#then the whole experimentation angel wanna-be one which has the same issue of

[baekuras]

god i draw 1 old oc and now immediately wanna go read all notes and story bits I wrote down for the entire world they’re involved in

how to juggle 50 different story/universe/character/media ideas at once?

[trying-write-fanfics]

OverhaulXreader part 17

The next few days were dull. An article was printed called “Pay back: Hero gets a free meal” which seemed like something only Y/n’s boss would read, and they did. The days were dull, but not the anxiety. Customers would want to talk to Y/n more, every shift in their arms were torture to her. She couldn’t tell if they were about to attack or just scratch their head. Someone from work would walk her to the subway to try and lessen the fear. She never felt safe. When she gets home she would lock every door and close the blinds. She knew she couldn’t keep living like this.

Another customer came in, the waiting staff was short staffed so she took his order. The man instantly frightened her with just his body. It resembled her attacker’s, same built, same huge arms.

“You were in the news recently weren’t ya? They kept you anonymous but said you worked here?” The man was stating.

Was she going to attack her? Was he his brother? Why does he care? Making sure he’s gonna kill the woman that ruined his brother’s life?

“It would be anonymous then wouldn’t.” She winked and joked.

“Ha- you’re funny. Can I have the fillet mignon?”

“Of course.”

She handed the chef the order. Her heart was racing and was on the brink of tears. Her mask was crumpling. How much longer till she does get killed?

“Y/n, you’re looking pale-“ her boss said.

“I need a minute, I’m going outside-“

“Why not the bathroom?”

“I don’t want a customer seeing me cry.” She said.

“Good point, you're the smart one!”

The back of the building was not the best place to cry, but she figured it would motivate herself to stop crying, to stop being afraid, to stop this. It was cold, the snow was on the ground.

“Fuck!” She hit the brick wall. “Ow! Fuck!”

What the hell was Kai thinking, moving in together…that’s a big step in a nice direction, but she wasn’t ready for yet. They’re both virgins for crying out loud, why move in just yet! He’s sweet, he’s really sweet, but it’s just too stupid to move in together. The thought was in the right place, he just wants her to be safe and protected. She just wishes he would get the cue to hug her when she cries. It’s a lot more simpler than moving in together, but a hug wouldn’t solve the whole attackers on the street issue. She’s lonely, or maybe she’s looking for specific comfort. She cradled her hand and let the tears fall. A warmth met her shoulders. She turned around to see Kai putting his jacket on her shoulders. Though it was sweet she couldn’t help but flinch.

“Oh my god!” She cursed under her breath.

“Sorry. Your staff told me you were here having a moment. I thought this would be the best time to check on you.” He told her.

“I’m still a mess, so you haven’t missed anything”. She sighed, holding the jacket.

“Are you still mad at me?”

“It’s not your fault any of that happened. I still want you in my life still. I just suck right now. I don’t want to burden you with this stuff right now.” She explained. “I just hate being scared all the time.”

There was a short silence between the two, but in that time Y/n regretted every word and wish she just told him she was fine.

“...you’re not a burden.” He told her.

She let out a breath and smiled. This comforting thing wasn’t Kai’s strong suit, but he is a strong guy.

“I’m glad you think so.” She told him.

“Does it still hurt?”

“It hurts to swallow. I’m not fainting, which is a good sign.” She told him. “When I woke up in the hospital, I was really mad. I woke up without any familiar faces...but it’s my fault, I haven’t set up any emergency contact stuff up since I’ve been here. My parents were until...that fight. But I can’t use you Kai.”

“Why not?”

“When I was interviewed your name came up. I pretended not to know who you are just to keep you safe.” Y/n explained. “What did you do?”

“I’m not convicted of anything right.”

“What are you doing.”

“Y/n-“

“Someone choked me because they knew I’m connected to you. He called me your whore Kai, can’t you tell me what you’re doing.”

Kai sighed.

“I’ve been selling experimental drugs, I’m guessing that man got a bad one.”

“How did they know it was you, did you give out your actual name? Are you a drug dealer now, you know Pops-“

“I know. I know, Y/n. I’m trying to work on bigger picture stuff. He doesn’t know, so don’t tell him.” Kai explained.

This was not helping his case. Sure it wasn’t his fault she got attacked, but he provided a motive, and now that motive is clear. Kai’s giving out drug addictions or ruining people with, she didn’t know what the experimental drugs meant. Were they new, or defective? It didn’t matter Kai was worsening the opioid addiction.

“Maybe I am still mad at you.” She said.

“Y/n, you know I’ve never intended for you to get hurt.”

“You’re hurting people Kai, vulnerable people.”

“But don’t you see the bigger-“

Surprising him, she hugged him. She did miss him after all, mad yeah, she is mad, but she didn’t understand the way of the yakuza. He could explain it to her all he wanted, but this was his own doing.

“Thank you for checking up on me.” She said tabling the discussion.

“Y/n…”

“It’s cold, and I’ve cried enough.” She told him.

“Okay.” He hugged her back, not knowing what to say.

He knew she was mad, didn’t approve of what he was doing, but her action to show him love was the most confusing part.

“Go home, relax, we can do something this weekend.” She told him.

“You don’t want to leave, take the rest of the day off?”

“No, I gotta work.” She rubbed his arm. “Get some sleep, I know you don’t”.

Y/n called her mother later that night. They didn’t get deep, her mother asked if Y/n was alright. She told her mom she was fine because that was the right answer. Though the contents of the conversation didn’t mean much, it was a mile stone. The call made her heart beat a little better. The best person to call was Kai. It was late, but she knew he’d pick up.

“Hey…” she said when he heard her pick up.

“You should be in bed.”

“Are you working?”

“...yeah...do you need something?”

“I just wanted to hear your voice, is it dire there?”

“No, I can spare some time for you.”

“I called my mom, I think we made progress.” She told him. “I know I haven’t told you everything, but this was big for me and I wanted you to be the first to know.”

“Yeah? Who called first?”

“I did. You know she’s stubborn.” She told him. “Do you and Pops ever get into fights?”

“We’re not seeing eye to eye right now to be quite honest.”

“Is it about the drugs?”

“Yes it’s about the drugs.”

“Just being clear.” She said, “You think we’ll still know each other in ten years?”

“Yeah, I figured we will.” He told her.

