s a social/political one (which wasn’t entirely without personal meaning to me – but I’ll get to that in time). “9/11 Fever” mocks the ultra-patriotism-turnted-opportunistic-exploitation that so many American engage in for the anniversary of the terrorist attack. And while that’s the most overtly political song on the album, plenty more go for the throat on issues in the politics of the punk scene. “Stuff That I Like” rides a killer riff as Jeff skewers the “fucking cocaine parties” that “fucking freak him out” (another gem later on: “I gotta take a piss in the cocaine room, / What is this? The line for lines? / It’s a long line for lines.”), as well as the “booming bass and the shitty DJs” of the clubs. The song ends with a condemnation of the limited possibilities of “going out” to “have fun”: “The gates rise up like / ‘What’s up? You’re in prison, confined by alcoholism / And lack of better decisions for having fun on the weekends.’” “Gang Of Four Meets The Stooges (But Boring)” attacks bands that purport to be on the “cutting edge” but have no respect for the other bands they share a bill with.

Best of all is “(Shut) Up The Punx!!!”, a mile-a-minute monologue from Jeff on the fucked up “holier-/hipper-than-thou” attitudes that make the punk scene look bad from the outside set to one of the band’s most frantic ska-punk freak-outs. The lyricism in this song is really on another level – take just the second line in: “When we all march to the beat of the same different drummer, / The steps start to come off like clockwork.” And for all this wordiness, Jeff somehow manages to make the phrasing fit rhythmically into the song, using the intensity of the music to emphasize key parts, eg. the swelling of horns leading into the descending breakdown that matches “I’d rather be vomiting and I despise vomiting and BLECH!” The chorus sums it up: “This non-conformity feels like conformity, / Why should anyone believe in our community? / This organization doesn’t feel like anarchy ‘cause / We’re suiting up to have the same identity.”

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My love for this song is intimately connected with my feelings on the state of punk rock circa my time in high school (and the first couple years afterwards). Jeff mentions in the notes on Quote Unquote that this song is about “a very small portion” of the punk community that he’s met, and I believe him, but to this kid who spent his adolescence stuck in the Canadian capital Ottawa, an unsurprisingly hostile environment to the development of a healthy punk rock scene, it feels like this song was about every second band I’d heard of. The too-cool-to-care hipsterism of the early 2010s was in full swing at that point, and many kids I knew had fallen into that attitude. And the musical tastes and scenes followed suite. There was a bizarre amount of implicit pressure to identify a band with a specific sound or scene, adopt a particular fashion sense or way of performing that played to audience expectations within a certain genre. But in spite of all this, I felt like I couldn’t just sit and stay angry about it; the dismal state of affairs was also a cry for help, a call to action to change the way things were. That’s why I love the fact that “(Shut) Up The Punx!!!” is more than just a stream-of-thought criticism – the lyrics were inspiring to someone like me who felt disillusioned with the very scene they aspired to be a part of: “Smile big, hug bigger, talk big, act bigger, / Stop judging do something, shut the fuck up do something!”

There’s the personal anxiety angle, and there’s the sociopolitical angle, but some of the best songs on Scrambles just do a great job of capturing specific feelings. The lilting “Wednesday Night Drinkball” (which feels a bit like a sequel to “Stand There Until You’re Sober” both musically and lyrically) starts with a great example of this: “There’s nothing less fun than being exhausted / From hours of not doing a damn thing at all.” “Saddr, Weirdr” is a reflection on the loneliness of moving, which, while packed full of wacky percussive noises and bells, also contains a rather poignant observation that always gets me: “I just threw out another gift, / I know it had a bit of thought but / Mary we won’t talk soon, / I have no use for Crocs now, / And I have no use for gifts.”

“Sort Of Like Being Pumped” closes out the album by putting one of those feelings that can be hard to describe into words. On a quiet, muted guitar accompanied by a rather beautiful (if you can believe it) banjo riff that phases in and out of the mix, Jeff describes one particular moment at the end of a workday when he watched the sunset from the train home. In addition to the simple but important sentiment conveyed about appreciating brief moments of happiness, the song also once again demonstrates Jeff’s knack for the killer phrase, the one line you can repeat until exhaustion: accompanied first by Laura Stevenson’s harmonies, then exploding without warning into a blistering punk outro, we hear over and over again the chorus that stresses that one brilliant instant, a seemingly never-ending build-up to the climax as if Jeff is trying to drag it out as long as possible, maybe make it last forever: “When I saw / When I saw / When I saw / When I saw / When I saw / THE SUNSET!”

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#Bomb The Music Industry!#BTMI!#Scrambles #Punk #Punk rock

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westernchords · 4 years ago

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2020: a replay & reflection

so... here we are at the near end of a very long, unsettling & strange year. and at this particular moment in time, spotify has released its 2020 wrapped feature, an annual highlight for gay people everywhere (self VERY included). since the world is very large & this is a personal blog with a limited scope, i'll talk about what i know best: the view from my corner of the musical world.

i only had two songs in common with any previous year -- i wish i missed my ex by mahalia & sugar by brockhampton (... i know, the heartache is loud already,)

4 unique rain asmr audios made it into my top 15 (they help me sleep lolol)

show tunes was my #4 most listened to genre and yet not a single one made it into my top 100. (i'm pretty sure it was all of my late night waitress sing alongs)

i discovered 1,012 new artists and 162 new genres

all very fun and interesting things! however, in looking at this year, there are two things to discuss that are most important: the amount of time i spent listening to music (111,989 minutes) and my top song, fake mona lisa. let's discuss both.

on time: in short, music means a lot to me. in long, i mean that music has been central to my life for as long as i can remember. i think of my church choir and my mother singing eartha kitt and corrine bailey rae in the kitchen, my father's surprise talents at piano when he would play in chapel, and how i like to make up little ditties to sing for my dog or while i cook or to solely entertain myself. if one was to take a look at my journals, each entry is annotated with the song i was listening to or suited my mood at the time i was writing. at any moment, i am capable of revisiting the emotional landscape of old memories all set to the very soundtrack that holds that particular past closest.

i still remember plucking violin strings at 5, how i used to stack music books so i could sit up straight on my piano bench because i was too short at 7, picking up woodwinds in highschool and letting my best friend act as conductor, and now, singing endlessly- day in and day out, because it makes me feel like i am traveling home. i think of creole folk songs that connect me to my family, my diaspora. i remember the favorite songs and artists of people i don't know anymore, but still. it stays with me. my friend cj says i have a great emotional sensitivity to music, but more so, music simply connects to every cornerstone of who i am. the creation of it, the listening, the love of it. the constancy.

music is integral to my daily routine and life. since i was 13, maybe younger, i have always believed that the first song i hear in a day sets the tone so i always try to play something i love and makes me feel joyful to start off on the right foot. i will do this my entire life. every day is permeated by sound and the data shows it. 111,989 minutes is almost 3 months straight. this doesn't even count soundcloud listens or youtube tracks or music i play on my own. this felt fitting. music, this year in particular, has been a salve to both new and old hurt. and maybe i am picking at my scabs, but 2020 has amplified so much anger and shame and fear and despite that, there is so much joy in art. music is a balm for the world, it is poetry in its own right.

on fake mona lisa: so .. i am kind of obsessed with this song. fifteen hours worth of listening, i text my friends i'll join the video call soon - i just need one more replay, i got high and played this song while lying in the middle of a meadow and experienced more emotions than i had had in a very long time, my friends lovingly tease me about it so it's sort of like a character trait now, kind of obsessed. my turning to this song was the sort of romance that i didn't anticipate, but fell very hard into and, if you know me, you know that's my favorite kind. let's get into why: when dedicated side b came out, i was heartbroken. there's really no other way to put it. i was alone, back in my childhood bedroom, and harboring a reopened wound from past relationships that maybe had never closed in the first place. i was in this strange, melancholic knee-deep-in-emotions place & if you're an avid CRJ fan, you recognize that's a place she knows and sings about well.

as a song, fake mona lisa tends to be one of carly's more lyrically opaque tracks. which is fine, i'm a storyteller at heart, i'll craft my own narrative. (and honestly, there wasn't much legwork here.) without doing a full blown analysis, here are pieces that i find important to note about the song lyrically and resonate most with me -- big or small.

