#their whole THING is concept albums and yes all of them sound different and yes all of them are weird and no the lyrics are not nonesense!!!

[scribespirare]

ive been watching a lot of music reviewers on yt lately and having a grand ol time of it, but I made the mistake last night of looking up my favorite band like 'oh ho hee hee I wonder what they think of this or that album!' I was met with the most absolute dogshit luke warm ass takes ever none of y'all (youtubers) can be trusted with music actually

[louisupdates]

[Translated from Portuguese]

LINK TO VIDEO INTERVIEW

Former member of the British boy band One Direction, Louis Tomlinson will perform, in May, three shows in Brazil. It will be the third time that the musician will perform in the country, an experience that, according to him, is always chaotic - and "in the best possible sense". This is what the singer said to g1, in an interview held at Allianz Parque, where he will play in São Paulo, on May 11.

The shows are from the "Faith in the Future" tour, in which Louis returns to his latest album, released in 2022. The setlist also involves songs from the album "Walls" and, of course, One Direction hits.

Fever among children and adolescents in the 2010s, the pop group was formed from the TV show "The X Factor" and lasted six years, breaking up in 2016. Since then, the musicians have followed a solo career. A fact that, in Louis' eyes, is inevitably competitive.

"Your only reference is to compare yourself with the other members," said the Englishman. "You start to think, 'If they're getting this, why am I not getting it?'"

On Spotify, the number of monthly listeners among artists differs a lot. The most popular star of the divorced boy band, Harry Styles has about 58.2 million. Next are Zayn Malik (27.3 million), Niall Horan (17.3 million), Liam Payne (5.7 million) and Louis (2.9 million).

But if success meters like this were once a burden for the musician, today they are no longer, according to him, who also made a point of reiterating that he has always been proud of his friends.

In the interview, the musician also commented on subjects such as the conspiracy theories that describe him as a partner of Styles, the changes of concept between his albums, a Brazilian remix of his "Kill My Mind" - from the funkeiro FP of Trem Bala -, and his interest in fashion

g1 - What is the main difference between the Louis Tomlinson of the X Factor, 2010 and the Louis Tomlinson of today?

Louis Tomlinson - There is a lot of naivete in the boy who appeared in the X Factor. I really didn't know what I was getting into. I didn't know how that would put me sitting here. I definitely had no idea what I was acquiring.

I think I feel much more fulfilled. More confident. It took me a while to have enough courage to say: 'I'm creative, I'm a singer, I'm a composer

Now, I'm just internalizing all these feelings. When you grow up in a place like Doncaster, where I grew up, it takes a while to believe in all these things. Because you only watched it from afar, on TV or on the radio. So, when you become one of these people, there is a whole process until you believe and understand everything.

g1 - And what is the greatest similarity?

Louis Tomlinson - Probably my appearance (laughs). Well, I hope my fans don't correct me here. I like to think that I've always had a very lovely relationship with them. I think that's the only constant thing.

g1 - Do you know any Brazilian singer or band?

Louis Tomlinson - We were talking today about Anitta. And hm... Fresh? Fre? Fresno? I'm learning. I hope [the confusion with the band's name] didn't sound disrespectful, it wasn't my intention.

Do you have any recommendations for me? I got some tips today. What do you have for me?

g1 - There is a Brazilian musician called FP do Trem Bala. He made a remix of 'Kill My Mind'...

Louis Tomlinson - That's cool! So far, you were the one who made the best recommendation. Definitely.

g1 - Can I show you?

Louis Tomlinson - Of course!

g1 - What's up? Did you like it? Is there anything you would like to say to the FP of the Bullet Train?

Louis Tomlinson - Yes, it's a vibe. Fun. Very fun. Thank you for making a remix of the song.

g1 - This is your third time in Brazil. What comes to your mind when you hear things like 'doing a show in Brazil', 'Brazilian tour', or simply 'Brazilian fans'?

Louis Tomlinson - Chaos. And in the best possible sense. I totally love it.

Live experiences are defined by the most chaotic moments. And coming here and always feeling this energy is as if from the first drum beat, the fans were already there. It's a really triumphant feeling.

g1 - In musical terms, how was the experience of creating 'Faith in the Future' compared to 'Walls'?

Louis Tomlinson - I felt much more fulfilled, confident. I had more understanding of what I wanted to do and how to do it.

[On the first album], there was the factor that I left One Direction. It was as if my head was a mess and there was so much to think about... It didn't have a clear direction. I had to go through the experimentation phase to, in fact, understand who I am as an artist. That took time.

Throughout my creation of 'Walls', this was happening, but I was in a clearer, more concise place going to 'Faith in the Future'. And I think that made [the second] album better.

g1 - Recently, you created 28 Clothing, a fashion brand. What is your relationship with this sector?

Louis Tomlinson - I've always had a very funny relationship with fashion. Without a doubt, I'm interested in clothes, I've always been. Since I was young. But there is a level of haute couture that goes far beyond my understanding.

You know, I like to dress well. The brand is something I've always wanted to do. It is also intertwined with one of my [greatest] passions, football.

Football and fashion have been connected since the game was a game. People's fashion in the stands and everything else...

I think it's a very interesting thing and, for sure, a culture in which I was already inserted when I was younger. So, the brand helps me tell my story.

g1 - You once mentioned that you felt a little uncomfortable and more competitive at the beginning of your solo career. You said you were a little upset because you kept comparing your level of success with that of the other members of One Direction. Do you still feel that way?

Louis Tomlinson - No, I don't feel like it. Really. But I think that anyone - and obviously, there won't be many people who can identify with it - but anyone who has gone through a similar situation...

Being in a band and leaving on your own will always make your only reference be to compare yourself with other members. That's literally all you have.

I think it's a matter of maturity, actually. It took me a long time to look at it for what it was. Because that's where petulance begins. You start to think: 'If they're getting this, why can't I do it?'. And that becomes a little toxic.

Unfortunately, this is the nature of the music industry. It is naturally competitive. We are all competing for spots.

But now I see it in a very different way. And as I said, this requires maturity. I also needed to succeed on my own to be able to get through this. To overcome this.

Now, this comes back as I feel a confidence in saying these things.

Oh, and just to reiterate, because it's important: while I felt competitive, or more competitive than I am today, it wasn't like I wasn't immensely proud of everything the boys were doing.

It was more about reflecting on my own situation. Just about thinking: 'Oh, I wish I had a little of that'.

Now, I feel in a very, very, different place. And it's a nicer thing to feel, because being very competitive isn’t always the nicest feeling.

g1 - I imagine you hear questions like this all the time, right? Does it bother you?

Louis Tomlinson - Yes, it's okay. As I mentioned before, I understand the obvious public interest in One Direction. That's obvious. And you know, I appreciate that these things are interesting. I suppose [that they are].

g1 - Louis, many fans believe in the conspiracy theory that you’re dating Harry Styles, even though you describe this story as ridiculous. Why is this conspiracy so famous?

Louis Tomlinson - What I realized a few years ago is that there is nothing I can say, there is nothing I can do to stop those who believe in this conspiracy. They are so connected with what they believe they will not see the truth for what it actually is. I'm sure many people look and find all these little conspiracies that happen in life interesting.

I would be lying if I said it doesn't annoy me a little, but it's the nature of the work.

There are times when it gets very personal. I have my son, Freddie. He's the most important person in my life. And occasionally, [these theories] end up addressing things that are kind of unfair.

That's what we have now. There's nothing I can do about it. Nothing I can say to stop people from inventing what they want to invent. So, so be it.

g1 - Finally, what is your favorite song at the moment and why?

Louis Tomlinson - My favorite album is Paolo Nutini's last. It's great, amazing. He's an amazing singer, maybe he's my favorite singer. It's indeed an inspiring album.

And favorite music... I can't remember the name, but it's from The Libertines, a band I've liked since I was young.

[disruptivevoib]

I’m not good with questions but

Could you possibly talk about Viscera? I don’t have anything specific but I love the concept that he’s a Whole in a Soul’s place

-🛩️

VISCERA.

Very long ramble under the cut

He is really my most under-spoken-on character here...which is odd because he is by far one of my favorite / more complex ones!

Vis is in his concept, Whole in Soul's place. I think in the album now, he reflects Soul very well in the idea of being the shell. Though this is mainly because Whole isn't really a character and Soul is the implied shell of what we think of as Whole in concept.. The casing, the iron maiden for Mind and Heart to be held within!!! (there is a reason his name was almost Body ig.. thank god CJ reconsidered tho. Body is kinda an awkward name/title.)

Anyways.

Vis is a hollowed out husk of what is supposed to be somebody. Soul is some form of throughline to Mind and Heart. A connector, an adaptor. Viscera is simply not this. He is a vacancy because he is fundamentally nothing. Meant to be someone, torn from his purpose and placed promptly in the spot of what would typically be his identity.