“Really? You think we’ll both be alive?”

“You’ve survived every day so far.” He told her. “I don’t see why we won’t live ten more years worth.”

“You wanna know something, just in case I don’t get those ten years worth of days?” She asked. “When I was in school I sometimes felt really lonely despite having friends here and there. I was waiting for the day to come back and just hang with you again. I’m happy you let me do that. You’re letting a school girl Y/n love her dreams.”

“I’m glad I can do that for you.” He told her. “Did you ever learn shogi while you were there?”

“No, I guess you’ll have to teach me.” She told him. “Thank you for always sticking around, it all seems like rotten work.”

“Why do you say that?”

“I’ve got such medicore drama, and then it’s something awful like getting choked by a stranger.”

“You stick around for my drug dealing.”

“I hate it and think you shouldn’t do it, but I know I won’t be able to stop you.”

“You’re not even going to try?”

“We got our separate lives Kai, I wanna be part of your life, I’m sure you’ll make sure I don’t get attacked again.”

“I’ll try my best. You deserve that at least. I heard you were saved by a guy named Fat Gum.”

“Yeah, the man is big. I think he’s forty kilometers tall.” She told him. “He’s nice enough, I gave him a free meal.”

“You know you don’t have to pay him.”

“He was the only one in the hospital room when I woke up.”

“I’m sorry I couldn’t be there-“

“Don’t, the world is already suspicious of you.” She told him.

“Do you wish I was less busy?”

“No, I know you have a dream.”

“Do you wish I had a different dream?”

“No, you wouldn’t be the Kai that I know then. I know this drug thing won’t be forever, you’re just reaching for ground right now.”

“You think so?”

“Yeah. I’m going to let you go, you may not sleep, but I like to try.”

“Good night, angel.”

“Oh...my...good night Kai.” She was flustered still at the new nickname.

[josemaximiliano-blog1]

FAVORITE ALBUMS 2017 (TOP 50)

2017 was a phenomenal year for music and a special one because this year I went full dedication to music, heard albums here and there, a lot of them actually to be precise 402 albums I heard just from this year, there were good albums, bad albums, horrible albums, happy albums, sad albums, we had everything this year and out of those 402 I heard I selected the 50 that I liked the most from New Wave to Doom Metal to Bubblegum Pop to Hip-Hop, I found out about a lot of new interesting artists and I’m looking forward for what next year has in store for us. It was hard to choose my top 50 but here are the ones that stand out the most.

1. Alex Cameron - Forced Witness (New Wave, Synth Pop, Soft Rock)

Wow. This album has the best songwriting of the year, just to start the character development is sublime, the hooks are catchy, the lyrics are hysterically funny and the production is awe-inspiring, it brings back the 80′s in such an amazing way, his vocal performance is stirring. This album is an introspective look into the persona that Alex created. The recurrent themes of masculinity, bravado, love, failure, sincerity, hope and hopelessness make this album grow into you until it becomes addictive. The lyrics might be fun and everything but at the end there is a raw reality that some might feel identified with it. 

Three songs you should check out: Candy May, Stranger’s Kiss (Duet With Angel Olsen), Politics of Love. 

2. The War On Drugs - A Deeper Understanding (Heartland Rock, Synth Rock)

This album is awesome from start to finish, makes me want to take the car during midnight and drive and never look back, its beautiful and satisfying guitar riffs to its gorgeous instrumental breaks and dreamy synths make this album an almost perfect listening experience, with the cherry on top being the thoughtful and heart melting/breaking lyrics.

Three songs you should check out: Pain, Thinking Of A Place, You Don’t Have To Go.

3. Arca - Arca (Art Pop)

Immaculate and gorgeous production joined by a powerful voice, it is a journey into Alejandro Ghersi’s sexual life, fantasies and thoughts. This album has  astonishing and beautiful falsettos with great lyricism.

Three songs you should check out: Anoche, Castration, Miel.

4. The National - Sleep Well Beast (Alternative Rock)

This album explores new territories into The National’s great discography and it is their most experimental album yet and it might be their best album too, time will decide. Frontman Matt Berninger gifts us one of the best written albums of the year with a sorrowful and mature songwriting joined by an amazing band work by the Dessner twins and company.

This album could’ve been my number one spot but being honest... Turtleneck is not for me. Excited to see them live next month!

Three songs you should check out: Nobody Else Will Be There, Dark Side of the Gym, Sleep Well Beast.

5. BROCKHAMPTON - SATURATION (Experimental Hip-Hop, Hip-Hop)

The first album out of the Saturation trilogy and what a perfect way to get introduced to this boyband, I want to be like them so bad! this album is banger after banger, the production is juicy and amazing, you will never get tired of this album.

I have more to say about them but (spoiler alert) they have two more spots on this list and I don’t wanna run out of praise.

Three songs you should check out: HEAT, SWIM, MILK.

6. Lorde - Melodrama (Art Pop)

This is an album that can define an entire generation, Ella wrote an album for the teenagers and it is a true blessing, with her beautiful voice and gorgeous production by Jake Antonoff (fun, Bleachers) Melodrama is really a melodramatic expression of the daily lives of many of us.

That’s a beautiful cover art by the way.

Three songs you should check out: Liability, Hard Feelings/Loveless, Liability (Reprise)

7. Perfume Genius - No Shape

Love has no shape, this album gorgeously produced songs (totally deserved that Grammy nomination) and Mike’s angelical voice make a wonderful listening experience.

Three songs you should check out: Slip Away, Die 4 You, Alan.

8. Sorority Noise - You’re Not As Alone As You Think (Emo, Indie Rock, Punk)

In a year where I openly struggled with depression, suicidal thoughts and a friends death this album helped me a lot even though I might still be depressed, yes, this album talks about the same stuff I struggled with but sometimes a negative plus negative make a positive change.

Three songs you should check out: No Halo, A Portrait Of, A Better Sun.  (It is just 30 minutes long so why not check the whole thing)

9. Father John Misty - Pure Comedy (Singer Songwriter)

2017 was a hell of a year and it is slowly going to fade away as long as we keep fighting each other and this album is just a reminder of that but it is also a reminder that it is a miracle to be alive and there is nothing to fear. Tillman’s songwriting is really an inspiration for me and he is my role model.

Three songs you should check out: Pure Comedy, The Memo, In Twenty Years or So.