(transcription at bottom)

what i'm basically saying is that this song is about risk and young love and sex. its about secrets, cheap thrills, fast & easy desires, and the fantastical euphoria of a dead-end-but-still-fun “we're young so what's the matter,“ relationship. (very reminiscent of LA hallucinations, imo) and to me, someone who has been in and out of this same subset of emotional affairs, fake mona lisa stuck with me. vegas is a city of high risk, high reward- where else to chase that superficial, unattainable someone? more so, the song gives you the understanding that the relationship doesn't last, but that was not what carly ever truly wanted out of it. fake mona lisa is, at its core, about over indulgence in pleasure as a stand in for actual love + commitment, something i am oft to do myself & only did more of after dedicated side b dropped. i latched onto the slow and simmering exposition into glittery pre-chorus, starlit imagery, shiny-faraway vocals, and frankly, there was no competition for my song of the year. the song is a dream. i love it and i know what that says about me, but i stand by it.

dedicated side b, especially fake mona lisa, carried me through the healing process of heartbreaks that crystallized into many other things- indulgence, desire, risk, short lived romances, secrets, joy, kisses i should've kept to myself, spontaneous dance breaks, tears, etc., it is an album about love, recovery, and returning to the self. fake mona lisa is just my favorite stop on a long train ride to an okay-ness with aspects of romance (both with the self and others) that i am still figuring out the messy, rose-tinted, contours of.

and sonically? i just adore the key of d minor.

as a last touch point, fake mona lisa was only the tip of the iceberg of songs i obsessed over about not-exactly-ideal romances. again and again and again, heartbreak anthems appeared in my top 100, a deviation from my typical warmth towards romantic sentiments that appeared in past years. instead, there is a sense of love-at-a-distance, a painting yourself as the object of desire, a severed attachment, a not wanting to commit at all (see let's be friends, heartbeat, want you in my room, all by crj ... all appearing on the list.) however, much of what appeared celebrated love and having tremendous, special, struck by cupid, feelings. it's all there. what i'm saying is that carly rae jepsen writes music for lovestruck people- both lucky and not so much, hopeless or hopeful -- you name it. she writes about how you can fall in love with almost anyone, soundtracks for the highs of the first throes of intimacy, the first (and last) kiss, the shared moments between two people when they are each other's whole world, and the palpable distance of heartache, separation, and the landscape between.

she writes as though she is both eros and psyche, armed with arrows of cascading melodies, tipped with a salve for suppressing+healing+amplifying heartbreak, and lyrics so intimate and dreamy, you really can't help but believe in love with the way she speaks of it. love is a venture from shame, a fantasy that is more real than anything else, tender and kind, pleasurable, and escapable into. the world is better in it, the world is better because of it. in carly rae jepsen's discography, love is the defining pillar of experience. a northern star and guiding principle. it is the only thing, no matter what form. & frankly? i cant help but agree.

as a final note, in hanif wills-abdurraqib's emotion review for MTV, carly rae jepsen's public displays of affection, he says this:

thats all for now. bye 2020.

- august

///

transcription of my notes:

verse 1:

city/star light imagery

i am known for wearing a star stamp on my cheek

infatuation & attraction

paints a photo of a starlet and her lover, a fair weather affair

pre-chorus:

always waiting fro a chance the object of desire

a high from love, addictive pleasures

chorus:

sex & art & risk taking (art synonymous with beauty. + seduction)

she knows she cant handle this in a real way, but wants it

desire vs/& (in conjunction with) pain

verse 2:

an idealistic worldview, hoping for the best, always somewhere else not present.

dreamy lyrics + dreamy state of mind, cloudy even.

specifically the words fake mona lisa:

contrast, beautiful yet fully acknowledged to be unreal/superficial

a stand in for “real art“ aka “real love“

#crj #mine

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paradox-media · 4 years ago

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Dreamcatcher drop next album instalment - Dystopia: Road To Utopia

As a former emo kid, Dreamcatcher scratch an itch in my brain that I didn’t know I had. Their music encapsulates everything that I claim my music taste to be - rock, k-pop, rap and EDM, and that’s what I love about them.

Every album that they put out has something for everyone’s tastes, whether that be a ballad, a rock track or an EDM banger and Dystopia: Road To Utopia is no different.

Track one, ‘Intro’, follows these same guidelines - heavy EDM with synth and baseline alike, coupled with a heavier guitar track which ultimately sets up the vibe for the rest of the album.

Track two is the single from the album ‘Odd Eye’, and my favourite track. I’m going to go out on a limb and say that this will stay as one of my favourite releases from this year already and it’s only February. I feel like that says a lot about the impact that Dreamcatcher truly have. ‘Odd Eye’ features that same heavier guitar riff throughout but the track manages to switch out and throw a curveball out by slowing down during the bridge and allowing the softer vocals to push through - another aspect that they focus on a lot throughout their discography that give them that edge of originality.

‘Wind Blows’ comes in as close second to ‘Odd Eye’ in my books. This track sounds like its straight out of a coming-of-age action anime series, the music uplifting and almost transporting you to a different reality. The vocals on this song also pop out against the hard synth backing track and once again prove that the Dreamcatcher vocal line is one to be revered.

The third track ‘Poison Love’ begins to demonstrate just how diverse DC can be. This song is a lot softer and slower, more of an ambient house vibe, which brings the tempo and loudness of the album down a few steps with a much more intimate feel.

‘Poison Love’ then leads into ‘4 Memory’, a track that feels a lot more like the more common themes amongst female k-pop groups that you see often. A soft and upbeat drum track is accompanied by an acoustic guitar and layered vocals which switches up during the chorus into a louder synth sound. Despite this song being more predictable than the others so far, it still sounds very Dreamcatcher, which is a notable point. It takes a certain type of musician to take a sound that is already very popular and make it their own, but they manage to do so effortlessly.

Just like ‘Wind Blows’, ‘ New Days’ sounds like the ending credit song to a wholesome action anime and is incredibly catchy and memorable. The use of a full-band sound in this track rounds it out perfectly and alongside the vocals they work together wonderfully to slowly build up into the chorus.

The album finishes off with an instrumental version of ‘Odd Eye’, fully showing off the intricacies of the beat and allowing us the opportunity to really understand what has gone into the backing. I always find it interesting to listen to these instrumentals after the full album because it gives me an appreciation of the effort that goes into the musicality of a track when you remove the vocals.

This has definitely got to be one of, if not THE favourite, album I’ve heard from Dreamcatcher. It incorporates a multitude of different vocal, production and instrumental talents to tie the whole thing together flawlessly. I’ve said it before and I’ll say it again, no one’s doing it like Dreamcatcher.