Sooo Viscera struggles to be much of anybody. In this, and through the hundreds of loops he endures due to Astray (Soul as Whole) and his inability to really, of course, be a person when he is meant to just be one facet of someone, Vis remembers everything.

It was a commonly shared idea that Soul is able to choose to remember or forget during loops. Swap Au explores this concept in that Astray explicitly is the reason Judge (Heart as Mind) and Ennui (Mind as Heart) forget alongside himself. Vis, as Whole yet not knowing it, remembers all of this context (though from his own point of view. So he does not know Astray /well/ really. But he feels for him in terms of knowing the panic that comes with having split down to three again.)

Vis is kind and gentle and cares very very much for his thirds, or rather his ids and his Whole as he sees them. He reminds Ennui and Judge of their names and his own every loop, and though things change during loops, and no timeline is entirely consistent, there are throughlines and thus predictability. So he can navigate it just as well.

Viscera is interesting in juxtaposition to Eleutheromania Soul who remembers his loops though Mind and Heart forget just the same. Yet their reactions and handling of the situations are fundamentally different. Though this is due to their roles and the treatment they get in their respective Psyche and by their respective versions of a Whole or Soul.

... But yes. Vis is. deeply longing to be complete in some way. He is unsure always of his emptiness and what might fill it, but never loses this inkling that being Whole is.. what he needs. And in some way, it is and is not that!

He also speaks in intense amounts of prose and roundabout allegories, symbolism, and metaphors. It was more a quirk of his character to make him distinct from how my other's spoke, but I think it also calls to the deeper idea of the way fragmented thoughts put together can be a little outlandish and nonsensical but.. make perfect sense to you in some way. Or something like that.

He also, moves very slowly and takes a lot of time to do things. Like an old window's computer. He needs time to process information!! And I attribute this also to his emptiness and lack of anything but memory as it is all he has in the moment to base what should be his feelings and thoughts on.

^ Though despite that sounding like he cannot feel or think or anything, it is more like trying to make sure he feels like himself? even though realistically Viscera very deeply struggles with that idea. Not that he'd say it ever. Vis is incredibly genuine, though. He does what he can to ensure the safety of others including his ids and they in turn do the same to him.

The Swap Au really makes for a VERY interesting person to look at due to characterization. Someone who is unstable but trying, and through all their struggles remains loving and warm. That is who Astray could be, who Vis essentially is and what Judge and Ennui contribute too.

Also he smells perpetually like citrus. I do not know why but I made it canonical that all four of them have distinct smells to them and the things they summon. Perhaps they are all just very scent oriented.

Also-Also in terms of my other Aus and Sources as a concept for HMS. Of which I can elaborate on ig? if need be! Viscera has no source...................... it is a black voided little pit or hole there instead.

If Soul's source is a star, then Viscera's became a sort of blackhole. I suppose.

[volivolition]

!!!!! We're SO glad you like Cosmos it's such a pretty song tbh like,,, waow,,

ok this time we have. THREE songs ok but hear me out: they go together.. u cannot separate them. sO!

first: The Heart Acoustic by Chonny Jash. This one gives off major canon Empathy vibes to us BUT for our system it's a Volition song. Either in a scenario where he's like. Unsure about his role as a Skill or as very Low levelled Volition wdk. Both r fitting to us though if that makes sense!

second: The Mind Electric, also by Chonny Jash! VERY MUCH a Logic song!! We really like these three songs and how they connect together the whole album is great in that tho it's abt these three guys just fucking FIGHTING EACH OTHER FBDBSJDJFJ but these three songs rlly show that. We see this as a song where Logic and Volition do NOT get along at all [also fun fact our Logic sounds like the dude in this song specifically. lov that 4 him <3]

third: The Soul Eclectic... Also by Chonny Jash! JFKDKDKFFK we r back on our shit [chonny jash hyperfixation <3] This one's an e-chem song 4 SURE to us but like,, Signature Skill Electrochemistry. less "hey do this thing to make yourself happy :3" and more "DO WHAT I FUCKING SAY EVERYONE OR ELSE :^)" sorta vibes FJDJDJFJ

the three songs tell a story of Heart and Mind fighting for control over the lead singer and they both want him to do vastly different things meanwhile Soul is like..... Listen. I need you both to shut the fuck up or I'll just KILL YOU. and our interpretation of the songs w the skills isn't quite like that it's less,, violent. more like "listen to me because I'm signature skill and harry listens to ME so shut it a bit" does that make sense it's 2 in the morning and we're TIRED lmao

anyways!!! all great songs, if you like these three PLEAZE let us kno bc chonny has a looottttt of good shit and we'd be so happy to send you more of his songs omg we lov his music so much

oh ive seen you mentioned these before i think!! :D ive listened to the original mind electric, and i LOVE how he's played with the concepts and melody?? i listened to this version with all three of them (i will not separate them dont worry hkjgh <33) and your interpretation is VERY COOL!! :D

more thoughts below the cut :]

oooh very orchestral and dramatic? i love all the lyrical replacements and all the nods back to the original too ough... i love cool fucking words hkjhg i understand the volition standpoint with "That’s what I’ll say to rationalize / I’m needed if we’re to stay alive." YEAH I SEE IT!! "see how the mind tricks the so-O-O-OUL~!!" MM GOOD SHIT, with the pauses in between? "do what you want, you automaton freak / no, i can no longer bring myself to care" FUCHFKH LMAO...? YOUR TURN BUDDY. man this is so cool...

:0 hell yes, logic you have an EXCELLENT voice, we all love this for him <3 "my logic is the absolute / his pity parties simply harm these chances at an apt repute" DUDE THESE FUCKING RHYMES!! HELL YES!! I LOVE WORDS!!! RUAHG!!!! i love that this one sounds more digital than the last one? OH wait i get it, the heart's acoustic and the mind's electric, man that's so cool... and also REALLY MEAN, lots of insults HKJHG but very amusing, THE GIRLIES ARE FIGHTINGGGG!!

soul starting with "Yo." fucking hgkjhg?? love that. this one OUGH... the BEAT, the vibes are so much more intense now, like oh shit okay!! boss music!! kill, then!! ooh i love heart and mind singing at the same time but different lyrics... oh nooo little guy don't... oh no the implications of the ending, no little fella noooo... :'] its very commanding, it does fit a cool skill signature, go e-chem go!! EVERYONE ELSE BE!! A LITTLE QUIET!! hkjhg

ough these are so cool, low psyche, high int, higher physique build :0

oh if this is something i also listened to The Bidding from Chonny (and watched the music video! its good fucking animation i love how theyre portrayed as little guys :3 the "WE COMBINED??? NO WAY GUYS!!!!!" WE LOVE TO SEE IT HDJKH) they did it!!! they worked together for a little bit!!! :D!! yayayayay!! also a cool one <3 if you would like to tell me thoughts on this one i will gladly send you an ask!! <33

thank you for sharing!! i always appreciate you :] <333

[herrlindemann]

Rockstyle - March 1998 - Interview with Paul

Ramstein, a German group, was in France on November 24 and 25 for only two dates in France. Rockstyle was there. For several reasons, first of all to follow this unavoidable phenomenon which, after two albums, has already sold more than two million records worldwide. Then their music, as well as the whole concept developed on disc, and on stage has a very strong meaning that has already seduced more than one editor. Ahh, the scene precisely, let's talk about it. Debauchery of sound, pyrotechnic effects, fire, flames, symbols, homo references, body worship... There was enough to ask a lot of questions, and enough to indulge in many digressions. By looking at this group, several elements put us, we believed, on the right direction. Indeed Rammstein, takes its name from a German city, Ramstein, a martyr city with a large Turkish population which was set on fire by some far-right group. Ah. Not only was it starting to get interesting, letting us go even more to our interpretations, just to make sense of it all, but it all had a smell of sulfur making the aura of the band even more mysterious. Our metaphysical wanderings (all these years of philosophy have to be for something, huh?) were going well: so, finally, Rammstein, it's just a group of bodybuilder neo-Nazi homos, as some press clippings suggested, or is there a simpler, rational, and less disturbing explanation? Meeting these people was going to be really important. Certain live photos, certain live images in addition to the concert reports and associated with what we already knew, namely the Manichean poetry and the lyricism of the texts, hinted at something else. On stage, wouldn't the fire be a tribute to the victims of the massacre? Would the group's answers to our questions quench our thirst for knowledge? Was fire for them a symbol of redemption? Was this simple religious Manichaeism between the angels and the demon hiding something more complex? What does this masochistic suffering represent for them? What about sex in all this?... So many questions to which we hoped to find the answer we were expecting, of course... But our hopes were far from being fulfilled, and our interview with Paul, one of the two guitarists, was going to reserve our batch of surprises.