10. King Krule - The OOZ (Post Punk, Art Rock, Nü Jazz, Trip Hop)

Yeah that genre description is cool isn’t it. Archy came out this with an amazing set of songs that explore depression and he just keeps showing us how great of an artist he is and yes we have to honest his voice is just something else I dream with his voice.

Three songs you should check out: Dum Surfer, The Ooz, Midnight 01 (Deep Sea Diver).

11. Charli XCX - Pop 2 (Electro Pop, Bubblegum Pop)

Charli closed the year with an amazing mixtape that stands out thanks to the amazing production by the PC Music team, the album is very futuristic and enjoyable with great features. 

Three songs you should check out: Lucky, Porsche (Feat. MØ), Track 10. 

12. Remo Drive - Greatest Hits (Indie Rock, Emo)

Same issue as Forced Witness but now with the title, to my understanding this is their DEBUT ALBUM and the fact they named it “Greatest Hits” made me think that this was a compilation from an old band trying to have more revenue but I’m glad I was wrong. This set of upbeat teenager songs is one of the best debut albums of the year.

They’re going to be touring with Sorority Noise how cool someone take me there!!!

Three songs you should check out: Crash Test Rating, Yer Killin’ Me, I’m My Own Doctor.

13. Julien Baker - Turn Out the Lights (Singer Songwriter)

The follow up to her debut album “Sprained Ankle” couldn’t be better, this is one of the most heart breaking and depressing albums (second most depressive because A Crow Looked At Me exists) of the year, Julien opens up with more depressive themes such as drug abuse, faith, suicidal thoughts and love and her delivery brings me to tears, the song structures here are brilliant and satisfying almost depending on the vocal performance but she doesn’t disappoint.  

Three songs you should check out: Appointments, Sour Breath, Claws in Your Back.

14. Tyler The Creator - Flower Boy (Experimental Hip-Hop)

I didn’t like Tyler before this release but it did change my mind, this project was the album of my summer, literally, that was the only album I heard during summer camp so it brings me a lot of good memories with my friends and girlfriend.

Three songs you should check out: See You Again, Boredom, 911/Mr. Lonely.

15. Kirin J Callinan - Bravado (Art Pop, Synth Pop, Euro Dance)

The fact that one of my favorite songs from this album is one of my favorite memes of the year makes me feel wholesome.

Watch it for yourself: https://www.youtube.com/watch?v=rvrZJ5C_Nwg the joy starts at 2:23

Three songs you should check out: S.A.D., Big Enough, Bravado.

16. Fleet Foxes - Crack-Up (Chamber Folk, Folk)

One of the best produced and written albums of the year, beautiful instrumentation comes along with a strong set of lyrics to give one of the most pleasing albums this year, this would be even higher on my list if it hadn’t been for the replay value (that is good but it took me a while). 

It has one of the most beautiful cover arts of the year for sure.

Three songs you should check out: -Naiads, Cassadies, Third of May / Ōdaigahara, Fool’s Errand. 

17. Phoebe Bridgers - Stranger in the Alps (Singer Songwriter)

Another set of depressing songs now this time from Phoebe, props for being a debut album too, her songwriting reminds me a lot of Mark Kozelek and yes she actually sings a cover (which is my favorite cover of the year) from a Mark song. The narrative on her songs is criminally incredible.

Three songs you should check out: Smoke Signals, Funeral, You Missed My Heart (cover).

18. Charli XCX - Number 1 Angel (Electro Pop, Bubblegum Pop)

It’s Charli, again. One of the catchiest releases of the year with a more mainstream focus than Pop 2 but still the album is great and the features again are amazing, so much chemistry.

Three songs you should check out: Emotional, Babygirl (feat. Uffie), Lipgloss (feat. CupcakKe).

19. Protomartyr - Relatives In Descent (Post Punk)

The songwriting...

I’m not saying anything about this album just read this verse.  

From the song “Half Sister”

In Northern Michigan There was an incident in winter A horse was hit by lightning And began to speak in a foreign language When he was finally understood It repeated, "Humans are no good" So they shot it behind the shed and stuffed him He's now on display as a lesson For the kids to always do your best Do your best always.

Have to say that the “she’s just trying to reach you” reprise used throughout the album is just heart breaking.

Three songs you should check out: A Private Understanding, The Chuckler, Night Blooming-Cereus.

20. Counterparts - You’re Not You Anymore (Metalcore, Hardcore Punk)

This album doesn’t catch a break at all 27 minutes of straight forward madness. All I have to say.

Three songs you should check out: Bouquet, No Servant of Mine, You’re Not You Anymore.

21. Mount Kimbie - Love What Survives (Future Garage, Indietronica)

Every time I listen to this album I just want to lay down and chill for a minute, great production and it has an overall dreamy vibe, shout out to Mount Kimbie for introducing me to King Krule.

Three songs you should check out: Blue Train Lines, Marylin, We Go Home Together.

22. BROCKHAMPTON - SATURATION III (Experimental Hip-Hop, Pop Rap)

The boys back at it again, the conclusion to the Saturation saga and it is as creative as previous efforts, they keep changing their sound with every new album, what I liked the most from this album was that members like JOBA got more spotlight than ever before, the MVP’S of this one were Matt, Merlyn and JOBA.

Three songs you should check out: LIQUID, BLEACH, HOTTIE.

23. Oneohtrix Point Never - Good Time Original Motion Picture Soundtrack (Soundtrack, Ambient, Original Score) 

The highest entry for a movie score is Good Time, what an addition to the movie with high gripping and tense sequences of dreamy acid songs and with one of the best closing tracks of the year with The Pure and the Damned featuring Iggy Pop the song is heartbreaking and a great culmination to the album. 

Three songs you should check out: Leaving The Park, Connie, The Pure and the Damned. 

24. Rex Orange County - Apricot Princess (Alternative R&B) 

This is an underrated and overlooked album that definitively deserves more attention, Alex delivers sweet and lovely songs with his unique and tender voice, great instrumentation and vocal performance. If you are looking for a love album this might be one of the best ones of the year. 

Three songs you should check out: 4 Seasons, Rain Man, Happiness. 

25. BROCKHAMPTON - SATURATION II (Experimental Hip-Hop)

What a year for the boyband. This one is full of bangers.

Three songs you should check out: SWAMP, JUNKY, SUMMER. 