Words by Bekky Smart

Twitter: @bekkymays

#dreamcatcher #kpop #Kpop journalism #kpop journalist #journo #journalism

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chenoehi · 5 years ago

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My thoughts on Grammys, BTS, and the Academy's supposed 'diversity'.

Can't do 'Keep Reading' on mobile guys so if you don't care about it keep on scrolling.

The only BTS music I thought might have a slim chance for a nomination was "Boy With Luv (ft. Halsey)" as a pop duo collaboration. That was it. Anything more than that was just wishful thinking.

The Academy (both Grammy and Oscar's) talk about diversity when controversy comes up, they give some Black artists and actors awards, they look like try-hards, and then the next year they repeat history. Each year more men continue to be nominated than women, even in years that women dominated the industry. Each year artists who push boundaries continue to be overlooked or less favored than more traditional artists. Each year recognition continues to be bulk awarded to the most basic artists with the most basic styles with the most basic music, often times the same (mostly white) artists each year. No one get me started on always having to award artists like Taylor Swift or Ed Sheeran or Adele each year they make music, despite whether or not what they put out is actually good, original, or better than what they did the year before. I'm not singling them out, but I think they illustrate my point. I will make one exception for Adele because she is a phenomenal singer, although I did not personally believe 25 deserved to sweep; I've been told by fans that Ed Sheeran is a good performer, so I'll give him that but I'll keep my thoughts of his music and the rest of my opinions to myself. But I get tired of artists like these getting nominated every time or almost every time they put music out and then getting awards every time they're nominated, hence sweeping. It gets tiring when the music that frequently-awarded artists put out sucks and they keep raking noms because of who they are.

There is absolutely nothing BTS or any other Asian et al. artists can do to beat that system. None of the criticism in the world has changed it thus far and I don't know that anything ever will. It's a hard institution to tear down. They will use "diverse" artists for ratings by inviting them and having them hand out awards and, in BTS's case, making such a big deal as to even display their Grammy outfits in the museum, and then they will refuse to nominate them.

It's a back handed compliment to non-Western artists. The Academy is saying they're good enough to help win over a predominantly younger and more diverse generation of viewers but they're not good enough to be awarded for their achievements.

What's worse is, the only expectation I had was for the Academy to invite them as performers despite whatever minuscule nomination they might have garnered, because it's been clearly hinted they would attend another Grammys and the Academy would frankly be fools to not have them perform after the shitstorm going on the pop industry rn. If you know anything about the Taylor Swift situation (you may not be able to tell which one because there are always so many) who knows if she will be performing this Grammys, and her medley of her songs was supposedly going to be a highlight; something's always stirring things up so who knows if certain artists don't end up going at all or bow out of performing. Ariana Grande bailed on the 2019 Grammys because the Grammy producer wouldn't let her perform songs she wanted to, and these kinds of disputes happen and artists who are nominated become no-shows. So, the opportunity to invite a group with a huge following, who have already proved to increase ratings, seems like a sure move right?

But BTS can't exactly perform at the Grammys if they're not nominated for a Grammy; I don't see them doing a tribute any time soon either. And if the Academy even dares to invite them at this point for a performance it will be an insult and a transparent ratings grab. BTS may still go to avoid appearing as if their pride has been wounded or just because they want to go regardless. They know better than their fans how it feels to lose, to be discarded, to be overlooked. This is happening to them first and foremost, not us. And if they decide that they will deal with this the same way they dealt with all their other struggles, to push on, perform for their fans, and use the opportunity of exposure for what it's worth, then support them and their decision. I, for one, won't be watching it live regardless of whether they are there. If all the Academy wants is ratings from BTS fans when they are fine with treating them like garbage, they won't get ratings from me.

I fully believe that the Academy is not only discriminatory to non-Western, non-white artists but that failing to nominate BTS for any award at all is out of fear. Fear that their traditional, safe artists will be offended and boycott the awards if they lose out on a nomination, fear that their fanbases will retaliate, but more importantly, fear that BTS or any other gigantic force of a non-Western artist may be a shoe-in for whatever award they are nominated for and potentially sweep if allowed to compete with all other artists. This comes after BTS won Best Group at the Billboard Music Awards this year. Their first time being nominated for a major U.S. award category. It wasn't even a Best New Artist schtick. It was a main category and they were up against established, popular, Western groups like Imagine Dragons and Maroon 5. It comes on the heels of Super M earning number 1 debut album and beginning a successful tour they are on right now. It comes after Blackpink performed at Coachella and toured the country. It comes after NCT 127 and ATEEZ toured the country. Even TXT, a months old group, had successful showcases in major U.S. cities.

The Academy is too racist and xenophobic to acknowledge Asian artists--they always have been and they always will be. The most diversity we'll see is the nomination of Black artists, but still only 2 were nominated for SotY whereas 4 were nominated for RotY. I don't know the exact numbers, but any time I've ever kept up with the awards I don't see very many other diversity groups being represented in nominations either, such as artists with disabilities or LGBT artists who have different gender expressions and identities or sexual orientations that impact their music, performance, and artistry. Halsey's intimate performance at the BBMAs with that female dancer was huge because that's just not something that's really done. Still. And any time it does happen it's a Britney and Madonna moment all over again, it's a fetish to everyone. Progress has been made but it's very minuscule in comparison to the 'diversity' touting approach they've taken.

I'll just leave the words of this morning's Rolling Stone article here:

So, the Academy selectively extends its diversity goodwill just as they always have. No shade to the artist, but just using this example of Lil Nas X versus BTS, you have a young Black, gay artist who started his career in late 2018. He's nominated for some of top Grammys with a minimal discography--an 18-minute EP. This is groundbreaking, it's great. BTS, a 6-year-old established group of young Korean artists who break nearly every record there is and dominated Western charts this spring, and they continue to chart Billboard and Western streaming platforms. They earn no nominations.

The two artists ironically happen to have a collaboration in the form of Old Seoul Road.

Congrats to Lizzo and Lil Nas X (that's not shade at Billie btw) but this tweet from the New York Times is so unbelievably misguided because the Academy's conception of diversity is like seasoning with mostly salt, a little pepper and no cayenne (hate to use that analogy but am I wrong?):

I do appreciate that some artists who don't get nominated a lot got nominations, but looking at the list of top awards I just can't imagine how some of those got through. And I listen to a lot of different music and some BTS stans may have know idea who the fuck Bon Iver is and I'm not saying they don't deserve nominations period, but when you look at the list it's just mind boggling how a song like BWL that was listened to and appreciated like a summer anthem would be could not be included in that mess. (Vampire Weekend for Album of the Year, what, who the fuck, is that, they've been around since 2006, that's when I listened to nothing but metal and rock and I don't, know who the fuck this obscure band is? I may have heard of them once eons ago but they apparently made no impression? I'm sorry). I won't go as far as to say BWL was a Western summer anthem because much of the gp still doesn't know them, this is true. But apparently that's never stopped the Academy before. Bonus, anyone remember Bon Iver winning Best New Artist over Katy Perry all those years ago? No, just me? Good times. (Respect to Bon Iver, I'm just making a point that a lesser known artist won that award over a popular artist and the public went "waH?" Bon Iver being nominated for Record and Album of the Year this time honestly has the same effect as before because what is Hey, Ma even. I listen to Indie music so. What it is.)

Anyway. That's my thoughts. Expect nothing and you won't be disappointed is a myth. You will always have room to be disappointed in humanity.

Edit: while I'm at it, a big, massive fuck you to the Academy for never nominating Halsey for Without You.