Paul, you seem much more relaxed than yesterday, the concert tonight (Elysée-Montmarte) don't worry you too much for now?

Yes, everything is fine, and yet I only slept four hours... And I don't have stage fright. But I've been walking around Paris for four hours playing the tourist, maybe that's why I don't feel any pressure.

The romantic poetry of the texts gives us a clue to Rammstein's message?

Everyone must find their own answer. And when we translate these texts, we lose meaning and precision. 'Du hast' is a very good example, because there are two meanings to the phrase 'du hast mich', it means 'you own me', but also 'you hate me'. The whole song is based on this ambivalence of the verb 'haben' and its ambiguity. So when you translate this text it no longer makes sense, it no longer means anything. And generally in all our songs, we try to associate a necrophiliac, morbid side with another full of humor, fun...

The purpose of the texts is only that, to be funny, or is it hiding something else?

If what we are saying was funny, then yes, it would be funny, but we are not able to do that… I like texts that have an impact, that make people think. They even shock them. The effect is even greater with these comic effects, finally I think it would be more appropriate to speak of grating, very dark humor.

And where does the desire to make people think about these particular themes come from?

80% of the texts are composed by Till, the singer, and for the rest it is a group work, work which is largely inspired by the music... What is interesting is that everyone in the group listens to different things, one listens to blues, the other doesn't listen to music at all, one listens to pop, like Abba, the other industrial… We really have eclectic tastes. We just come together to make music, and we never worked to be a successful band, we have, that's good, great, but we never asked why it worked! We are all different and we complement each other, and our common goal is to make music together, that's all. We wanted to do that, we wanted there to be lots of pretty girls in the front row, and that's it! There are never pretty girls usually at metal concerts, maybe we wanted to fill this gap! Besides, it wouldn't make sense to do the same things as all these metal bands again, we're trying to move forward, to offer something else. The story is to try to stand out, it's for example to wear beige velvet pants when everyone is wearing blue jeans... There, it's you we're going to look at. Some will like it, some will hate it, but the important thing is that you got noticed. Besides, it's very easy to get hated! (Laughs)

In your videos, you develop a strong homage to films by Lynch or Tarantino, moreover you appear on the soundtrack of 'Lost Highway' with the title 'Rammstein', it's just a way to spread your passions, or you think this aesthetic is close to your vision of music?

As usual the record company didn't have a clear idea of the video we should do for 'Engel', so we decided to take a passage from the film with Tarantino, 'A Night in Hell' , and adapt it to our sauce. We had lots of ideas for special effects, morphing, and unfortunately not enough money so we made do with the means at hand. For the title 'Du hast' we chose to re-pump on 'Reservoir Dogs', and there the result turned out to be closer, 90%, let's say, to our original idea.

Between these videos and your show on stage, there are quite interesting parallels, and certain symbols keep coming back, Good, Evil, fire, explosions… All this gives a rather Biblical vision. When Till catches fire at the start of 'Rammstein', what does that mean? A rebirth?

Ah! I like it... But I don't really want to explain all these things... Too many people who aren't very smart don't understand what we're doing, and give us rather tendentious comments and desires, so... I think that to understand what we do you have to let go of your sensitivity and your intelligence… Let's say it's just provocation… The fact that Till uses pyrotechnic effects on stage is purely anecdotal. In fact he is very shy, and when he does not bite the guitarists he can even be rather diplomatic! Anyway, at first he mumbled in his corner, and since he doesn't play an instrument, he had trouble having an ease or a natural attitude when he wasn't singing, he even seemed rather stuck because he didn't didn't know what to do! So we had the idea of playing with fire. It is sure that at the beginning with just a lighter, the result was not terrible! (Laughs) Then we decided to develop all this visual aspect, with explosions, flamethrowers… Till has a diploma in fireworks, and he is the only one who knows and has the right to use all that. You really have to be careful because it's very dangerous, but with him, there's really nothing to worry about.

There seems to be a very Teutonic rigor in everything you do: the concerts are ruled like clockwork (sic), there is no dead time, everything seems to be written like a script of a movie. Do you still leave room for spontaneity and improvisation?

Yes, everything is straight, symmetrical, we like this rigor, but we are not the slaves of our machines, and everything is not done as for playback, we are organized, that's clear, but we let a certain room for freedom, even if, to be honest, we don't really like to let ourselves go to long stretches of improvisation on stage, we try sometimes, but we realize that it doesn't go with the music we make, quite simply...

Do you think Rammstein represents an evolution, or an emergence of a new metal?

We don't do metal. I don't really like metal, because I think it's a style that not only has never been able to renew itself, but also that is stuck in reverse. It's like a car, there are five gears, and if they used them, then they would see that it goes! Some are very good musicians, very good technicians, some even have the sound, have very good riffs. The problem is that they should only use one riff instead of seven, eight, because they play so fast that the music doesn't have time to settle. We, with a song of the genre we make seven! And it is much more efficient, like AC/DC, for example. It's more power pop than metal...

[brainisonfire]

I really hope this won't come across as a way to compare different kinds of illnesses and struggles cause it's not, it's just stuff I thought about while listening to the great impersonator that I needed to share. at the end of the day, I'm just a mentally ill bitch lol

i still need time to process this record well enough to be able to fully put into words the amount of things that im feeling, but this whole thing about this album is bringing back things. so im sorry if this is going to be sort of a trauma dump.

in february one of my best friends lost her mother to cancer, and even tho it's not my trauma and my loss to claim it hit harder than i expected (and yes, i do feel like shit for expecting it to hit less). my friend and i grew up basically as one, we've been together since we were three years old, we spent so many afternoons in her room playing with her mum. i knew that woman too well to act like it didn't hurt me as well, but im not going to pretend it's my loss to grieve. she had a family i need to stay closer than ever now.

all of this was to say that when she died something in my brain snapped. i had the kind of reaction that makes you go 'life is short. i can't keep wasting mine. anything could happen at any minute. i dont want to go with these many things left unsaid'. which felt insane, and also kind of bad if i have to be honest, because years ago when my father died i didn't have the clarity of mind to act the same way and i wish i did.

it lasted a few months and then i fell back into my usual mental patterns and old habits, which I'm definitely not proud of, but i really do believe that even tho i keep telling myself that i went back to therapy because i needed an ocd diagnosis and someone to help me manage it (which is something that was and still is definitely very real), i actually needed to know i was working in a direction where i could, someday, be at least well enough to be there for my friends when they need me. because i fear that, right now, I'm not. and it's not fair to them to always have to second guess if they can call me or not when they need a shoulder to lean on, especially when tragedies like that happen. i want to be able to give them my undivided attention, not to have to fight against my brain to be able to barely have the energy to listen to them.

it was weird to listen to this album and realise that I can (in my own personal way, i dont want it to sound like i know the exact same pain h experienced cause i didn't go through the same things she did) relate to both of the points of view. my chronic illness is not nearly as debilitating as what she had to go through, but in my tiny way I've been both the 'heavy heart' that's 'too much to hold' and the one that wanted to try to be there for someone else and couldn't because of my own issues. and I swear im trying so hard to not repeat the same mistakes. im far from perfect, but I'm trying to show up more for the people that i love.

I'm not the kind of person that needs to do something big with their life or to give meaning to it etc, but i do need to know that it's worth it, that the bad parts are balanced by something positive. and, right now, i still dont know how to hope for things, cause a future is still not a concept i feel comfortable in yet. if i have to be completely honest i never pictured myself getting this far, but now that I'm here i might as well try to *actually* be here, at least for the people i care about. I can't do that if i dont start seriously working on things i avoided for ten years, and grief plays a huge part in this because spoiler: no matter how much time it passes, it still hurts.

i wish 13yo me didn't shut down completely and was able to process things instead, but apparently it's a job for 23yo me. i still need to fully accept that it is ok to miss my dad now even if i didn't let myself feel it for years, but i'm getting there. i have a million questions for him and I'll never get the answers. i still have to learn how to deal with it. this record hit like a ton of bricks.

so once again, after saving my ass with both badlands and manic at the most perfect time, h art came in at the right moment. i feel like something in me changed after listening to this album, exactly in the same way i felt in february. i felt my perspective shift again, for the better. I hope it'll last.

i might not be able to stitch my brain back together as fast as I'd like to, this shit will take time. i still have to fully convince myself that i can use the word 'will' instead of 'could' because i still dont really believe I'll make it lol, but one step at a time. I'm tired as fuck, but I'm trying.

i'm just so glad that i can do it while listening to the great impersonator. i needed this record so bad, it's unbelievable how someone who doesn't even know me is always able to give me exactly what i need when i need it. I'll forever be grateful for what she did and keeps doing for me through her music. this album means so much more than I'll ever be able to express