26. King Gizzard & The Lizard Wizard - Flying Microtonal Banana (Psychedelic Rock)

It is the strange vibe to this album and the crazy tuning that makes this an exotic and groovy album. The prolific Australian band proved that they are here to stay, they put out four solid albums in a short span of time and this has to be my favorite (one more to come out before the year ends). Looking forward for the fifth of the year! 

Three songs you should check out: Rattlesnake, Sleep Drifter, Doom City. 

27. Kyle Dixon & Michael Stein - Stranger Things 2 (A Netflix Original Series Soundtrack)

In my opinion the score outlives the tv show, this nostalgic vibe is incredible and all the layering is chilling yet beautiful to hear, from mellow synths to dark and eerie atmospheric sequences this album is one of the most memorable things of the show. 

Three songs you should check out: Eulogy, Descent into the Rift, Soldiers. 

28. Xiu Xiu - FORGET (Art Pop) 

It’s unsettling, bold and dreary, this is an album you should not forget about, vocal performances on point plus a weird and iconic instrumentation. 

Three songs you should check out: The Call, Wondering, Get Up. 

29. Mount Eerie - A Crow Looked At Me (Singer Songwriter) 

The year’s most depressing album follows the story of Phil Elverum who tragically lost his wife after fighting against cancer, this is as real as it can be, the songwriting is heart breaking and outstanding, this album is arguably one of the best three albums of the year for me but the replay value affected its place on the list, the listening experience is too pessimistic and full of gut punches that I find it hard to listen to the full album in just one sitting. 

Three songs you should check out: Real Death, Swims, My Chasm. 

Starting from the next album I’m just giving my quick thoughts...

30. Benjamin Clementine - I Tell A Fly (Chamber Pop, Art Pop, Avant Garde) 

An album with great and beautiful instrumentation joined by one of the most interesting and satisfying voices working today. 

Three songs you should check out: God Save The Jungle, Phantom Of Aleppoville, One Awkward Fish. 

31. Sampha - Process (R&B) 

One of my favorite R&B releases of the year, Sampha has such a great voice. 

Three songs you should check out: (No One Knows Me) Like the Piano, Under, Timmy’s Prayer. 

32. IDLES - Brutalism (Post Punk)

The album title describes everything, brutalism all over the place with an interesting political/social point of view. Vocal performances are awesome. 

Three songs you should check out: Mother, Divide & Conquer, White Privilege.

33. Ariel Pink - Dedicated to Bobby Jameson (New Wave, Synth Pop, Art Pop)

This album was my introduction to Ariel Pink and it was so good I enjoyed so much every track with a nostalgic vibe of music from the last century. 

Three songs you should check out: Feels Like Heaven, Another Weekend, I Wanna Be Young.

34. Destroyer - Ken (Synth Pop) 

I love the synths here, to be honest that was what made me love this album, it is so well designed and the lyrics were pretty cool.  

Three songs you should check out: Sky’s Grey, Rome, Sometimes in the World. 

35. Daniel Hart - A Ghost Story (Original Soundtrack Album)

I went to see the movie almost six months ago and the first thing I did after walking out of the movie theater was crossing the street to the nearest record store and buy the album, it still haunts me to this day, the album itself haunts me as well as the movie. 

Three songs you should check out: Whatever Hour You Woke, Post Pie, The Secret In The Wall. 

36. Jay-Z - 4:44 (Hip-Hop) 

One of the best written hip- hop albums this year for sure, pure sincerity and emotion in this project and the production is just brilliant. 

Three songs you should check out: The Story of O.J., Caught Their Eyes (feat. Frank Ocean), 4:44.  

37. The xx - I See You (Indietronica) 

One of the first albums I heard this year and it was good enough to make it to my list, I like the sensuality of the beats here and the smooth vibe to it. 

Three songs you should check out: Say Something Loving, Perfomance, Test Me. 

38. Primitive Man - Caustic (Doom Metal) 

I like the way my favorite reviewer (theneedledrop) described this album, I share the same feeling so I’m just going to quoute “ Doom metal trio Primitive Man returns with one of the most nihilistic albums in the genre. For anyone who enjoys some pain with their pleasure.”

Three songs you should check out: My Will, Victim, Inevitable. 

39. Moses Sumney - Aromanticisim (Art Pop, R&B) 

Uhhh his voice is so beautiful and he is such a talented artist I’m in love with his voice, make sure you enjoy his voice as much as I do. I urge everyone to listen to Doomed if you wanna know what I am talking about. 

Three songs you should check out: Plastic, Make Out in My Car, Doomed. 

40. Code Orange - Forever (Sludge Metal) 

It is brutal it is dirty it is aggressive it makes you wanna throw punches. 

The cover art is easily top 3 of the year for me. 

Three songs you should check out: Forever, Real, Spy. 

41. King Gizzard & The Lizard Wizard - Polygondwanaland (Psychedelic Rock, Progressive Rock)

This is a great concept album that you should check out (if you are into concept albums otherwise you might not like it) because I love how every song builds to a great climax at the end. 

Three songs you should check out: Crumbling Castle, Loyalty, The Fourth Color. 

42. Alvvays - Antisocialites (Dream Pop) 

Dream pop at its best this year. 

Three songs you should check out: Dreams Tonite, Your Type, Forget About Life. 

43. Slowdive - Slowdive (Shoegaze) 

Great comeback from one of the most important bands of the genre, good for driving. 

Three songs you should check out: Star Roving, Sugar for the Pill, Falling Ashes. 

44. King Gizzard & The Lizard Wizard - Murder of the Universe, Chapter 1: The Tale of the Altered Beast, Chapter 2: The Lord of Lightning vs. Balrog (Psychedelic Rock) 

The boys are here again for the third time, why did I put the chapters? Because this album is divided in three chapters and oh god the third chapter almost ruins everything so that’s why I didn’t put it here and I think that the first two need recognition, I love the narrative tone of the album and how it feels like a real story or a video game. 

Three songs you should check out: Altered Beast I, The Lord of Lightning, The Balrog. 

45. Zola Jesus - Okovi (Art Pop) 

This album is so meaningful (a little bit of background, Zola Jesus wrote this album for a friend who tried to commit suicide twice) and powerful, it has a very strong message and the production is beautiful. 

My favorite cover art of the year here. 

