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luwukass · 8 months

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OKAY TRACKLIST BREAKDOWN!!!!

so i have now had breakfast and coffee and my brain is on and FUNCTIONING lets get into this

putting a break here incase youre scrolling and dont wanna read all of this lol

so first things first i was watching tiktok and people were making a big deal about how its split up into sides similarly to midnights now i do believe that taylor posted the back cover of the vinyl and that the cd will be different but i could be wrong. even if it is split up like this on purpose on every physical copy this does mean that it is a two LP album instead of one like midnights

one vinyl (both sides) can hold up to 44 minutes of music on it so we can roughly estimate that the full album will be about an hour and a half long now if each side is 22 minutes long each track on side a, b and c should be about (if each song is in equal length) 5 and a half minutes long. side d has 5 songs on it so some of those might be short to fit in the manuscript

i have also seen people compare this back cover to the back cover of lover which is absolutely breaking my heart and im sure thats not gonna be the last lover comparison i see about this album

okay so lets dive into this track by track

SIDE A

track one: Fortnight (feat Post Malone)

okay so first of all this is obviously not a reference to fortnite the video game but i think all of those jokes are funny as hell. the fortnight shes talking about here is a reference to the measurement of time as seen down below google states that fortnight is a british term for two weeks.

according to wikipedia fortnight is derived from the old english term fēowertiene niht, meaning "fourteen nights".

now onto post malone i actually listen to some of his music from time to time. he mostly does do rap but his most recent album austin (which is coincidentally also taylors brothers name, but is also post malones real name) is listed on google as alternative rock, indie pop and synth-pop. so im unsure of what vibe post will bring to the track. i think its also surprising she placed one of the two collabs as the opening track. i think the vibe for this track will probably be either a story about what happened in a certain two week period or about what is going to happen in two weeks from the songs time standpoint (if that makes sense lol)

track two: The Tortured Poets Department

A TITLE TRACK!!!! now obviously we dont know much about the album yet so we cant really try and figure out what the title track will be about so im just gonna do a little yippee for having a title track

track three: My Boy Only Breaks His Favorite Toys

this is a Whole fucking title good lord the only thing that really comes to mind when i think of this title is the lyric in better than revenge where she says “soon shes gonna find stealing other peoples toys on the playground wont make you many friends” which is if im not forgetting anything the only lyric as of now where she’s referred to being someones partner as someones “toy” but that lyric itself is a metaphor for relationships being playing on a playground. this will probably be a sad or angry song about how her ‘boy’ goes around breaking/hurting his favorite ‘toy’ aka taylor

track four: Down Bad

okay now down bad if you dont know is a slang term to describe how badly you have fallen for someone (mostly used in a more sexual nature in my experience than romantic) so this song will probably be about how badly she is for the love interest of the song

SIDE B

track five: So Long, London

alright new track five lets go! so this is obviously seeming to be a reference to track 11 on lover, london boy. now like taylor said when she announced it this album has been a secret for two years so we dont know when these songs were written or who they are about but i feel like it is safe to say this song and most of the other will be about said london boy [i personally do not care who a song is about and it is not taylors job to tell us who a song is about and that isnt the point of her music, but i will be commenting on the joe breakup bc that seems to be a large idea of this album so far] i can see this probably being about the break up and possibly sampling some music from london boy like she did with cornelia street and youre losing me

track six: But Daddy I Love Him

okay so the first thing i thought of when i read this track title is the scene from the little mermaid where ariel is fighting with her dad over the eric statue and im gonna be honest i dont remember the plot points in order of this movie BUT i do remember when taylor dressed up as ariel for her new years party in 2019. so given what we know this will probably be a song about maybe her fighting/arguing with her dad over how much she loves the love interest of the song regardless of who he is/how he treats her

track seven: Fresh Out The Slammer

okay so im not sure what this song will be about bc i dont think taylor has ever been to jail before so it would probably be metaphorical type of “im back bitches” type of song im assuming this might be a bass heavy maybe more rock leaning song and if it is a “im back bitches” it might be about the amount of time she was single for with the ‘slammer’ being her old relationship

track eight: Florida!!! (feat Florence and the Machine)

alright so as we all know this album has been in the works at least for two years but we dont know when each song was written so take this with a grain of salt but the tampa eras tour shows were the first shows after the news of the joe breakup dropped. so this song might be about her feelings during those shows. for those that want to know these were the surprise songs for the tampa shows in order.

night one: speak now and treacherous

night two: the great war and youre on your own kid

night three: mad woman and mean

SIDE C

track nine: Guilty as Sin?