[oraclemoontarot]

ahh ur cool to chat with.

im sure kpop has set ways but lately im uncertain as to what they are aiming for... loved enhypens recent comeback it was so cool, did u see it yet? but again theyre an other group I can only really like and its so strange to me when theres teens who r obviously much younger than myself overly obsessing and being possesive over the idols bc i had exactly the same stance about western bgs during the 00s. now im kind of just enjoying them for the music and dont feel the need to deeply obsess over every detail but tarot blogs r so fun to ask qs and find out stuff we couldnt find out about one direction etc etc. it honestly seems so long ago the 00s and its weird bc when u find a new group and theyre so young i have to check difference in age gaps nowadays (lowkey wish there wasnt an age concept at all in society bc then it wouldnt matter). but ngl it is so awkward, like even seeing how ppl nowadays still flock to harry styles home town (yes also did that myself). yet kpop in general has so many cool themes and vast difference in terms of performance styles as well.

ik its only awkward if u make it awkward but ppl kinda take obsessing abt idols way too far. yet we have all been thru that phase so i get it but kpop stans seem next level crazy sometimes in a good way sometimes in a bad way, i also dont get how such delusional obsessions can lead to building closer relationship with said idol like u aint just going to make friends if ur crying over them in front of them yaknow? and other stuff like going to their hotels or following them whilst theyre out in their downtime. i dont think theres ever just been a non crazy time for idols at all. i cant imagine what their dorm rooms must be like cause I bet they all been doing other adult / human things lmfao. yet the way their fans overreact to mere dating rumors is ridiculous atp. or say for instance idols future spouses as well is the topic that seem to get ppl most riled up when it comes to thee sorts of readings. lowkey sometimes i ask why do i need to know but i ask anyway bc why the fuck not then i think its childish of me lol

aw tyy so are you!! I haven't watched their mv or listened to their album yet (if it wasn't a single), but I heard parts of it online and it does sound real good, I used to be an engene so maybe it's a sign to listen to this comeback.

no I get you so much here especially. Being a fan(girl) is so so much fun, you get to watch content, listen to music, learn about the members, go to concerts, collect merch, and meet other fans. There's a whole culture and community around it that, when you first get into kpop, it's so exciting. It's unsurprising people would get obsessed at first.

But yeah, I personally get really excited watching their content or over an idol (ahem haechan) when on my own, but whenever I meet them in person it's like all that excitement disappears and I'm like, 'oh, they're just a guy/person...', and it's really chill. I don't at all know how people think following them around, partaking in every single fancall, and getting overly excited and emotional would lead to them getting close with them.

You know, I think this obsessiveness dies down as we mature/get older. It's like we have other things to focus on, we become more grounded with less free time, and distance ourselves a little more.

Please, just imagining they're probably lying in bed scrolling through videos etc. while at home is kinda funny. They likely do what we do anyway as they're people at the end of the day, it kind of makes you see them more... normally?

We're alike haha. Yeah it's fun, especially with ideal type readings etc. but then you take a step back and think, am I doing too much? 😭

[thebreakfastgenie]

what's your least favourite billy joel album??

Honestly I don't know!!!!

It's either Streetlife Serenade, An Innocent Man, The Bridge, or Storm Front. But the thing is every single one of those albums has multiple songs I would call personal favorites:

Streetlife Serenade: The Great Suburban Showdown, The Entertainer, Weekend Song

An Innocent Man: Easy Money, An Innocent Man, This Night, Keeping the Faith

The Bridge: A Matter of Trust, Modern Woman, Temptation, Code of Silence, Getting Closer

Storm Front: I Go to Extremes, Shameless, Leningrad

Yes I did list more than half of one of these albums as favorites. This is what I'm saying.

An Innocent Man is kind of the opposite of the others. I think it's a great album and he nails the concept of doing retro musical styles. I do think it works better taken as a whole, so it's kind of ironic that some of those songs became huge hits out of context. But some of those hits are just... they're good but they're a little played out for me. I still sing along to every word and I still screamed when he announced them in concert so I mean.

With the other three, I've always felt these albums are just not as cohesive as his strongest work. I'm beginning to be persuaded on Storm Front because I saw an interview where he talked about it depicting a storm building and then the last song being the calm after the storm and I was like okay that makes sense. Storm Front also has lower lows for me. I like That's Not Her style, it has some really fun lyrics (she wines and dines with Argentines and Kuwaitis...) but musically it doesn't quite fit into the groove for me. Storm Front, State of Grace, and When In Rome similarly kind of just... happen to me. I like When In Rome and feel called to defend it because he was so mean about it for absolutely no reason, but it's definitely not his best work. So there are just chunks of that album I'm not as into.

The Bridge similarly feels so disorganized to me. There are so many fantastic songs on this album but I don't know where any of them are going. I find myself asking "the bridge to where? or to what?" Ironically to me it just feels like the bridge between different stages of his career; it was the last album he did with Phil Ramone but I always consider it in a group with Storm Front and River of Dreams because it feels so removed from the previous five albums he did with Phil. It also has lower lows for me; I always think I don't like Running On Ice until I listen to it and I remember that I love the piano and some of the lyrics ("a cosmopolitan sophisticate of culture and intelligence" would be my blog title if it wasn't too many characters for mobile) but I think something about the sound just doesn't click for me. I don't really care for Baby Grand or Big Man On Mulberry Street too much. I love that he got to work with Ray Charles and I appreciate what an influence Ray was but I don't personally like that style of music as much. So again, just chunks of the album I don't enjoy as much.

Streetlife Serenade suffered greatly from being sort of a sophomore album. It was actually his third album, but it was his second with Columbia, and he was forced to put it out when he hadn't had enough time to write because he was doing the Piano Man tour and he did not have enough material and it shows. Two of the ten songs are instrumentals although incidentally Root Beer Rag is great. Again with the lows... every song on this album has something I love about it, but Streetlife Serenader, Los Angelenos, Roberta, and Last of the Big Time Spenders are musically kind of unmemorable to me (Roberta is memorable for other reasons). I know I compare Los Angelenos unfairly to Say Goodbye to Hollywood, though. And I absolutely love Souvenir, but it's so short, it feels like half a song. Ultimately I think Streetlife Serenade is probably his weakest album just because it's unfinished but I don't know if that makes it my least favorite.

Typing all of that out did not help me answer the question. I'm going to say An Innocent Man because it's a bold choice and it's one of the few I have not been putting on deliberately lately. An Innocent Man and Keeping the Faith were both live highlights for me though lol.

[thegreatimpersonator]

question is... are you gonna be up to listen and vibe with shake it off and me! along with the rest of bops and Lover songs? cause to me... fans who constantly hate on songs and complain about having them on the setlist aren't that different from the tiktok swifties that are spoiling the fun for everyone else (and that obviously includes you with certain albums, songs and even atw10mv...) I mean, some fans act like they're so cool and clever for loving everlore and speak now, to even despise Reputation and Lover as if they weren't a big part of her discography. or saying certain songs shouldn't be part of the album just because they personally don't like them? Jeez. just stop listening to them then, you don't need to complain all the time and indirectly make us feel like loving those songs is being immature and lacking taste... is that being a good fan, though? cause those albums are part of her career you know, each album of hers is so different from one another and she made them that way, with that specific tracklist for a reason. as much as you hate it (possibly that's why you hate it) me! yntcd, the man and all those tracks you want to erase from Lover or replace with the unreleased ones, are precisely what made Lover being Lover. they are Lover! and the album wouldn't exist without them. and as crazy or stupid as it may sound to you, guess what... there's people who like those songs! who love the album as a whole and get the concept out of it... and people who are actually dying to hear those songs live in this tour! as they're most likely gonna be. so yeah, are you gonna roll your eyes when she plays them and start complaining, or are you gonna like, actually have fun and vibe with the concert you're in?? because I really don't understand why would someone get tickets for a concert when they don't even like the majority of bops/songs and they even keep on mocking the rest of people who do... I don't understand and it makes me so angry actually, cause it is so damaging. not only for the rest of fans but for Taylor herself and the disrespect of her work you're doing as a "fan". (I'm sorry, but I've been biting my tongue for a couple of days now looking at your replies and I just, couldn't handle it more)

this is truly an insane mindset to have wow. are you saying i'm not a 'real fan' because i don't love 100% of her discography? and i should force myself to love every song in order to be perceived as a 'real fan' in your eyes? im a bad fan for having my own personal taste and not loving every song simply because taylors name is attached to it? sadly im my own person who can have their own opinions on things.

there's a drastic difference in 'i dont like this song' to 'if i hear it live im gonna leave how dare she perform it'. i guarantee she's gonna have songs on the set list that aren't in my top 30 songs of hers. i don't love me! but you bet im gonna sing along and scream spelling is fun because... get this... the show is not about me. she's performing for 10,000+ people a night she has to go broad and play songs for the general public. i'm not expecting her to only perform the songs i specifically want. are there some songs i prefer over others? yes. am i gonna walk out of the stadium the second i hear the start of me!? no... because why tf would i do that. all of this is a joke. this is tumblr.com. anytime i joked about not liking a song it was never that serious. also where did you get that i don't like the majority of her bops or songs in general? because thats just false?

people can like albums i personally dont like. you mentioning me taking some songs off of lover was literally because someone asked what songs i would take off. are you mad because i simply answered a question?

and im sorry you find it 'so damaging' for people to have different opinions on music than you, it's almost like none of this is serious. and im sure taylor is really hurt by a random account on tumblr not loving some of her previous work, im sure she's real torn up about it 💀💀. it's not like shes a grown women who's dealt with way more serious scrutiny all her life... no for sure tayorswift.tumblr.com not loving lover or reputation is at the top of her list of trauma.