Three songs you should check out: Witness, Siphon, Half Life. 

46. Hans Zimmer - Blade Runner 2049 (Original Motion Picture Soundtrack) 

So nostalgic and brings back the vibe from one of my favorite movies of the year. 

Three songs you should check out: Flight to LAPD, Joi, All the Best Memories Are Hers. 

47. Yung Lean - Stranger (Clout Rap) 

This album might had its flaws but it is a great listening experience if you just one to chill for a minute, solid production, lyrics and performances so yeah why not. Also bonus points for having two of my favorite singles of the year. 

Three songs you should check out: Red Bottom Sky, Hunting My Own Skin, Agony.  

48. ROSALÍA - Los Ángeles (Flamenco) 

One of the last albums I heard this year, If I had listen to this album earlier on the year it might have been higher on the list but anyways this is a good project from Rosalía and she has one of the most attractive voices of the year. 

Three songs you should check out: Nos Quedamos Solitos, Día 14 De Abril, I See A Darkness. 

 49. Ex Eye - Ex Eye (Post Metal)

This is just four tracks long but it is epic and progressive, really well produced album and nice to see Colin Stetson experimenting more with his saxophone. 

Three tracks you should listen: Go with all the album, it is just four tracks, If I had to choose one... Anaitis Hymnal; the Arkose Disc. 

50. Mac DeMarco - This Old Dog (Singer Songwriter)

The songwriting here is solid with a nice production, the song structures make this album a satisfying session. 

Three songs you should check out: For the First Time, Moonlight on the River, Watching Him Fade Away.

[boymeetsworldthings]

They Still Don’t Care About Us: Michael Jackson’s Song and How It Has United the Black Community

This is an essay I wrote in 2017 for my Heavy Music university class:

An artist’s goal in creating music is often to express themselves by producing music that they like and that they think people will enjoy; nobody did this as well as Michael Jackson, whose fun and catchy music remains timeless. Michael J. Jackson was born in 1958 to African-American working-class parents. At a young age, as a member of Jackson 5, Michael stunned audiences with his “ability to convey complex emotions”, and would continue to do so with his solo career that would propel him to unimaginable fame (“Michael Jackson Biography.”). He garnered many awards, and much praise for his work in the late 70s and early 80s; but he became a target for a new kind of attention in the late 1980s when controversy surfaced about his strange behaviour, his experimentation with plastic surgery due to burns he had suffered while filming a commercial, and whether or not he was deliberately lightening his skin (“Michael Jackson Biography.”). The decline of Jackson’s career began in the 90s, when more controversy surfaced, this time concerning child sexual harassment allegations, more eccentric behaviour, loss of finances, etc. Michael’s life was then cut short in 2009, when he suffered a heart-attack, brought on by a lethal combination of drugs, something that would later be ruled a homicide.

Although the 90s were not a good time for Michael, he continued to remain active in the music industry, releasing Dangerous and HIStory: Past, Present and Future Book I (“Michael Jackson Biography.”). Both these albums saw Jackson become more vocal about social and political issues through his lyrics and music videos, but the latter album more so. He became a voice for an array of issues, from the environment, to war and AIDS; but he also acted on things he believed in, such as giving aid to his country after 9/11 through charity and concerts, and helping Sarajevo during times of war by doing the same (Anderson). He also became a voice for race relations, and was important to African-Americans. He broke down racial barriers, becoming one of the first African-American global icons (Alban). Even amid the controversy of his skin becoming lighter (which turns out to have been the result of the skin condition vitiligo) - a sign for many that he was trying to erase his blackness or heritage- he still remained extremely important to African-Americans, because “his work was always in conversation with black culture both in the United States and more globally” (Alban), which served as a voice for the black community around the world. A song in particular that displayed such passion and awareness from Michael, is the song “They Don’t Care About Us”, off of his HIStory: Past, Present and Future Book I 1995 album. The song speaks about the injustice and violence that African-Americans face(d) at the hands of law enforcement, the American government and judicial system. Although one would usually not think of Michael’s music as “heavy”, this song is different from Michael’s usual upbeat dance songs or beautiful ballads. Its powerful beat and angry vocal delivery, make it sound “heavy”, and more importantly, if “heavy” is defined as being important or serious in nature, the lyrics can also be seen as such, since they deal with the delicate issues of racial violence and mass incarceration. These issues are still present in society today, and are in fact on the rise since the 1990s (Kyriacou) (N. Smith). This is not just the case for the United States, but also other countries, like Brazil (Alves 231). The recent and growing violence and murder of black men has therefore led to the formation of the group Black Lives Matter (“About the Black Lives Matter Network.”), who has used “They Don’t Care About Us” at protests in different countries (Caulderwood) (Kyriacou). Groups like Black Lives Matter feel frustration, anger and passion because of what is happening, and so did Michael when he wrote and sang the song. Part of the reason why this song remains timeless, and why groups like Black Lives Matter might feel it’s useful, is because both Michael’s use of heavy lyrics and sound to convey shared and potent emotions, along with ambiguous lyrics, contribute to the feeling of unification and strengthening of the protesters, and anyone else active in anti-black racism movements.

There are three different versions to the song, the original recorded version, the Brazil music video version, and the prison music video version; they are all quite similar, except for the length and some added or omitted sounds. In the Brazil version, the song starts off with collective chants and claps from girls saying “all I wanna say is that they don’t really care about us”. This is proceeded by sounds that can be described as stretched out and distorted, which lead the listener into the meat of the song: a pattern of orderly beats that continue throughout the whole song, where emphasis is placed on the middle beat. These beats that mimic clapping provide the structure to the way Michael choppily and coarsely sings some of the lyrics, as if each middle word is a punch, perhaps indicating or mimicking the violence of which the song speaks about. For example, in the opening lyrics (which get repeated), “skin head, dead head/everybody gone bad”, emphasis is placed on “dead” and “gone”. These two words are of course significant, both synonyms for each other, meaning something no longer exists, which would be the worst-case scenario for a violent situation between a citizen and member of law enforcement. Although there is only emphasis on some words, which give off that punchy feeling, the whole tone of the song is angry and Michael sounds aggravated, almost spitting and growling the lyrics, even yelling at some points. At the 0:31 mark, a police scanner can be heard in the background; and at the 1:08 and 1:11 mark, a distorted sound breaks through. Starting at the 0:52 mark, when Michael sings “all I wanna say is that they don’t really care about us”, melancholic music is heard in the background, and this becomes the case each time these lines are sung. This music becomes more prominent starting at the 1:24 mark, and at the 2:09 mark it plays for the remainder of the song. Both at the 1:33 and 2:04 marks Michael screams, and at 2:57 sonic chaos ensues: a blast of sound is heard, along with screaming, distorted guitar playing, and rapid keyboard playing. At the 3:43 mark, there is collective singing and clapping. At 4:19 more guitar playing is heard; and at 4:37, Michael screams one last time to finish off the song. While most of the lyrics contain the word “me”, they also contain the word “us”; and although “me” would refer to Michael since he wrote the song, “me” can actually refer to anyone since anyone can sing the song. Perhaps Michael intended to personalize the lyrics for everyone who felt like they could relate. Using both singular and plural forms, allows a single person to feel like they are part of a collective, and not the only one feeling a particular way. Essentially, since the lyrics remain ambiguous, almost anyone who feels like they’re a victim can sing the song and feel connected to anyone else who feels victimized.