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straykidsupdate · 5 years ago

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Stray Kids Talk Songwriting, Career Goals and Their First U.S. Tour

“Authenticity” is a keyword thrown around a lot more often in K-pop these days. With crossover potential in the foreground, there’s more at stake when it comes to shaking the dismissive notion that it’s “manufactured.” Companies are investing more in idols — not just as performers, but as visionaries of their artistic direction. It just so happens Stray Kids have emerged as a rookie boy band challenging these preconceived notions.

This nine-member group hails from one of Korea’s “Big 3” music agencies, JYP Entertainment. They’ve only been around for a year, and they’ve already hit huge career milestones. After snagging several Rookie of the Year trophies at Korean award shows, they just won their first music show at M Countdown on April 4.

“When we won first place for the first time, we were so happy and thankful towards our Stay,” main rapper Han told Forbes, referring to the group’s fandom. “We thought to ourselves that we would need to work even harder now to show an even better side to our Stay. One memory we have from that day is when our win was first announced, Seungmin and I cried a lot.”

Part of what sets Stray Kids apart is their heightened emphasis on self-composition. While it’s increasingly common for idols to pen their own songs, you’ll be hard-pressed to find a Stray Kids track that doesn’t feature a member in the liner notes. They even have their own in-house songwriting team: 3RACHA, featuring members Bang Chan, Changbin, and Han.

“We’re given a lot of freedom,” said Bang Chan, the Aussie leader of the group. “It’s mostly what we want to speak. It is our lyrics and our melodies. So we would write all our songs. We finish a song, and we would show it to our big boss, JYP. And he would give feedback on it. And yeah, it’s beautiful teamwork.”

The fate of a K-pop group’s lineup is often pre-determined by top-down management, but Stray Kids are presented as having an unprecedented level of autonomy. Auteurship is in the details, from Bang Chan hand-picking the members to his handwriting forming the group’s logo.Their discography — which has rapidly grown since their March 2018 debut — is representative of K-pop’s genre agnosticism. One minute, they’ll throw a bit of rap-rock your way. Next, they’ll hit hard with a well-timed EDM drop. They excel at blood-pumping bangers like latest single “MIROH,” but they can get more pensive on songs like “Grow Up.” While they have built a sound around a razor-edged intensity, they still make room for playful and light-hearted fare like “Get Cool.”Despite the diversity of their catalogue, there’s always a few song components they have to keep in mind when constructing a track. “BPM is very important especially because we are the ones who are performing on stage,” said Bang Chan. “Another important factor is the song structure. In my opinion, the song structure represents the flow of the whole song, so depending on the mood of the song, the song structure is quite important.”He’s not kidding. Take their third single, “My Pace.” The flow is disjointed by plenty of vocal breaks, speeding up just as soon as it slows down again. It’s a delicate balancing act, the way they anchor the hooks while keeping the listener on their toes by switching up the rhythm. But this temporal shapeshifting has a larger purpose. It feels conceptually poignant on this track, where the lyrics explore the theme of going through life at your own speed.

“Honestly, having the opportunity to even write songs for the team is a great big honor,” the 21-year-old leader said. “But because we still have a long way to go, we hope to become songwriters who can inspire others and give energy and hope to people in need.”

Stray Kids are already off to an impressive start, wrapping up the three-EP I Am series in less than a year. The group threaded together a whole narrative cycle across the albums I Am Not, I Am Who, and I Am You. Their world-building began in the dystopian “District 9,” where they escaped authoritarian uniformity to forge their own paths.

I Am is fundamentally a bildungsroman brought to life by a group in their teens and early 20s, taking the listener on a journey to self-discovery. “The message of I Am Not is realizing that I don’t feel like myself,” Bang Chan previously explained during 3RACHA’s “pre-talk” with JYP. “I Am Who throws a question, ‘if I am not myself, who am I?’ As for I Am You, it sounds like we made a conclusion. But in fact, we have yet to find out about our identity.”

That lack of resolution makes sense because it reflects the group’s own transitional state of entering into both adulthood and celebrity status.

“While I was going through school, I would think, ‘What’s my dream? Do I really have to do this? My parents expect me to do this but is this what I want?’” Bang Chan said. “Honestly, I haven’t found the answer yet. I still don’t know who I am. But I’m pretty sure I’m not the only one who thinks like this, right? I just really want to reach out to people who are having the same problem like me — well, not problem. It’s not a problem, but I guess [people] who are going through the same thing. This is the reason we wanted to express that in the I Am series.”

Naturally, these themes also bleed into their follow-up album series, which kicked off with March’s Clé 1: MIROH. In particular, “19” — with lyrics solely written by 18-year-old Han — paints vignettes that dig deeper into his hesitations about entering adulthood.

But the connections between the I Am and Clé series go beyond shared thematic content. “In the music video for ‘I Am You,’ we were looking down at a maze-like city from the rooftop [in District 9],” Changbin said. “This city’s name is MIROH, and MIROH is our new world.”

Stray Kids are practically building their own cinematic universe, and their latest album teaser for Clé 2: Yellow Wood — which will be released on June 19 — could be mistaken for a movie trailer. Note that the setting is in an elevator, which brings to mind their pre-debut single, “Hellevator.” Visual callbacks to their previous work are part of the fabric of their ongoing narrative.

“It is a bit challenging,” said Bang Chan. “But when we write our songs, we do think about what we’ve written before and how we need to continue off of that and what we need to think about writing on next. It’s okay, it’s not that difficult. But we do need to think about [it].”

When they’re not dreaming up dystopian cities, they’re taking their tagline “Stray Kids everywhere, all around the world” seriously. Just last month, they headed out on their first U.S. tour, making sold-out stops in Newark, Houston, and Los Angeles. Come July, they’ll take their Unveil tour to Europe. “Through these stages and performances, we want to be able to show later on more people in more cities what we’re made of,” main dancer Hyunjin said.

On May 17, they played a show at the Pasadena Civic Auditorium that was simultaneously characterized by the sensory onslaught of their adrenaline-inducing performances and the vulnerable affability of their frequent ments, or speaking segments. Their raucous spin on K-pop maximalism literally left the 3,000-seat venue shook, as Stays rattled the balcony in their excitement.

But the nonet also made use of the relatively intimate space, placing more emphasis on fan engagement than your average concert. By the time the evening rolled around to their goodbye talk, the members had some heartfelt words for Stay. “I always read our Stays’ letters, and you guys are always afraid of the future,” Han said on stage. “I just want to tell you [to] believe in yourself and just don’t look back. We are on your side.” It was a moment that captured Stray Kids’ penchant for speaking about issues faced by young people.

“We’re always showing and sharing our own music,” the youngest member I.N said over the phone. “We want to be known as a group where we can give good emotions and influences to people around us.”

(source)

#stray kids #190606 #era: clé 1 miroh #t: article #forbes

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bthenoise · 5 years ago

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Q&A: Bert McCracken Details The Used’s Hard-Hitting Yet Poppy New Record ‘Heartwork’

Let’s face it: For nearly 20 years now, The Used has solidified themselves as one of the best bands of our generation. Since the release of their 2002 self-titled album, the SLC punks have strung together an unparalleled discography of angsty, thought-provoking music fueled by anger, growth and love.

Gearing up to release their eighth studio album Heartwork on April 24th, Bert McCracken and Co. are as hungry and humble as ever as they prepare to usher in a new era of the band.