[randomvarious]

Today's compilation:

Hits House 2001, Vol. 2 2001 House

Alright, well, I don't know how necessarily true this is, folks, but if you look at the back cover of this CD here from France that's packed with a full helping of house gems and jams from the early 2000s, you'll notice that a whole lot of these tracks are marked as being exclusive. And the label that put out this comp, Absolute Sound, which is a sublabel of another French company called Happy Music, *did not* go on to then release most of these 'exclusives' as 12-inches on either their own label or on Happy's. And some of these were pretty popular, well-distributed tunes too!

So either I have a really great comp on my hands here that played a significant role in partially shaping the sound of house music for 2001, by publicly serving up a bunch of tunes for other labels across the globe to then pick up, or maybe that 'exclu' label is being used a bit more gratuitously than it would seem to imply 🤔. Being that none of the songs on this CD are the full-length versions, the specific edits that were supplied on this release could've been what earned them their 'exclu' tags in the first place (which would feel like a little bit of a sleight of hand), or perhaps these songs' inclusions on this CD marked their first ever official appearance in France? 🤷‍♂️

Either way, while the fact that all of these tunes are cut annoyingly short and aren't afforded the necessary breathing room in order for them to achieve their full, delicious impact, it really can't be denied just how chock-full of bangers that this album still is. I think 20 out of 22 of these songs came out in 2001 itself, so let this be an opportunity for you to transport yourself back to that year and allow some of its finest house tracks to just wash over you for over an hour 😌.

Now, it's not very easy to pick a favorite among this batch, but I think Sandy Rivera and LT Brown's "Come Into My Room" might be the one. First of all, it's, of course, a tune that uses the extremely popular filter technique—that approach where certain elements get looped repeatedly, and sound like they're being submerged underwater at first, but then progressively continue to sound clearer and clearer, until they satisfyingly breach the surface. This concept was all the rage in the global underground house space for a long while it seems, and yours truly still happens to be a complete and total sucker for it 😋.

And while its constant implementation can be seen as an unfortunate means to reducing house music down to something that's more formulaic, filtering still has a natural way of generating a level of anticipation for the listener, as they know to await and enjoy the climb-up to that peaking breach, and it also automatically means that, in a genre that's often ridiculed for its overall repetitiveness, that because of the filtering, although the elements themselves will be much the same, they won't actually sound exactly alike with each successive bar, which ends up lending the song a little bit more variety than what was once standard.

So, yeah, I love that track; and not just because of the filtering itself—because there's sooooo many filter tunes out there—but because of what that filtering is applied to: a constantly chirping lead pair of guitar notes and a contrastingly deeper synth piece that accompanies them, which is also further enhanced by some rumbly bass pulsations too.

And another thing that I think's worth mentioning is that Sia—yes, that Sia—is on this release as well. Maybe you're not aware, but long before she went on to become a total 2010s pop sensation who donned her own intriguing face-obscuring wigs in order to retain a semblance of much-desired anonymity, she had actually already been active as a solo musician for well over a decade, and this somewhat popular house remix of her "Drink to Get Drunk," which was done by UK duo Different Gear, is a pretty good one that matches her unique voice to an electro-dubby synth melody.

So, at the end of the day, while every single song on here is most likely better enjoyed in its full-length version, this still makes for a pretty terrific time capsule of house music from 2001. I'm highly skeptical that most of the songs that are labeled as exclusives are actually exclusives though, but if they really are, then damn, is this thing extra special then!

Highlights:

Kings of Tomorrow - "Finally" Lil' Devious - "Come Home" Slow & Newland - "Being in Love" Soul Dujour - "Here We Go Again" Modjo - "Chillin'" Deep Swing - "In the Music" Different Gear vs. Sia - "Drink to Get Drunk" Sandy Rivera feat. LT Brown - "Come Into My Room" Harry "Choo Choo" Romero - "Tania" Gypsymen - "Babarabatiri" Banda Sonora - "Guitarra G" Freshmove feat. Darryl Pandy - "You Can Do It" Intrallazzi & Fratty - "The Love (L'amour)" Cerrone - "Give Me Love" Static Revenger - "Happy People" Simpson Tune - "Bring It Down" Eminence feat. Kathy Brown - "Give It Up"

[steveinscarlet]

I don't think I've ever seen this interview before? It's from a free paper called Soundcheck! in Nov 1983. Transcribed below because the layout is hard to read and the spelling is bad! Like misspelling both parts of Steve's name bad 🙄

Talk about keen. After a gruelling ten-month trek of the States, followed by a short tour of Europe which precedes a pre- Christmas mini-tour of Britain (sheesh, it's tiring enough just typing about it!), Def Leppard guitarists Phil Collen and Steve 'Steamin' Clark have filled their precious few days of rest in between by doing a whole pile of interviews.

This includes yours truly, SOUNDCHECK! staff reporter Pete Makowski. This year saw the massive US success of the group's third and greatest album Pyromania, which has established them as Superstars in America, where audiences scream and general hysteria is the norm at one of the group's stadium-size performances.

Phil Collen is the band's newest member and fits in comfortably with the Leppard sound. He also works very well with Clark. In fact, their musical tie has developed into a solid bond of friendship and they seem to spend all their working hours together.

Both firmly believe in maintaining the axe image and hopefully after the release of their next album will show audiences all over the world that solos do not have to be long, boring and monotonous. They have an idea they feel will revolutionise the concept of guitar playing.

As expected, they were tight-lipped about this new baby but otherwise proved very open and entertaining as a team in the interview that follows......

PM: The tour has been promoted partly by Why Bother Ltd, which is your company (one of them, that is). Has that moniker got anything to do with your feelings about touring this country? 

PC: Yes. 'Cause when we tour over here, we always lose money. 

SC: Yeah, the title of the company speaks for itself.

PC: If you're touring somewhere, and you're losing money, why bother doing it?

PM: Will you ever concentrate your energies on crackin' it over here?

SC: We obviously are! We wouldn't be doing a tour here after 10 months of playing America, would we? It's still a bit steep though, because now it's not Phonogram anymore who are backing us for these ventures; we're actually forking out our own money, as we've cleared our debt with Phonogram.

PM: What could you credit for the mammoth success of the last US tour?

SC: Lots of different things, you know we don't look like we're one of the Metallica bands. In fact, we made a conscious effort of not trying to look like that. We just tried to look normal and it seemed to work. Mums ain't scared to send their kids to our shows, where they'd probably have second thoughts about an Iron Maiden tour or Judas Priest, something like that, thinking their daughters would get raped or something. 

PM: Why do you think groups like Quiet Riot have recently enjoyed mega mammoth success?

SC: Because we opened it up a bit; I don’t think it's just because of that. We've definitely opened the gate for other rock bands and they all seem to be doing quite well again. You know how it goes.

PM: Do you still enjoy touring the States? 

SC: Yeah, when we come back and toured Europe, mainly because of the weather. Everyone immediately got 'flu. America was good and we had a good summer on our side. The tour got bigger and bigger, we started off thinking 'are we big enough to headline?' We have a top ten album and we were supporting Billy Squier. Then we got bigger and bigger and half-way through the tour we had to play two nights in some places; the further we went on the bigger the band became. 

PM: Did you make a conscious effort to pace yourself on this, because I recall the last two times you played there everyone got worn out halfway through? 

PC: We done alright. Actually, I was surprised.

SC: The big difference was that we headlined everywhere. This was the first time we'd headlined everywhere.

PM: Has it made that much difference? On your previous marathon treks it seems it really took its toll, physically speaking?

SC: It's probably because you weren't there (laughs). Keep Makowski out the way and you'll be alright!