Michael felt growing racial tension in 90s, both because of what was going on around him and his own experience. Michael was a victim throughout much of his life for many different reasons, one of them being the controversy surrounding his lightened skin. And so he too was attacked, in some form or other, because of the colour of his skin, much like Rodney King was in 1991. Four white Los Angeles police officers severely beat Rodney- a black man, striking him about 50 times, nearly killing him, and used racial slurs in the process. The acquittal of the police officers by an all-white jury, and the violence itself, caused many riots in Los Angeles; eventually, two of the police officers were found guilty and sentenced (“Rodney King dead at 47.”). This event is believed to have inspired Michael Jackson to write “They Don’t Care About Us” (Anderson), since it was released four years after the incident, and part of the footage of the beating is featured in the song’s prison version music video. The prison video came out after the original video, which was filmed by Spike Lee in a favela (meaning “slum” in Portuguese [“Favela- definition.”]) in Rio de Janeiro, Brazil (“Michael Jackson’s 20 Greatest Videos: The Stories Behind the Vision.”). But much like everything else in Jackson’s later life, it generated its own controversy. Many Brazilians, politicians, representatives, etc., said that having the video filmed there would “damage the city’s image”, because it would be “show[ing] the bad side [of Rio]” (Schemo). But it would end up having a much more positive effect. The filming of the video brought excitement to the lives of the residents, and some much needed publicity (Schemo). After the filming, the conditions of the favela started to improve, the “[drug dealers disappeared and] a massive social project [began]”, and this is mostly credited to the publicity that Michael Jackson provided (“Michael Jackson’s 20 Greatest Videos: The Stories Behind the Vision.”). The song’s tie to Brazil is much more important than a music video though. Some residents were right in saying that what the government really didn’t want was for people to see the conditions in which favela residents lived in, one resident saying that “they really don’t care about us” (Schemo). Therefore the residents of the favela were able to relate to the song then, and black residents in particular, are now able to do so even more. Brazil, like the United States, has always had a problem with black men and women being targets for police brutality and mass incarceration (Alves 230-231) (Chaney 481). But in recent years, it has gotten worse. The black prison population in Brazil, as of 2012, stood at 53 percent, and 60.48 percent of women placed behind bars are black (Alves 231-232). Brazil’s Black Movement, which perhaps can be seen as Brazil’s own kind of Black Lives Matter, has said that “police violence is one of the primary threats facing the black Brazilian community today” (C. Smith), and according to a study, Brazilian “men of African descent with the darkest skin, are 2.4 times more likely to be victims of police abuse than any other subset of the population across the country” (C. Smith). As can be seen, the statistics stack up to prove how disproportionate the numbers are, meaning blacks in Brazil must be racially profiled. Brazilian “black activists have identified permanent violence against blacks as an essential dimension of Brazil’s regime of exclusionary citizenship” (Alves 231). This brings to mind the situation in the United States whereby wrongfully imprisoning blacks allows for them to be criminalized, and therefore stripped of their rights and treated as second-class citizens (Alexander 12-13). Michelle Alexander states that “one in three African-American men will serve time in prison if current trends continue” (Alexander 9), a staggering amount which shows how urgent and important this issue is. Alexander argues that since the judicial and legal system allow for people to be denied their rights once they are convicted, and since blacks are more likely to serve time, and/or are wrongfully imprisoned, this system serves as “the New Jim Crow” (Alexander 12-13). And mass incarceration is not the only thing that elicits Jim Crow era times; police violence towards blacks is also reminiscent of the era (N. Smith). Where public lynching, beatings and general violence towards blacks was frequent during the 1960s, young black men killed by American police has climbed to its highest rate in 2015 (Kyriacou). Again, the beating of Rodney King in 1991, was largely what inspired Michael to write “They Don’t Care About Us”; but that was just one instance of violence between blacks and white law enforcement officers, as the War on Drugs in the 80s and 90s put a lot of police officers on high alert for black offenders. The War on Drugs saw drug-related arrests and convictions rise, most importantly in the black community, and it was the War on Drugs that made prison inmate numbers drastically increase (Alexander 6), implying that the mass incarceration of blacks is largely due to the War on Drugs. Many theorists and activists liken this War on Drugs, and the violence that accompanies it, to genocide. They do so because they believe it is a government plan to get rid of the black community (Alexander 5-6). For example, crack-cocaine was the drug that ran rampant in inner-city black neighborhoods during these times, and in 1998, the CIA admitted to allowing illegal drugs to be smuggled into the United States (Alexander 6). So if the government was allowing drugs that they knew were making their way, largely into black communities, who is to say it was not on purpose so that blacks could be arrested and prosecuted? The police violence itself towards the black community today, and the poverty- that a long history of racial discrimination and segregation has created- that plagues the black community, have also been compared to genocide (“About the Black Lives Matter Network.”). In fact, the Brazilian Black Movement also calls police violence towards blacks, a form of genocide as well (C. Smith). Perhaps this is why Michael Jackson uses the controversial lyrics “Jew me/kike me” in his song: to liken the experience of racial discrimination the Jews faced upon immigrating to the United States (Pearson), to that of blacks. And he could have been likening the experience of Jews who have experienced genocide, to the genocidal conditions that blacks experienced when they were (and still are) killed and imprisoned based on the colour of their skin. While extreme, the derogatory term elicits the slurs that are used to refer to blacks, thus bringing to attention what is going on in the black community.  As has been shown, the experiences that the American black community faces are not solely unique to them; the Brazilian black community deals with very similar issues. By having filmed the music video in Brazil, particularly in a favela, a place where the residents feel like they’re not cared about, Michael unites the Brazilian black community with the American one, at the same time bringing to light these issues that both communities face. And once again, the ambiguous lyrics that do not specify place, time or anything else of the matter, allow both Brazilians and Americans to make themselves the subject of the song, thus uniting themselves. The expressing of this shared experience is facilitated through the use of heavy lyrics and sound. It doesn’t need to sound like a typical pop song to be liked, because its purpose is to be heard, and to transmit a message, which it does perfectly, or else it would not be listened to, much less used for political and civil rights reasons. When the song plays at Black Lives Matter protests, they can be sure that they will be heard, with the songs heavy drum beat that also helps to rile up the protesters. Although there have been no known instances of black Brazilians using the song, they are still connected to it through the music video, a connection that will remain eternal, in the hearts of the Brazilians who were there for the filming, and through the preservation of the music video. The song thus comes to represent a connection between targeted black communities, and the fight that will not stop until justice is served and these issues no longer exist. The song itself through its sounds and lyrics also represents and portrays the violence the black community has to, and has endured. The sounds heard are not soothing, and can be said to “assault” the ears; perhaps reflecting the literal assault that occurs when a blow or gun shot is delivered to the body of a black person. This feature makes people who hear the song pay attention to it, hopefully getting them to listen to the lyrics, which include several words that denote violence, such as “dead”, “shot”, “beat”, “kill”, “kick”, “hit”, etc., along with Jackson’s use of the onomatopoeia “bang bang” to mimic a gun shot. All this is used to paint a graphic picture, one that is very real to the black community of Brazil and America, who through this song can unite, fight and come out stronger than if they were not united.