“There's something about approaching 20 years as a band and approaching 40 as human beings [where] we're desperate to keep this place in music,” says McCracken. “We're humbled by the amount of years we've had so far and we couldn't feel more fortunate or blessed or however you look at it. But I feel like if we were to slow down even a second or if we were to take it for granted for even one second, we would deserve to have it taken from us.”

Putting that restored energy into their upcoming 16-track album produced by longtime collaborator John Feldmann, McCracken suggests this might just be the best Used album yet.

“I think this whole new record is going to be a surprise for a lot of people. I think it's the best of the best of The Used,” he says. “It has our heaviest stuff ever that we've ever released. There's even a song that's way heavier than ‘Blow Me’ featuring Caleb [Shomo] from Beartooth. And then there's the poppiest stuff that The Used has ever done. There's like some kind of disco tracks on the record and stuff. There's a lot of slap bass. It's crazy like it's all over the place. So yeah, we're really excited.”

To read more from our chat with McCracken as we helped cap off the band’s entirely sold old North American tour, be sure to see below. Afterward, make sure to pre-order Heartwork here.

We're on the last day of your small club underplay tour. What’s the experience been like for you getting to play these small, intimate shows again?

BERT MCCRACKEN: Incredible. A lot of the shows, we come into the venue in the late afternoon when I get out of bed and I recognize the club from 18-19 years ago. Yesterday, at Sunshine Theater in New Mexico, we played a show [there] on our very very first tour ever with Goldfinger, Reel Big Fish, Sugarcult and The Used opening up the show. So it's been incredible nostalgia. It's been exactly what I think rock and roll and punk rock music is all about -- right up close, in your face, sweaty. It's that feeling of togetherness that comes from a small club vibe that you kind of don't get anywhere else that's so special, especially with a band like The Used. We're a band about feelings and the bigger picture and we take music very seriously. It's been incredible. I can't believe it's already over. Time flies when you're having fun.

Do you miss that intimacy you get with these smaller shows?

Yeah, a lot of times you would if you're on a big festival run and you've been doing outside shows with the crowd, maybe 15-20 feet away for months. It's always different parts of it that are really cool. Playing to a gigantic crowd has its own pluses but this is definitely our favorite. This is where we started out. This is where it kind of becomes a competition with yourself. I'm not a young kid anymore, so I know what these clubs are going to be like. I know what the bathroom situations are going to be like [laughs] and I know what I expect of myself with a small crowd like this. I know what I would want to see if I came to see The Used. So it's about throwing it down really really furiously as hard as you can.

It's funny you say that considering you're playing some newer songs on this tour like “Blow Me” which is one of the heavier songs you guys have released. What’s it been like playing that song and getting to see the fans react a few feet away from you?

It's incredible, man. It's such a cool diverse mix of kids. To see girls moshing is always fun. When we take new songs out on the road sometimes, it takes quite a while to figure out the song live but “Blow Me” and “Paradise Lost A Poem by John Milton” both feel like we've been playing them for 10 years. It's magical and mysterious why it feels like that. But I think this whole new record is going to be a surprise for a lot of people. I think it's the best of the best of The Used. Like you said, it has our heaviest stuff ever that we've ever released. There's even a song that's way heavier than “Blow Me” featuring Caleb from Beartooth. And then there's the poppiest stuff that The Used has ever done. There's like some kind of disco tracks on the record and stuff. There's a lot of slap bass. It's crazy like it's all over the place. So yeah, we're really excited. We all love such different types of music so seeing the difference for us is important. And that live experience, whether it's heavy or completely melodic, is so fun. I think The Used is a live band first.

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Do you find yourself still listening to much heavy music these days?

A hundred percent. I think my most listened to record last year was A Different Shade of Blue by Knocked Loose. One of the best heavy records that's come out in forever. It was so reminiscent of stuff that I loved in the late 90s. So yeah, I listen to a little bit of a lot of everything.

Do you think that helped inspire some of the heavier songs on this record?

Yeah, a hundred percent. I mean, I was a hardcore kid growing up. My favorite bands were Coalesce, Converge, and Ink & Dagger. If it wasn't that heavy, then I was kind of like a prick and a punk about it. I was one of those kids [laughs]. So yeah, my world and my background is soaked in heaviness but then again, some of the other guys like Jeph [Howard, bassist] are very very diverse. He loves heavy music. He loves like Mr. Bungle and stuff that's heavy like that but he loves crazy eccentric tribal stuff and cultural stuff so it's a really cool kind of flow. Dan [Whitesides, drummer] loves rock and roll music, like rock and roll, like butt rock almost. I think he would say, if he had to pick a band, Mötley Crüe is his favorite band. And Joey [Bradford, guitarist] is all over the place. Joey's the youngest guy in the band and he loved The Used growing up. He loved bands like that and he loved punk rock and it's a perfect fit. All those different elements kind of create something special.

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Do you think having Joey on this record helped instill some energy in the band a little bit?

I think we were in that place maybe before Joey came around. I think The Used has been firing off insanely for the past couple years. There's something about approaching 20 years as a band and approaching 40 as human beings [where] we're desperate to keep this place in music. We're humbled by the amount of years we've had so far and we couldn't feel more fortunate or blessed or however you look at it. But I feel like if we were to slow down even a second or if we were to take it for granted for even one second, we would deserve to have it taken from us. So yeah, I think Joey is the perfect candidate to jump into this vibe because he's driven, he's passionate and you kind of get swept up in my ambition and my drive if you're not careful. I've never been more healthy or happy and that creates such a beautiful kind of cohesiveness with the band.

We know you've been focusing more on your fitness and health lately. Has that helped with your songwriting and maybe your energy on stage at all?

100%. It helps with everything. What I found that helps and why I became obsessed with the gym is the after-effects. The endorphins I feel when I leave, it's almost a perfect cure for depression if you take it seriously. Those dark thoughts that become even darker and the voice in your head that can slowly convince you that you're not good enough -- that guy doesn't come around when I'm keeping to my workout routine. That guy stays buried in the mountain of positivity I've built. Also, I got this insane type of focus. I like to read a lot. And whenever I read after I work out, I have this insane concentration, insane focus, I can just read for hours. So there are so many benefits from it.

Does it make you wish you got into it sooner in life?

Of course. But it's hard to look at life that way. I think a lot of the reasons why The Used is special is because people have followed the journey of the ups and downs. You know, there's a lot of dark times but I think that I wouldn't be me if it wasn't for those specific moments.

Talking about some of those ups and downs, 2017′s The Canyon was a very personal record for you. Do you think getting that record off your chest so to speak helped you come closer to this positivity for the new record?

I think so, yeah. A lot of the process from a record is just a snapshot of a moment in that band's life. And what was going on in my life [at the time] was very tragic. I just lost one of my best friends and had the opportunity to make a record that was like an art experiment in grieving and see how far I could take it and how personal I could get and how open and honest with myself and specific even. So it was painful and brutal. The other side of it was we did it all to tape, so it was like we had to really actually be in the moment playing it. So we learned a lot. We would never do it again. It's one of these like religious moments for our band. It was very spiritual with Ross Robinson, who was very out of this world. I learned that the way humans connect to music is on a personal, individual level. It's only as important as you make it in your own life. That’s why I think The Used fans are so special because it is live [or] die for most of us.

Going back to Heartwork, one thing we’re sure that helped bring a lot of positivity to the album was working with John Feldmann again. What was that process like?