PC: I remember our manager, Peter Mensch, saying: 'I realise Phil that this is your first American tour but Makowski won't be here so you'll be alright'. 

PM: Was Pete Willis (Leppard's former guitarist) missed? I mean, what difference has his absence made to the group? 

PC: Well it's the difference between half a million and six million.

SC: Pete had more of a cult following. 

PC: I got some iffy fan mail, didn't I. Things like, 'you should be dead'. I got some fierce ones.

SC: When people saw the videos it helped to advertise the fact that Pete had gone and now Phil is with us. So kids, when they think of Def Leppard now, they think of Phil Collen as being an established part of the band.

PM: Your last album Pyromania was a mega mammoth success; have you started thinking about having to follow this up?

PC: We haven't really thought about it. We've got some ideas. A lot of bands do that, they think right: 'the last album was successful, this is what we should do to follow’. We haven't done that.

I mean, we may even do a keyboard album, as an example. I very much doubt that that's gonna happen. It's all down to how we feel at the time, really.

PM: How have things worked out between you two, because after America you should know each other pretty well by now and ironed out any problems that needed to be dealt with. 

SC:I think we were worried about things at first, but I think that Phil's better and all the numbers sound much better than they ever could have with Pete. We're best mates now. 

PM: That was quite a crucial change in personnel for the band.

SC: Yeah, and we were worried regarding how it would work out, because you don't really know what you need until you experience the change. When you've worked with someone for three years, initially things will be a bit strange; but as it's happened, things have worked out better than we'd ever expected. 

PM: Is it still necessary to keep touring the States?

PC: I just think it's important to play where people appreciate you; you know for a fact that you lose money in England and you have to draw the line somewhere. As it happens, we made a bit of money in the States and it becomes very apparent that in other places we lose money when we go on the road. Hand over fist you have to fork out cash from your own wages.

PM: You've been getting a lot of teenybop- type fan hysteria in the States. How do you feel about that?

PC: It's great fun. Just take it with a pinch of salt. When it first started happening we just looked at each other and burst into hysterics thinking 'are you sure?'. It is a bit weird and we didn't accept it as the norm. We just thought this is a fluke, take it with a pinch of salt; it just kept on getting worse or better, whichever way you look at it. 

What helps though is the attitude of the band. There's no ego problems here, which is what always screws other groups up. People start getting really weird. We're in a good position in as much as we're a younger and newer band and you can see all that crap going on while bands like AC/DC are getting on.

SC: When we're their age we'll have seen all the bad sides and have experienced all the problems when we were a lot younger. So it's taught us a lesson. So when we're their age we'll know what to do and what not to do.

PM: You do have a very strong band image.

PC: Yeah, it's not run by one person. The only way that you're gonna make good is if you all stick together and you all pull together.

PM: Have any of you got individual aspirations?

PC: Only within the band really me and him. Personally, there's some guitar things that we wanna do, but we can do them within the band. It works out great.

PM: Will the next album take as long to put together as Pyromania, which was 14 months in the making? 

PC: It may do.

SC: We're not jumping on the Pyromania bandwagon: ‘oh, we want a hit album, let's bung out another one quick'. We're not going for a formula and trying to make forthcoming products sound like Pyromania because after a couple of albums we'd be finished. We're gonna take our time, do another album, which will retain our quality, and if it doesn't sell as well then tough shit! At least we'd know that what we did we wanted. But we're confident that it will do well anyway.

PC: Pyromania will be a hard one to follow up, but we ain't even thinking about that at the moment. We've got our own ideas and we're just going to do them. If no one likes them then bollocks!

PM: How about recording a live album? 

SC: We have no plans for a live album.

PC: That usually comes at the end of a band's career or record contract; when they peak. Live albums are basically bullshit time. We haven't really got enough material to do one.

PM: You seem to separate yourself from the whole Heavy Metal bandwagon. Is that a conscious move?

PC: Well, it doesn't really bother us if we're associated with it. I don't really think that we're like the rest of them. We don't wear all that stupid regalia; we don't get all the studs and leather on, 'cause that's really false isn't it? I mean, could you seriously look me in the face if we was to like stick all the gear on?

SC: We've never tried to dress like that and it used to worry us. But we don't care anymore.

PC: The way we look at things is that we fill a great big gaping gap between bands like Journey and Foreigner and bands like AC/DC and Iron Maiden; we're right in the middle. 

SC: We're almost like a Zeppelin or Queen -right in the middle! Well, that's what the press in America compare us to. We never said anything. We'd like people to take us for what we are... 

And the beat goes on.

[gerogerigaogaigar]

Portishead - Dummy

Trip hop is one of those genres where there are like three artists in the whole scene and all of them are legendary. That was kind of an early 90s mood honestly what with grunge being the same. Portishead's sound may be indistinguishable from their contemporaries for a lot of listeners but where Massive Attack and Tricky are coming from a hip hop sound Portishead has more in common with dub and jungle. They have slowed down the breakbeat to the point that its more implied than extant. Dummy develops a spacey, smokey atmosphere thats a little more tripped out and mellow than any other trip hop artist.

Prince - 1999

Yes! YES! In a sane world this would easily be Prince's best album. It's only by the grace of some flamboyant fag god that it isn't. 1999 is filled with huge funky beats and extremely corny synth lines. All the while Prince sing about what Prince knows best: sex. A third the album is made up of seven plus minute funk jams. Three in a row in fact. You'd think that going from the seven minute Let's Pretend We're Married to the eight minute D.S.M.R. to the nine minute Automatic would be tiring, but there is nothing tiring about 1999. This album which ranks 2nd or 3rd in Prince's discography for me would easily best most other artists best work by a mile.

Pink Floyd - The Wall

Roger Waters clearly decided at the height of Pink Floyd's popularity that, instead of going to therapy, he should just get all his problems out in the form of a sprawling concept album. The Wall is lyrically and thematically dense and careful in its use of musical motifs. The four note riff that accompanies main character Pink at every turn becomes a musical symbol of his downfall. And lyrically Waters is working through so many things. His feeling toward his dad, war, stardom, and his fans. His hatred for Thatcherism and the boarding school syatem. Disillusionment and the desire to escape. It may be a lengthy album, but it still packs a lot into that time. The Wall weaves a rich tapestry, its a lot to take in, but there are enough catchy songs to make the first listen as enjoyable as hundredth.

Queen - A Night At The Opera

It seems like a crime to separate A Night At The Opera from its sister album A Day At The Races, but this is the only one that critics liked. A Night At The Opera is a deliciously eccentric album. Its content to jump back and forth between ripping hard rock solos, jaunty little ukelele tunes, prog rock epics, and other miscellania. The whole thing really earns the right to be named after a Marx Brothers film with all the camp and it does feel as dramatic as an opera at times. Nearly every song feels like it could be the centerpiece to a different album. Most people probably consider meme legend Bohemian Rhapsody to be the album's centerpiece, but for me it has to be The Prophet's Song because not a lot of songs can pull off the transition from prog rock number to acapella fugue and back with such ease and style. Everything is so tight and ao technically proficient. The whole album is a well oiled machine that just produces serotonin.

Ray Charles - Modern Sounds In Country And Western Music

In an era when soul, gospel, and R&B were still called 'race music' it was an incredibly bold move to release this record. Modern Sounds In Country And Western Music consists of lush soul covers of contemporary country ballads. Not only was this the most popular album of Ray Charles' career it also revitalized interest in country music. Where the nashville sound is lush he went lusher with more strings and backup vocalists. Where country musicians croon he croons like he was trying out for the rat pack. He takes everything that country music does well and then does it better as a soul songs. This man outdid an entire genre of music! This album has the biggest dick energy in musical history probably.

Mary J. Blige - My Life

Mary J. Blige is back and her second album brings more of the R&B with hip hop beats rhat we saw on her first album. Although there is more neo soul style crooning and less funkiness which makes My Life a little less interesting than her debut. Its still a pretty great album though if you liked Whats The 411? then you'll probably like My Life.

Beastie Boys - Paul's Boutique

This is the most nonsensical, unfocused, chaotic, and stupid album in the entire Beastie Boys catalogue. It is one of my favorite hip hop albums of all time. The rowdy childlike goofiness is so fucking infectious. I dont know how they get away with singing an entire song about eggs and then asking me to take anything seriously ever again. I love it. The beats are next level though. Look up a list of the samples used on Paul's Boutique and you'll be floored by the sheer number. The Sounds Of Science samples five different Beatles songs and then also samples Isaac Hayes, James Brown, Pato Bantin, and Boogie Down Productions. It feels like they chose half their samples strategically to make brilliant beats and then a few goofball choices like the theme from Magilla Gorilla or Folsom Prison Blues. The incredibly vortuosic production combined with the childlike off the cuff sound is really amazing. They worked so hard to make it sound like they weren't even trying.