Ultimately, through the display of growing violence and injustices that the black community faces in places like Brazil and the United States, the title of Michael Jackson’s song is confirmed. It seems that if they did care, the problems that Michael Jackson sang about in the 1990s would no longer be a problem today in the 21st century, or at the very least, there would be a stronger effort from the government and law enforcement to aid in the curtailment of them, instead of contributing to the worsening of them. For now, Michael’s song will have to serve as a reminder, and as a tool to keep fighting.

[viralnewstime]

Shaggy (real name Orville Burrell) could be the most enduringly important artist to emerge from the ’90s – his reggae-fusion now a global movement and spawning yet other dancehall hybrids.

The Kingston, Jamaica deejay/MC/singer – who, having relocated to New York in his teens, served as a US Marine in the Gulf War – broke out nearly three decades ago with 1993’s dancehall cover of the Folkes Brothers’ ska staple ‘Oh Carolina’. Two years on, he crossed over internationally with Boombastic, which, aside from entailing that popular title-track, won the Grammy for Best Reggae Album. However, Shaggy became a superstar in 2000 following his fifth album, Hot Shot, home to the hits ‘It Wasn’t Me’, ‘Angel’ and ‘Luv Me, Luv Me’ (originally cut as a duet with Janet Jackson for the How Stella Got Her Groove Back soundtrack). He’ll commemorate the LP’s 20th anniversary.

Shaggy has defied reductive mainstream media perceptions of him as a fluke or novelty act. Indeed, he’s released some of his most credible music in the 2010s. Shaggy connected with dub legends Sly & Robbie for 2013’s Out Of Many, One Music, describing it as “a pure, all-reggae album”. In 2018, he and the former Police frontman Sting aired the Caribbean-inspired 44/876 – which entered the UK Top 10 and landed him another Grammy (last month Shaggy appeared at his friend’s Rainforest Fund 30th Anniversary Concert, We’ll Be Together, in NY). In 2019, Shaggy presented Wah Gwaan?! (“what’s goin’ on?”). This time, he delved into personal topics, ruminating on a difficult relationship with his mother (and parenting) on ‘Wrong Room’.

Shaggy continues to vibe with contemporary urban, dance and pop figures, from Major Lazer to Kylie Minogue. Recently, Shaggy inadvertently caused online drama in revealing that he declined an opportunity to contribute to Rihanna’s upcoming dancehall album, reported to have had input from a who’s who of the scene. Characteristically gracious and open, Shaggy told the UK tabloid Daily Star that the Barbadian phenom’s team “approached” him to submit ideas – but he works differently. “There’s a lot of great people involved but for me I didn’t need to audition to be on the record, I’ll leave that to younger guys.” Poor Shaggy raised the ire of Rihanna’s Navy and was even a talk show topic. (The details were later disputed by an anonymous representative.)

Curiously, speaking to Music Feeds in the same timeframe, Shaggy cites schedules as the issue – while expressing his own enthusiasm for what should be a classic RiRi album. He also talks of being an early Cardi B champion and bonding with his oldest offspring, Richard Burrell, better known as the Florida cloud rapper Robb Bank$.

Shaggy has a formidable reputation as a live performer, impressing the late James Brown himself. In fact, he went viral when booked for 2017’s Glastonbury. Last in Australia five years back, Shaggy is finally returning for a co-headlining tour with Sean Paul of ‘Get Busy’ fame, hitting the Gold Coast’s sold-out One Love Festival and national side-shows – band in tow.

Music Feeds: You have a great relationship with Australia because you’ve recorded with Merril Bainbridge and Kylie Minogue.

Shaggy: Well, if we wanna go a little further, we got Faydee also, with [‘Habibi] (I Need Your Love)’, who’s also Australian. So, you know what, I’ve had a great relationship – you’re absolutely right. It’s one of the places that I’ve always had a really good reception every time we’ve gone. I remember doing the Rumba festivals. I remember doing a couple of these [Raggamuffin] festivals over the years. And I remember actually coming and doing my own solo tours in Australia. It’s always been great; always been good. I wish we’d come back a little bit more often, but I think it’s just how far it is that makes it really difficult and expensive at times. But it’s cool to be coming back in a setting like this; where it’s cool with me and Sean [Paul] and the gang.

MF: Of course, Sean blew up after you. What kind of relationship have you cultivated over the years – because I’m sure your paths are always crossing?