It was the most relaxed and excited and focused I've ever felt in the studio. He's come full-circle with who he used to be as well. We all changed quite a bit. The John Feldmann that's leftover is the John Feldmann that is the hardest working individual I've ever met. He is the most passionate, the most dedicated, but he also has this newfound relaxed ability to just chill out and have a great time. So some of the focus going into this record was like, let's just make songs that are fun. Let's have fun doing it. Let's not put any expectations on anything. Whatever happens, let's try to say yes to everything. Even the stuff we might not have said yes to in the past, let's say yes to all of it. So he was the perfect kind of facilitator for all of those things. He's driven and he trusts the band just like we trust him.

One of the things you said yes to was guest features from the likes of Blink-182, Beartooth and FEVER 333. All of them have worked with John Feldmann in the past. Was he the one that brought those to the table?

Yeah, Feldmann has like a working machine in his studio that's incredible. He has this flow to things, like a song-a-day-type situation. He's become really close with the Blink guys since he worked on their record and we have toured with Blink in the past. So the first impressions were already beautiful, like, we've already developed relationships with the guys individually. So that was definitely not one of the things where I was like, “I don't know...” It was some of the more -- you'll hear it in the record -- some of the more pop moments that could be the most modern moments on the record. Something that a hardcore kid would have a hard time saying yes to. But working with Travis [Barker] was insane. He's the most beautiful, humble guy. I think he has a reputation for being this hardass just because he's such a quiet and chilled-out dude. And Mark [Hoppus] as well, just one of the nicest people you could meet. So humble, I mean who hasn’t heard of Blink-182 in this world? They’re massive. So yeah, to be able to kind of pick his brain in the process, we had a blast. Caleb from Beartooth recently has worked with Feldmann as well. So yeah, all those connections were kind of serendipitous. Really, really awesome that it happened that way.

Looking at the tracklist for Heartwork, there's one song specifically we want to ask you about. It’s called “Wow, I Hate This Song.” Can you touch on that a little bit?

That is a song I have been kind of dreaming into existence for the past like 12 years. There are so many songs I hate in the world and I have a lot of fun hating things. Cynicism is such a blessed entertainment at times if you're not being totally serious. You can see things for what it is -- and not to take anything away from the importance of music because everything is special to someone for some reason. But when I turn on satellite radio or when I'm just like scrolling around on any streaming site, it's like, “Holy shit. How the fuck did we get here?” Like, “This is the worst garbage I've ever heard.” So [“Wow, I Hate This Song”], it's super heavy and there’s this riff in it that's brutally heavy but it's also this super catchy, almost pretty wonderful song. So yeah, it's been a thought in the making for quite a long time. Finally nailed it down, so excited.

Being in a band for about 20 years, you can probably point out pretty well when songs aren’t very authentic and written for other purposes. Does it bum you out when some of those songs get so much notoriety?

I think in a way it speaks for itself because you can kind of get the gist of something and then if it blows up, it's only a matter of time before it completely disappears. I think there are only a few things that can become huge and stay relevant. I think The Used has always had a really cool way to avoid that trap that gives you the one hit song where it's almost like a career-ender. But yeah, it's all a part of it. I've never been a fan of hugely popular music other than when I was a child. I loved Michael Jackson and Whitney Houston, pop music in the 80s. But since then, my favorite bands are bands that don't have a lot of listeners per month. It's not like 9 million, it's more like 130,000 people listening to Converge a month. So yeah, for me, I don't really pay too much attention. I like to listen to all of it because I appreciate great production and great melody no matter who wrote it. I think we're getting to a point in digitally recorded music where everybody has the same tools and the same plugins [where] it's kind of come back on the artists now. It's like you got to actually be able to do it again. Things like Dua Lipa and these pop songs... anybody could build those tracks in their room. So if the artists' personality is there and you can tell someone can really sing right away -- I think we're coming into a cool place again.

It seems like 2020 could be a whole new decade where the cream rises to the top and people start to recognize what's good and what's not.

I fully agree, man. It's an exciting time for music. There's a huge resurgence of music that's backed by emotions, about the bigger things in life, not so much about how much money you have and how many bitches. We had 10 years of that. I think everyone's just like, I just want to feel something.

Interestingly enough, a lot of bands like My Chemical Romance, Rage Against The Machine, The Receiving End Of Sirens, Armor For Sleep are all coming back. It's pretty cool.

Yeah, either they're bored of just whatever they've been up to or... [laughs]. It's tough once you're on stage, once you've done it, to walk away from it for good. There's something so special about the whole process, about the setup of the show, then you're waiting around to play and there's this nervous excitement. I fully understand why if you were in a band you'd want to come back and do it, especially right now. This time for music is so cool. And any little bit of hype around the type of music we play is only good for music fans, I think. It's awesome, cooler tours and more fun experiences live. Those are the memories you keep. I think we've been saying it a lot during the show: If we can close our eyes and capture this moment, when we're out there dealing with the real shit in the fucking Trump America and all that, the whole world of it, we can maybe revert back to these moments and take some positivity from it and take some value in our own lives and know “Yeah things are rough, but there's a place for me.”

#The Used #Heartwork #Bert McCracken #Interview

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thefreshfinds · 5 years ago

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THE RAW SHOWCASE

By: Natalee Gilbert

The RAW Showcase lived up to its name. Like its tagline states, everybody came to vibe. From a mile radius, friendships were formed, people were singing from the top of their lungs (the old and new bops), and everyone was anticipating to see the “R.eal A.uthentic W.itty” artists do their thing. Those who stepped onstage were S.B, Bindi Liebowitz, Sunliight, Kory Hiii, and Zeke Marlee (who, unfortunately, I missed speaking to.) The show was ran by Vision Society, Najee Lucky and J. Shider. Stepping into the atmosphere, I felt genuine connections. The lighting made the room setting intimate and many were allowed to interact with the artist performing. Those onstage shared common ground. All considered theirselves artist and had an undying passion for music. Their music stood for something, held a message and didn’t lead way to gate-drugs or violence. Some spoke on a personal level, dashing some relatability when telling what they’ve seen or heard. Overrall, everyone came from a good place. One of understanding. The music left others feeling good and at peace. The RAW Showcase came in with the new and left worries at the door. Everyone was having a good time.

S.B:

Every track from S.B doesn’t sound the same. Granted that his sound is constantly evolving, the artist makes music for any vibe, whether it be one that’s happy, confrontational, sad or nonchalant. One thing never changes, however. No matter where S.B steps foot, he happens to garner a new fan. S.B ultimately fits the depiction of a music vet. He’s got the suave stage presence down pat, and lyricism just comes easy. There’s no way to put him in a box. He’s multi-dimensional, to say the least. Since youth, S.B was one with music. At six, he learned how to play the sax and shortly after, S.B taught himself how to play the piano. Eventually, S.B began writing music. Then, everything accumulated. To date S.B has released 6 bangers. His recent, “Didn’t They” comes with gully, slick-mouthed bars that aren’t afraid to leave you with a black eye. “Fire Emoji,” on the other hand, comes with the Jersey talk. Once the alarm blares, S.B says he’s representing Garden State, but addressing the differences between himself and others. Spread over the aggressive back-drop, listeners get an earful of punchlines and entendres, that only bite back through the speakers. His feature, D.N.A matches the energy and comes hard like the natural vet, making sure that each line is not misunderstood. All-in-all both showed that nothing in life should be a gimmick. Be real. His discography also includes his enticing, fun, jungle-fever banger “Finna Get Naughty,” smooth cruising “Fly First Class,” “No Adderralls,” and highly acclaimed, “2 P.M” ft. Ziggy Zombie, This song was the most challenging because it took 2 weeks to figure out the chorus. But after that everything came easy. His word of advice for the upcoming artist and world is to keep growing. Don’t be scared to be different.