okay so my main curiosity about this track is the question mark in the title because guilty as sin isnt much of a thought provoking title to me but that fact that its a question is interesting. the current vibes im getting are that this might be a more sexy song? but i have no idea here

track ten: Who’s Afraid of Little Old Me?

okay so THIS is giving big taunting energy like “aww who would ever be afraid of little ol me 🥺 youre afraid of me?” which im Hoping thats what the vibes are bc that would HIT but i can also see it being completely different as well

track eleven: I Can Fix Him (No Really I Can)

oh my GOD this one sounds like its gonna be sad. so this is obviously a reference to the common seen online phrase “i can/could fix him” which as ive seen is normally used towards people who are attracted to hot fictional characters that usually have a lot of emotional baggage or are villains (i saw it a lot when ballad of songbirds and snakes came out about young snow) so this song will probably be about her promising that she Can fix him and really will despite ‘him’ being broken or maybe even possibly a bad partner

track twelve: loml

so i saw and rb a post earlier about how its very interesting that this is already an acronym which i completely agree with because taylor knows we are no strangers to turning her song titles into acronyms. so loml does usually mean love of my life but i think because its already an acronym it might be something different (i saw someone earlier say it might be loss of my life instead of love)

SIDE D

track thirteen: I Can Do It With a Broken Heart

this one i think will kill me personally. i think this one will probably be about her continuing to go on with life (and possibly the eras tour) post joe break up i think this one will either be a sad song or a light beat ‘picking myself up on my feet’ song

track fourteen: The Smallest Man Who Ever Lived

this has so many implications but personally i think the interpretation shes gonna use for this song will be about how the said man is small emotionally and just as a person (i doubt she will talk about physical shortness in height or other areas)

track fifteen: The Alchemy

now im gonna be so real here i have no idea what this one will be about google says that alchemy is an older version of chemistry so maybe she will talk about the chemistry or alchemy she has in her relationships?

track sixteen: Clara Bow

alright Clara Bow! okay so i dont know much about old hollywood so i am NOT the person to deep dive into what this song will be about but all i do know about her is that she was The “It” girl of the silent film era so im assuming this song will probably be like the lucky one and talk about the rise to stardom and being the Biggest Star Of The Time

track seventeen(bonus track): The Manuscript

alright so after looking at the definition of a manuscript this is the PERFECT bonus track?!!?!?! so a manuscript is normally a piece of work that is written or typed out but isnt officially published which is just genius for having it be a bonus track that probably wont be on streaming (if not for a long time) i have no idea what itll be about but i love that mastermind

that’s pretty much all of my thoughts as of currently PLEASE let me know what yall think and what theories yall have for this album i am SO excited for april 19th 💕

#my posts 💕#taylor swift #swiftie #swifties #taylor swift theories #clowning 🤡#ttpd #the tortured poets department

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mysadblacksoul · 4 months

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Let's talk about Clancy, eh? (plus the livestream)

So I'm watching the livestream (the vod) and I decided to share my opinions about each songs!

without the first 4 singles

But tbh I think I'm an Overcompensate girly, that before hearing the rest of this album this is my top 1

With Backslide as a close second

Wait why should I increase my volume

Oh that's why

It was a trap

Okay Midwest Indigo, let's go I'm so ready

What an outfit Mr Joseph

Omg it's so bouncy

JIM

JENNA

I love the shouty lyrics

This MV is so goofy what the hell

Okay so it's so happy, so funky I love it!

The drums make want to do a lil dance

Hope the next one won't be sad

Yes Tyler, this song will go so hard live, I agree

And yes, put Josh on the mic!

Routines In The Night everybody

Oh so it's the rap one?

It's much less bouncy, but I can still tap my leg to it so I'm fine

You think that this is like the sister song to Ode To Sleep?

The chorous is so catchy what the hell

Yes! Give me those adlibs!

The dances, the visuals, the face card that never declines

What is he eating for Lord's sake

I can't pay attention to the songs when every time one ends those fools pop up on my screen again lol

"not every video is gonna be lore based" my ass

Wait so Routines is not lore oriented? But I see so many references :((((((

Vingette!

So it's a crowd's favourite? Aight

Oh it sound so nostalgic

More rap? okay, okay

Omg the vocals????

It's so different, like I can't predict where are we going with the beat

The bridge is so out of place but so in place???

What is going on

No but I see why they like it, for sure

God I love all the Joshes in the MVs

So Jenna's version will have another MV?