S: I mean, hey, we cool. We both live in Jamaica and we don’t live very far from each other. We have a very cordial relationship, him and I. I’m not gonna say that we hang out and make music together, but there’s times that he might call me… I called him on the birth of his son and had a conversation. He might call me… I remember I did an interview on [the US morning radio show] The Breakfast Club and it got really personal about a bunch of stuff and he kinda called me on that. It was like, “Yo, dude, I watched that – it was mad deep” and stuff like that.

Yeah, we do correspond and stuff like that. We’ve just never gotten to this whole thing where we’re gonna work together – ’cause he was like my rival and I was like his rival to a lot of people, so there’s always a bit of a friendly competition there. But just him and me together, we’ve always been good. And, yes, coming on this tour is gonna be really, really cool – it’s all linking up. There’s people in his band that are friends of mine and people in my band that are friends of his. Jamaica’s really small, man (laughs). So we’re all cool!

MF: You had an album, Wah Gwaan?!, in 2019. What can you tell us about it?

S: You know what? It’s an album I was supposed to put out a year before. I was all set and ready to go and then Sting and I just bunched in and we ended up doing this whole 44/876 album and kind of shelving that [other] album for a minute. And, once we were finished touring for 44/876, and it came around, the label was pressing me here, “You’ve gotta put this album out.” I went back in and redid it, and I did probably around 80 per cent of it over – and I did it in a relatively quick time. I would say I wrote all the lyrics in about six days and then ended up just doing a bunch of new songs.

When I was done with it, I was pretty pleased. I showed it to the A&R at 300 [Entertainment]. He came in and listened to it and he came to me and says, “I love this – it’s even better than what you had before.” I was like, “Wow, OK.” I didn’t expect that he would go with it because I did it so quickly. He thought it was great and we just went ahead.

But it was my last album on [300], so I knew it was gonna be a tough one. It’s hard to get record companies to give that 110 per cent on records when they don’t have an option. So it’s just part of their whole thing.

MF: Why did you re-record it? Were you just sick of the material – or were you in a different headspace?

S: No, I was just in a different place. It was a year where I was just in a whole different place.

MF: The album with Sting actually had a huge push down here, but it did really surprise people. What did you make of the response? Did you get a kick out of the fact that people didn’t expect that project?

S: Yeah, that’s kinda why we did it! We did it because Sting and I have one thing in common: we’re both allergic to boredom. We wanted to do something that was a bit unique and really would not look right on paper, but we knew it worked really well together. We knew that before everybody else, so we literary were just in everybody’s face until they got to know what we knew.

MF: You recognised Cardi B’s talent when she was just coming up and put her on a remix of ‘Boom Boom!!!’; Popcaan as well. What did you see in her at that time? Do you stay in touch?

S: Yeah, nah, nah. I saw her at the Grammys recently and we stopped and chatted for a bit. I’m cool with her. But, when she came to me, she was brought to me by a friend of mine; he brought her in. She had not had ‘Bodak Yellow’ or anything like that. But she was on [the reality show] Love & Hip Hop [New York] at the time and just had crazy bars, just the way she spit was dope, her personality was wild – you know, you meet her and she just fills the room up. And those are the things that I look for. I was like, “Yo, I wanna do a record with her” and actually did the record with her and Popcaan. I put Popcaan on it and it was a big vibe. But then the thing kinda went south in a way because Popcaan didn’t like some of the content that she’d said – and it just got really bad. So I just put the record out there and then hell hit. It was crazy. I mean, I wanted to go as far as doing a video and all that, but it got a little toxic afterwards – on no part of hers; it was just Popcaan had some issues.

MF: Rihanna’s working on a reggae album – a pure reggae album. There’s a remix of her ‘Umbrella’ with you online – I’m not sure if it’s official! But I wondered if you would ever work with her on that; if you’ve ever even had exchanges about a full collaboration?

S: I know a couple of people that have collaborated on this new dancehall album she’s doing. I was asked to collaborate on it; I haven’t gotten around to it. I know her A&R very well. But there’s a lot of things that I’m doing at the same time. When the situation presents itself the right way, then I probably will do it. But I know a lot of people who are collaborating on that album and they’re stellar people; people who I know are really great songwriters and great musicians in the dancehall field and I think they’re gonna do it incredibly well.

MF: That’s intriguing. There are so many rumours about this album floating around – I can’t wait ’til I hear it. But it’d be great if you worked together.

S: It’s gonna be good; it’s really great… Demarco [who remixed Rihanna’s ‘Rude Boy’] is one of those artists that’s on it. He’s one of the top dancehall producers and a songwriter and he has a couple of songs on there. There are a couple of people who I know that are really, really strong people that are on there.

MF: Your son Robb Bank$ is doing hip-hop – cloud rap, experimental hip-hop. Are you a fan of the music he does? Have you given him advice – if he even takes advice?

S: Yeah, I spoke to him last night, funny enough. The thing about him – he’s passionate about the music itself. Recently he spoke to me about doing some dancehall and collaborating with some dancehall artists here and there. He works out of my studio in NY as well as in Miami. It’s where his passion lies, man.

I introduced him to hip-hop music – the Biggie album [The Notorious BIG’s Ready To Die] was an album that he loved, it was one of his favourites. I used to play it a lot. He knew everything about hip-hop music; not just doing the music but knew about the culture of it and knew about the history of it. That’s what I really love about him.

It’s all urban music at the end of the day. He’s really strong with his Jamaican roots. He’s been coming to Jamaica every year since he was born…. So he’s very much intertwined with the culture, but he’s just doing hip-hop. He likes hip-hop, he likes the vibe of it and the energy – and I love it, too. I listen to a lot of stuff he does.

–

Shaggy and Sean Paul’s Australian tour kicks off next week. Dates below. 

Shaggy & Sean Paul 2020 Australian TourWith special guest Josh Wawa

Wednesday, 29th January Sidney Myer Music Bowl, Melbourne Tickets: MJR Presents

Friday, 31st January Hordern Pavilion, Sydney Tickets: MJR Presents

Sunday, 2nd February Perth Convention Centre, Perth Tickets: MJR Presents

The post “I’m Allergic To Boredom”: Shaggy On The Art Of Doing Things That People Won’t Expect appeared first on Music Feeds.

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