U2 - Achtung Baby

[jedzeb]

An album review on LMYK's "DESSERTS"

I still remember the feeling when I listened to "0 (zero)" first time. Like all my emotions are mixing together, LMYK's songs give me a strange feeling of bliss combined with immense pain.

Being a bilingual Japanese and English speaker, LMYK mixes the languages in her songs (and unlike most artists who mix languages, her pronunciation for both languages sounds native and natural). This uniqueness is a nice touch, but is far from the only reason I love her music.

"0 (zero)" ~

In both the original and the English version of this song, there is Japanese and English. "DESSERTS" contains the original version, but below I've linked the English version of the song for those who would prefer to listen to that.

The premise of 0 (zero) is that in a life of feeling alone, she meets the person that makes her feel like her true self. "Discover The Story Of The Song > 0 (zero) - Lmyk"'s take of this is rather interesting. The writer of this short article sees it as the singer loses a part of themselves in their relationship, but ultimately feels more whole and fulfilled as well.

This may very well be true, partly or whole. However, my take on it was a little different. In many lines of the song, it is implied that the singers partner emotionally saves them. So my interpretation isn't that she loses a part of herself because of the relationship, but that the parts of herself that feel lost are filled by her partner.

Here are some of my takes on specific lines:

"When I lose myself, I become you" ~ In losing parts of herself, her partner fills these parts in

"So tenderly and endlessly You made me whole, you made me whole" ~ Further showing that her partner is filling in holes

"I hear my doubts drop when I see you in the mirror" ~ This line goes a little further, showing that her partner has become a part of her. While yes, this can be seen as her "losing herself", she also makes it clear that seeing her partner in herself is relieving (which further emphasizes that they are filling in holes in her heart).

"Tracing and tracing the sunset Appearing a zero and finallyNow I remember Oh, I have never lived a day without you Untie the layer of memories Louder we spin with the melody You are the only (You made me whole) Only one for me (You made me whole)"

~ The bridge, the most interesting part of the entire song. You can look at these lines in a few different ways, but the way I see it is her thoughts at a potential end of the relationship that is being described throughout the song (it is implied something is ending, since she uses the words "sunset" and "zero"). Her next part about remembering she has never lived a day without this partner sounds like she is saying that any day without her partner was not a day she lived, since she needs them to be complete. Finally, the bit about untying memories and that they are the only one for her is furthering this realization of hers that she needs this person in order to be her whole self.

I'm not going to go in-depth for any other songs, but each song she writes has deep meaning and they tie into the overall theme of the album very well. A general theme throughout the album is this concept of "you" and their relation to "I".

Other common themes throughout the album are things being on the extreme side of positive or negative emotion, with some songs portraying both of these extremes as perspectives.

Side note, her soft voice oddly captures the delicacy in human emotions that she describes throughout her songs.

In an interview, LMYK answers some questions about her music. One thing that stuck out to me was how explains she feels extremes of beauty and pain. That hit hard, as I struggle the same way in my sense of awareness in deep thoughts.

Overall, the premise of "DESSERTS" is that human emotions are on a wide spectrum, yet are all finite. The name of the album fits this perfectly; desserts are an example of finite joy. Touching on that even further, desserts backwards is stressed, which is an example of finite negative emotion. LMYK explains this as a representation of the relationship between pleasure and pain.

Her elegant sense of transience and unique perspectives are like no artist I've come across so far. LMYK is extremely in touch with her emotions and the world as she sees it, which is what brings high levels of beauty and darkness to her music alike.

[maryelizagreg]

Gonna lock in some studio hours, writing ✍️ with my bestie in Spanish why not? She’ll help me write the lyrics in Spanish.

Who wants a Spanish album from yours truly I do eh

Gonna do… some very simple jazzier chords and eh, richer vocals. I’m going for eh, a different sound than I’ve done before that’s much more jazz r&b

Something to soothe the soul with like morphine… this is how it will sound, so comforting and, wrapping you up like a hug. I want to convey that feeling, while also you know, speaking a truth in the lyrics that will be, something… that really, striking and, just true. To myself, and what however I felt at the time

I, do like the performance value as well so they’ll be written purposefully to be very musically flexible eh, across several different styles. So yes each song will have, dozens of versions of itself

But the bones will be bare and soothing, alone, and the rest you layer on top later for a different style or spin on it

But as long as the bones are really good, it’s, it can be written purposefully so… they can be dressed up or down any way you like the music so.

Eh, it’s a very intentional vision, I’m going to bring in a New Orleans flare to it because this is a beautiful heart of jazz,

I…. Sigh. Lol, I’m working myself to the bone with this music, and on, vocal lessons, and, just throwing everything I’ve got at it because

I really want to record, albums I want to create the physical music, I want the product to be completed and then, you know, keep working on more and more… and never stop…

And not necessarily always, my own personal recordings but, produce music in general, for anyone. For any purpose, you know. Eh

I’ve been studying the music theory behind the jazz style on guitar, guitar and piano in general… learning blues, learning r&b but, these are my original roots and my passion… though I do like genre bending a bit

When it comes to jazz I don’t, think you need to mess it up really but just leave it like it is and it’s best that way. Whole and pure.

And yes you know what I’m obsessed with music and not a lot of people will understand but there’s people who do, who I’m fortunate to know. And I’m very excited to continue working with them, and supporting them, and the community around, anywhere, everywhere, as much as I can.

I love, music, I love my fellow musicians, you are all such wonderful people and. I’m just glad to be a part of it all. It’s a wonderful life to live, or, a wonderful part of my life, anyway.

People are multi-faceted because they have to be now a days… but yeah. If I could pick one thing, it would be music.

I don’t care if I’m horrible, no talent, can’t write for shit, sound like a dying cat- and everyone despises me and the music I create- throws tomatoes at me for it

I… love it that much that I will do it anyway even if it’s terrible. The end result isn’t always going to be perfect eh, not everyone’s born with talent. But that doesn’t mean anything like,

If you like to play- play. If you love it. Love it. If singing brings you solace, and uplifts your soul- sing.

If you can be lucky enough to, bring peace or, happiness, belonging, to raise the vibration of, others around you- that is a gift you know and you can do that a lot of ways not just with music but

If you do this with music, I would say if you are a performer type musician (which we aren’t all that type) then you have done your job.

I’m co sidering calling this studio album “ugly” haha, and letting that kind of be my thing. Because I always feel ugly, and I don’t know.

I want to… I never had any ideas for an album title really that resonated with me that much before till I thought of the word ugly, I like it because. It’s just the truth, of how I feel and, owning that mixing and mastering it into a cd or whatever.

I think is an interesting concept? To… rather than embrace the status quo of femininity but kind of recognize there is beauty in imperfection.

It’s ugly on purpose. It’s not unheard of there’s lots of artists and people in music history, entire genres created around this concept eh- niche parts of the internet, embracing the ugly on purpose aesthetic.

I like something about this, it’s alternative in its own way, eh… it’s true to the era I come from,

But I also love the glamor of the 60s and, Elvis and his fine suits and bow ties, and striking dark features, you know- and Amy winehouses glamour as well, is beautiful. I love the various styles she’d been inspired by musically and aesthetically as an artist over time, and the collection of fine fine albums and things she learned from musically, and otherwise. In combination with training massive talent and some support dedication etc it created something just absolutely beautiful, no one can deny.

It has always my goal to continue to eh, be a bit experimental and tread into uncharted territory create something unique

I feel really fortunate just for the people that have been on board with my nutty ideas and agreed to create alongside me or travel or do whatever weird thing I was doing and just going with it, and supporting me at times or at the very least not completely rejecting me

Eh, in my pursuits and studies, and performances… I realize you know this is where I like to be a lot of the time so.

I need the music like you need a drug you are severely addicted to, I know it sounds weird to say. It has a negative connatatjon. But what I’m saying is like…

There is a connection between artist and their art that is like a relationship.

I’d be really happy to continue to have the opportunity to write, more, and learn from, more people, hearing, new and different things, from all walks of life, everywhere, anywhere, past, present…

And thanks to the digital age I mean, music really can go on forever to evolve into a future form as well… so

It’s just very, very fun, the theory, the practice, the hours in the studio- getting everything just right- and then you know. Other people who request you to write something for a project for them, or, collaborating with other singer song writers and musicians, it’s, a never ending good, feeling, that

I love, I love to be a part of, so much so I’m

Willing to do the hard work, to make sacrifices eh, just to live my life that way, I am fulfilled in it simply in the act of being in that very present moment there with the song at hand and the creative process, as much as the end result-

Even if, it’s not everyone’s cup of tea it’s not, the reason I love it,

Music is just something I happen to love and, if others happen to like it too. That’s all fine and dandy, I’d be more than glad to share it. If they don’t like it? That’s okay too. Hahah,

I love music regardless so, I am happy in that- I am happy with myself as an artist, imperfect, you know and. Maybe you aren’t Phillip glass or Amy wine house for god Saks, maybe a record label never gives much of a shit, it’s just.