Instagram: @remembersb

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KORY HIII:

Once Kory Hiii stepped in, the crowds got hyped up. His commanding stage presence came at attention spans with no delay. As Hiii’s words spluttered across the echoey room, it bounced back with an aggressive tone. People were feeling what he was saying. What he said held truth and it’s safe to say the crowd thought so too. Over time, Hii’s lyrics were being chanted back at him. There was even one moment when the crowd became a unit. However, this can be symbolic for many reasons. While interviewing the Union native, I came to know a line that spoke volumes, “I feel like planting the seeds and waiting for harvest/What you expect? I came from the Garden.” which essentially stands for Hiii’s city and state. The Garden, being New Jersey and the rest, “I feel like planting the seeds and waiting for harvest” being Union. Union’s mascot just so happens to be The Farmers. From just this proverb, one can see that unification is one of Hiii’s values.

Hiii considers himself a musician but moreso an artist. His music journey started with his cousin, 2 Honest, whose been rapping since he was young. 2 Honest always tried to push Hiii to rap, but he was playing basketball at the time. However, as Hiii got older and basketball was no longer a reality, he started rapping with his homies. That led to being put into his first song. Eventually, Hiii went on to work with his cousin and landed into Morgan State. Alone with a MacBook, Hiii started making music and getting more into it. Then the rest is history. Before he gets in the booth, he prays and also does so when going onstage. However, the rapper puts God before everything. His sound is nothing but organic. Hiii says he wants people to gain awareness. The message behind his sound is positivity and consciousness. In our interview, he goes to say “I’m just trying to get my sound right.” If you haven’t already bump his song, “The Get Back” everywhere! This song falls a tribute to Hiii’s grandmother and I can vouch for its star-power. Truly, a banger for the books. Hiii’s visual for “The Get Back” also made its way to World Star earlier this month, garnering traction from everyone riding through the city. Hiii also has a project out called Revenge of the Soular Sun.

Instagram: @koryhiii

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Bindi Liebowitz:

A woman who can get pass you (especially if you don’t act right), Bindi Liebowitz is a female phenomenon full of charisma, wit and sultry energy. From the beginning of her performance, many listeners broke a sweat. Her stage presence, made jaws drop to the floor. Swaying in with high-knee boots and smokey black eyeshadow, Bindi sung soulfully and tapped into a confidence that made hearts flutter. The topic at hand was love and Bindi did diligence and giving each song a feeling. No denying it, Bindi basked in star-power. The singer/songwriter knew she loved singing since she was 6 or 8 years old. One day she was singing Aretha Franklin’s “Chain Of Fools” for her mother in the car. Once she finished, her mother caught the groove and said “Um, what? Girl, sing it again,” Then, with a vocal snap, Bindi went into a raspy, deep, soulful note range. However, Bindi didn’t know it was a talent. Naturally she felt the words and it was just a skill she mastered well. Bindi loved being onstage. This passion led her to NJPAC at 13 years old. Here, she took vocal lessons and began reading music, etc. Bindi was so into music that she even played the violin and joined chorus’. But she didn’t take it seriously until high school, “From choir, I began auditioning for the shows like American Idol and X Factor.” In 2014-2015, Bindi make her mark on American Idol. One year later, Bindi was on The Voice (Season 11), moving those across the nation. Now, Bindi continues to prosper in performing. No matter the gig, her impact spreads like wildfire. Likewise, the womanist empowers the generation and other woman. “We’re all beautiful and I’m going to let you know so. If you’re dope, the same thing. I don’t believe in giving someone the cold shoulder. I want to be the voice to let people know that we are getting things done, we do have feelings.” she says while adding “My style is based on the mood. I’m okay with that. I let it be expressed while I’m performing. I don’t want to pretend for the people that support me. I want to be real. Honestly, its edgy, bad-ass.” Bindi currently has 3 singles. “Over You” is her first single and one she gets excited performing. “Complicated” was released last year whereas “FaceTime” dropped in July.

Instagram: @thisisbindi

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SUNLIGHT:

To describe Sunlight is this very line from his song, “Sunrise,” when they see the shine they know what’s up. His name matches the vibrant energy he possesses. To further put it, Sunlight radiates in all-around positivity. Between rapping vulnerable bars then undeniably hard ones, and singing with tranquility from the heart, Sunlight warms your soul as his voice flows through the ear streams of many. During our encounter, I could see passion shining through his eyes. His words came from a sincere place and I automatically felt at-home with this ambitious, fun-spirited musician. Sunlight started his music journey when he was 12 years old. He says “I always had a passion for it, I always enjoyed it. But I didn’t take it serious because I thought people wouldn’t take me serious. I was basing my performance off the judgement of others.” Thanks to his friends and family, Sunlight kept at it. He says they pushed him to keep going. Now, he’s here. His music’s style is undefinable. It’s something you have to get an earful of and determine. Sometimes he’ll get Chance the Rapper, others Kendrick Lamar or PARTYNEXTDOOR. Essentially, Sunlight makes feel-good music. For instance, the musician says that “Sunrise” is more of a wake-up song that demand you to have a good time whereas “Sunset” is for boo-loving. His project Too a Good Summer puts it to a tee. Alone, Sunlight’s sound gives off a cool, calm and collected vibe. The sunny-side-up artist finds influence in Childish Gambino and Jamie Foxx because they’re versatile. One New Jersey artist he’s like to collab with is Chris Patrick. And we both agree that he’s that dude. Sunlight leaves this word of advice for the upcoming artist: Be yourself. Don’t force a look or persona.

Instagram: @suunnnlight

Spotify:

#soundcloud #freshfinds #music #musicblog #listen #rap #banger #musicians #hip hop #follow #eventreview #rawshowcase #s.b #kory hiii #sunlight #bindi liebowitz

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path-of-my-childhood · 5 years ago

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Taylor Swift is the artist of the decade

By: Courteney Larocca for Insider Date: December 16th 2019

Not only has Swift been putting out No. 1 hit after No. 1 hit this decade, but her music has latched onto its listeners in deeply intimate ways. The singer has also been actively using her platform as a successful artist to shed light on injustices within the music industry to ensure a younger generation of musicians can thrive in an environment that cares about their work, as opposed to commodifies it.

Taylor Swift knows that if you're the smartest person in the room, then you're in the wrong room. Oddly enough, Swift usually is the smartest person in any room.

While the casual observer may see Swift as nothing more than a pop star, she's one of the few people who has actively been making her industry - and the lives of her fans - better in irreversible and notable ways throughout the decade.

Swift was barely 20 years old when she became the youngest artist to ever win album of the year at the Grammy Awards on January 31, 2010, for her sophomore album, "Fearless." While the album came out in late 2008, it set Swift up to become an international phenomenon over the course of the 2010s; it even landed at No. 98 on this decade's overall Billboard Hot 200 list.

Her early success made sense - audiences love a wunderkind, plus there was something so incredibly relatable about a teenager telling her crush, "you belong with me."

But for me, and other fans of Swift, it was more than that. She was someone we could see ourselves in as we navigated our own lives and romances. And with the release of "Speak Now," in late 2010, Swift proved she wasn't capable of just reinventing optimistic love stories, she had a complete grasp on heartbreak and pain, too.