I just like it, I like it all.

[writingmochi]

hi! i'm the same anon who asked about the "lissie:" thing and the space agency theme you have going on is really cool and creative! and it just makes me happy too as someone who also had a space exploration phase lol.

this is unrelated but i read your thoughts on minisode 3: tomorrow (2 months late but wtv) and though i disagree w some of the specifics, i do agree with your overall points! the lack of bridges really hurts the payoff from the emotional buildup. i personally believe that deja vu had the potential to be as big as, or even bigger than, 0x1 lovesong but not having a bridge or even prechoruses really prevents the song from reaching the emotional heights it's striving for.

personally, isytt and the killa > miracle and quarter life, but yeah i agree with you that the latter two feel very beginner-friendly rock. which i think is the reason why i ranked them lower, they're so... safe? like they rely on cliches to make an "emotional" song a bit too much. especially since txt already leaned into the rock sounds more during freeze / FoS.

ALSO tbh i actually expected a more dreamy, magical pop sound from this album? the whole little prince theme + throwbacks to the morse code of their rookie days made me think we would get a more mature version of their dream chapter sounds. like, i was imagining older siblings to run away, fairy of shampoo, our summer, etc. which is not what we got lol (except maybe isytt kinda-sorta?)

anyway yeah i do agree that i was underwhelmed by the album! i don't hate it by any means and i still find myself listening to some of the songs a lot, but ngl i was expecting more. the opinions i've seen among stans is that minisode 3 is SO GOOD OMG and better than freefall but i personally enjoyed freefall more. imo freefall is a less cohesive whole than minisode 3 but i like the individual songs much more.

that's all lol sorry this got long

lissie: welcome back anon! i would love for you to sign yourself in emoji/a single word so that our convo will be easier to track~

aww thank you. i'm glad that the convoluted explanation didn't bore you and to know that you have a space exploration phase too!

that's defo fine~ i like making those reviews actually cause it exercises my music knowledge as i've been listening to more artists with different sounds to know which song is inspired by what genre, etc. of course, you can definitely disagree with a few points cause everyone has their own opinions. i absolutely agree with what you said on how deja vu could be equal by 0x1 lovesong if it has a bridge and i still am very much sad to know that missed opportunity, especially when the "yaksokhae~~" part and everyone was kneeling in the choreo: it would be better if there is a build-up to that with the bridge...

my track ranking has changed as the album has grown on me and isytt has definitely risen up the list, maybe below or above the two deja vus but i enjoy that song so much. i definitely agree with your reasoning as to why miracle and quarter life sound so safe, especially coming from me who LOVES growing pain and has rock as my most listened-to genre since the end of the pandemic when i have strayed a lot from kpop. definitely agree with the cliches that you mentioned as that's why i can easily say that miracle is a "road-trip song" and quarter life is a "coming-of-age song"

ooh yeah. i haven't heard a lot of people saying that. but i think since that little prince theme is met with deja vu, they believe it is already fulfilled. i'm always an advocate of concept photos = music sound and there is so much opportunity for the dreamy magical type of songs. deja vu is definitely the light version, the ethereal concept with the bad boy/fallen angel type reminds me of songs like woodz's drowning, those angsty "i messed up by forgetting our promise" type of song (beomgyu will be godly in that song), the romance concept is very regal and magical like bts' black swan (esp the one with the orchestra ughh yes), while the promise concept gives me onf's the realist vibe because the night time setting for the photoshoot gives urban fantasy vibes ughhghghgh. overall, i wanted more magical, regal-sounding songs but also dream pop-esque approach to this album, maybe even shoegaze if they are daring enough... and i wish there were songs like our summer and can we just leave this monster alive? again...

woah... minisode 3 is better than freefall? i have to disagree to that as i have freefall on top of minisode 3 in my imaginary ranking. i agree with you saying that freefall songs go well individually but, in a way, it still makes sense with the "free falling from neverland" concept while minisode 3 only grazes the little prince concept in the trailer and deja vu. both have a lack of cohesiveness and both are so safe tho cause none of the two can top tdc magic and eternity for real

that's definitely okay. i like hearing ppl's opinions on the music too cause it also expands my perspective. thanks for giving me the opportunity to talk about this!

[myfavebandfizz]

DIY Magazine Interview

FIZZ: “WE’RE REALLY BIG ON STORYTELLING BEYOND SONGS”

An effervescent mix of personality and pizazz, meet the supergroup pushing pop music into a whole new universe, quite literally.

Words: Ims Taylor 20th September 2023

Sitting down to speak with FIZZ - the supergroup comprised of besties Dodie Clark, Orla Gartland, Greta Isaac and Martin Luke Brown - they seem almost out of breath. “We just did an interview where we tried to slip words into the whole thing,” Greta says, showing a post-it note that lists, among other things, ‘milk’ and ‘cell (brain/blood)’. “It was so stressful. We are not doing that again!” Safe in the knowledge that our chat isn’t going to be punctuated by out-of-context dairy goods, their cheeky anecdote actually provides the perfect introduction to FIZZ.

Formed from a magical cocktail of long-term best friends, various combinations of roommates over the years, and four musicians in their own right, each with very distinct styles and sounds, FIZZ is a project that could only have been dreamed up by these four. “We wanted to call the band Housemates at one point, because that felt so at the core of it,” nods Orla, “but we wanted something a bit more fantastical in the end.” So FIZZ journeyed into their outlandish world and built it on the foundations of trust and friendship: “The bigness around the concept of FIZZ feels so ambitious in a way that could only really be carried out with three other people, and we’re digging each other up and pushing each other to the front,” explains Martin. “Like a delicious cake!” Greta adds.

Enter FizzVille: the backdrop for the immersive musical melodrama of debut album ‘The Secret To Life’, where all the action takes place. “We’re really big on storytelling beyond songs,” continues Greta, “and we always knew we wanted to mirror the theatrical tone of the album. FizzVille was conceptualised by all of us when we realised that making the album was like a retreat from our normal ways of working in music, and that idea of a retreat, or a holiday, or a day out at a theme park just influenced the entire campaign. We made this place called FizzVille, like a theme park or a beach town, and the way we imagine it is that every song on the album has its own designated ride or attraction, and it shows up in different ways.

“It feels really natural for us to present it in that way - like when you’re a kid and you put on a show for your parents, and there’s the spotlight, and it’s made out of bedsheets and you’re just presenting it to people that you want to be proud of you.”

“We’re really big on storytelling beyond songs, and we always knew we wanted to mirror the theatrical, fantastical tone of the album.” - Greta Isaac

FIZZ and everything about them sparkles with natural, effortless energy; from the way they finish each other's sentences to the grandiose, effervescent sonics of ‘The Secret to Life’, which sits a world away from the musical output that its members have released independently. This flowed out of a hyper-conscious effort the group made to “leave our artist projects at the door,” Martin says. “We went in, and we were doing music in a way that none of us had ever done it before. It was inverting everything we’d ever done with our own projects, and making it all about play and having fun. It was pure play - like, if someone said let’s have a key change in the second verse, then yeah, sure!”

"For me personally, I don’t write with a lot of people,” adds Dodie. “It was a whole new way of writing. And I was like, 'Oh, this is how a writer’s room could and should feel'. It’s so interesting how, despite us saying yes to everything, a story can still be built.”

On ‘The Secret to Life’, the group strive to capture something unique and pure that could only be the product of those four, in that room at Devon’s Middle Farm, at exactly that moment. By extension, their producer Pete Miles was instrumental in encouraging the group to avoid overthinking things. “He would make the space very inspiring,” explains Greta. “He would never allow us to grovel over a vocal stem! He would just be like, we captured something beautiful.”

“The illusion of perfection is really a trap,” Martin picks up. “You can sing through all the different vocal takes, or want the drums to be a bit more in time, and just want to tune that there. And this was a real exercise in just letting go and just letting it be. And that was pretty new for all of us.”

“It’s definitely easier to romanticise in hindsight, but when I think about the album making process, I don’t feel like it’s romanticised - it actually did feel genuinely very magical,” Orla adds. “When we describe it it feels like a dream we all had, or a trip, it felt very otherworldly.”

Operating at the perfect meeting point between passion, trust and imagination, now, they’re kindly extending an invitation to us; it’s time to feel a little of FizzVille’s magic for ourselves.

'The Secret To Life' is out on 27th October via Decca Records.