Swift demonstrated her songwriting prowess early on, and her music only continued to get stronger all the way through her 2019 album, 'Lover'

"Speak Now" is an entirely self-written album that charted on the Billboard Hot 200 for 137 weeks, which was not only a huge middle finger to critics who claimed Swift didn't write her own music, but also proof she was one of the most promising songwriters of her generation.

Arming herself with lyrics like "I feel you forget me like I used to feel you breathe," and "The lingering question kept me up / Two a.m., who do you love?" Swift created a bulletproof foundation for a career built around her uncanny ability to pinpoint crucial moments of intimacy and turn them into universal anthems of heartbreak, love, and loss that became soundtracks to real fans' lives.

Obviously, the stellar music never stopped coming. With 2012 came "Red," an album that's aged so gracefully that it's landed on numerous best albums of the 2010s lists.

Swift dropped her pop masterpiece, "1989," in 2014 - an album that boasts her biggest Billboard Hot 100 hit to date, "Shake It Off," which stayed on the chart for 50 consecutive weeks. "1989" also earned Swift another album of the year win at the Grammys, making her the first woman to ever be honored with that award twice.

Swift continued her career growth with "Reputation" in 2017, which helped her break The Rolling Stones' record for highest-grossing US tour in history by earning a whopping $266.1 million. Then, capping off the decade came 2019's "Lover," an album that showcased all of Swift's immense musical talents, but stands out in her catalog as the first album that she outright owns - a triumph that goes far beyond the music itself.

It's important to note, though, that there is no singular album that can easily be delegated as the "fan favorite," largely because each album is so special within Swift's discography. If you picked seven different fans off the street, they could very easily all have a different answer to the question, "What is your favorite Taylor Swift album?"

Even critics can't fully answer that question. While "Red" is known for being critically beloved (and is my own personal favorite), Billboard had six of its writers argue for one of her first six studio albums as being her best. Also, when I ranked Swift's best and worst songs for Insider earlier this year, songs from every single one of her albums made the "best" list.

One of the reasons Swift's fans constantly latched onto her music this decade - leading to her chart-topping dominance - was because her lyrics always felt so personal, yet relatable at the same time.

Take "All Too Well," for instance. It was a deep cut tucked cleverly away at track No. 5 on "Red." It was never released as a single, but this mighty pop-rock ballad became the sort of musical zenith most artists only dream about writing.

Hearing Swift weave in intimate details about listening to her ill-fated lover's mother tell stories about his childhood or leaving her scarf at his sister's house might seem too specific to reach a larger audience outside of her piano room, but it's exactly that candor that makes Swift's best songs feel so ubiquitous.

Swift's relatability proved crucial in 2017 when it came to her impacts on societal shifts outside of the music industry

Two months before the New York Times exposé of Harvey Weinstein was published, Swift stood up in a Denver courthouse against an ex-radio DJ who groped her at a 2013 meet-and-greet and then had the gall to sue her for damages after he was fired from his job.

The phrases from her testimony, "I'm critical of your client sticking his hand under my skirt and grabbing my a--," and "I'm not going to let you or your client make me feel in any way that this is my fault," will forever be ingrained in Swift's fans' minds alongside the lyrics she wrote in her high school diaries.

After she won her symbolic $1, which she sought out for "anyone who feels silenced by a sexual assault," The Rape, Abuse & Incest National Network, or RAINN, told ABC that its national hotline saw a 35% increase in calls over the weekend following her testimony.

"Seeing someone that they respect, that they identify with [state they've been assaulted], has a big impact," RAINN's president Scott Berkowitz told ABC News at the time.

It's easy to look at a statistic and not think about the people behind it, but I can say that for myself, Swift played a pivotal role in how I viewed my own sexual assault.

Even before her fearless testimony, I turned to her 2010 ballad, "Dear John," for validation that I wasn't the only woman who ever counted her footsteps, praying the floor won't fall through again while dating a man with a "sick need to take love away." I later found solace in "Clean," the atmospheric "1989" closer that promises its listener that they'll one day be able to finally breathe after a roller-coaster relationship.

There's no doubt in my mind that I'm not the only one who saw their own pain reflected in Swift's lyrics, allowing them to grieve. After all, she wouldn't have become the artist with the highest-ever amount of American Music Awards, which is a fully fan-voted show, if her music was just OK.

Swift has also made strides at bettering the music industry for her fellow artists as well as herself

I won't rehash the recent legal woes brought on by Scott Borchetta selling Swift's former label Big Machine Records - and thus, all of Swift's catalog up through 2017's "Reputation" - to Scooter Braun (because who needs Big Machine anyway?). I will say that Swift fighting to own her art, and by proximity her fight for all artists to own their art, is just one example of the work she's done this decade to protect artists' rights.

You may remember that she got endlessly dragged for taking her music off Spotify or writing a letter to Apple condemning its policy of not paying artists during a three-month free trial period of Apple Music. But underneath all of the misogynistic, "she's only out for money" criticisms spat at her, you'll find she did those things to bring light to issues within her industry that hurt up-and-coming artists who don't have the millions of dollars that Swift has. Within less than 24 hours, Swift received a direct response to her open letter to Apple, saying the company had decided to reverse its decision.

When Swift chose to leave Big Machine behind in 2018, she didn't just leave for the sake of leaving. She instead negotiated a deal with Universal Music Group that not only granted her the rights to everything she would create under the label but also included a clause in her contract stipulating that "any sale of [UMG's] Spotify shares result in a distribution of money to their artists, non-recoupable."

She also said the label had agreed to this "at what they believe will be much better terms than paid out previously by other major labels."

That means that with her contract, Swift made sure other favorite artists of this decade, like Rihanna, Lady Gaga, Ariana Grande, and Kanye West, will benefit from the revenue their art brings in. The same goes for lesser-known and newer artists signed to the label.

Even other artists have given credit to Swift for the way she changed the way we consume pop music

It's hard to imagine today's pop stars like Ariana Grande would be able to name-check their former lovers in songs like "Thank U, Next," and have them be the successful hits we know today if Swift hadn't previously crafted breakup songs like 2010's "Dear John" and 2014's "Style" that made it clear who the tracks were about - John Mayer and Harry Styles - right there in the titles.

Halsey, another artist who rose to prominence this decade, has even lionized Swift as one of her songwriting heroes, notably for her smart bridges.

"The bridge [of a song] is a fortune cookie. It pulls the whole thing together, it's the punchline, it's one of the most important parts of a song. Ask Taylor Swift, she writes the best ones in history," Halsey said in a November 2019 interview with Capital FM.

Anyone who's listened to "Out of the Woods," "Don't Blame Me," or "Lover" knows this to be true.

Swift deserves to be the artist of the decade because her music validated women while she simultaneously fought for a younger generation to make new music in a better environment

It took 13 years for Swift to come out with a track contemplating the misogynist double standards she's had to face as a woman in the music industry, and it's easy to agree with her sentiment: If Swift were a man, then she would, no doubt, be "The Man."

But while she maybe would have faced fewer obstacles and overtly sexist criticisms throughout her career if she were a man, she may not have touched as many women's lives with her music.

Being someone who has idolized Swift since I was 11 years old, I can say that the reason she matters is because not only does she produce beautifully-worded tracks that resonate with fans on extremely personal levels, but she also wants to make the world a better, fairer place - one music contract, open letter, and song lyric at a time.

And that's something that should never be shaken off.

#taylor swift #artist of the decade #insider #article #about taylor #2010s #all the eras

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