Sounds fun!

Oh it's soft version

So this is a fanmade mv for Jenna, how cute

No for real it is emotional, but in the best way possible

This version is filled with so much love, I can't even explain

The flashbacks to the young dudes? I might cry too

Yeah I se the vision. Like The Craving does feel more "right" played on the ukulele. It gives it much more emotion!

Now you just bully him lol. Tyler has two hands to hold two ukuleles, this is lore guys

Lavish whoo!

Before we start why the hell is the title of this song the only one written in different font in the lyric sheet in the CD, huh?

O damn man in black, get it I guess

The vocals are so dreamy, so different

Another leg mover

Why all of this songs are so catchy are you putting crack in it or what

It's also very chill so far

I also really like the use of the strings, it makes the song more full!

It kind of sounds like a movie soundtrack? Or is it just the MV that makes it feel this way

The silliest MV so far lmao

And seeing the amount of work that went into it makes it even better

And now Navigating!

I have to stop myself from looking for lore

I'm 3 seconds in, why it already sounds like a bop

This might be my new favourite song from this album

The electric guitar? With the synth? 11/10

The chorous is so amazing, simply

Will the bridge be sad or will he scream

Oh come through with this bass

JOSH ISN'T REAL THEORY WHAT THE ACTUAL FUCK ARE WE IN THE FOREST FIC

Where did he go irl lmao

No for real it might be my favourite now, sorry Overcompensate

The Bandito one is the real one, write that down

NO I THINK I JUST GOT IT, THE WHOLE LORE MAKES SO MUCH SENSE NOW

What the hell Tyler, we have such a different taste then

Snap Back let's go!

What is going on

I'm like a second in

Oh no, it's broken

Instead of Snap Back premiere we have the premiere of Next Semester (ukulele version)

I'm not mad at all

Okay, let's go for real this time

Oh it's so dreamy

So this is the MV with head shaving lmao

BACKSLIDE, I heard that everyone

The drums are really shining on that song

And I love the contrast between low tone verses and more melodic, high alibs in chorous

The bridge seems sad I fear

Or are we picking up the tempo?

Nah we are putting more adlibs now!

Even better

Oldies station better be nostalgic

And quick question before we start, what the hell did you do to Josh?

Is this ballad?

Soft, fun and with funky vocals!

The lyrics are so beautiful, god

Omg Josh lmao

What a contrast to the song lol

Oh we are switching

I don't know how to justify it, but it feels like such a twenty one pilots song

Like it just makes sense for them to make it

I really like it

Honestly At The Risk Of Feeling Dumb sounds silly from the start

So is the MV

I really like the rollercoaster of the vocals. They are kind of all over the place, but still makes a lot of sense

It's the beat drop on the "drop"

Oh rap some more sure!

Why does he want to fight in every MV

Very fun, very chill and then you have the post chorous that are hard hitting

Love the contrast

Am I crazy or did they use kalimba in the end? I might be wrong tho

That's so sad that we are already finishing

One last track

Paladin Strait whoo!

I'm afraid that this one will be the sad one

The tears producer

The heart clencher

The ukulele strikes back

Love those low vocals

It's a song to sway this time

The drums strikes back

I don't know why it kind of sounds like the end of the western movie. Like after the good ending the cowboy is walking towards the sun, you see my vision?

This song is full of hope, so amazing

God the lyrics sounds like Clancy is finaly free

I might cry

It sounds like good ending to the trilogy

So it feels like a scam

It's too good to be true

But I don't know, maybe after all the ending of this story is good for all of us

What, is the silence in the official audio or is it just the end of the livestream

NO WAIT THERE IS MORE

wait guys no

FPE?????

WHO THE HELL

IS IT BLURRY

WHAT THE HELL

Now I need the MV to see what the hell is going on

The End

Nah, I'm not leaving you like this

I still think that Navigating is my fav from the new songs

But I'm gonna go listen to the album some more and then decide for sure

It's a good mix of everything, very twenty one pilots style

I just wished for more rage and screaming, but we need to be calm sometimes, I get it

There isn't a song that I don't like, that's for sure

So yeah! This are my feelings, thoughts (and prayers)

Give me your favourite song in the comments!

#band #emo bands #emo #emo quartet #twenty øne piløts #twenty one pilots #tyler joseph #josh dun #skeleton clique #tøp clique #clique as frick #twenty one pilots clancy #clancy

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artstar1997 · 7 months

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Finally, I finished the Snack Pack for the Hidden AU, which me and @georgi-girl are working on. It is filled with references from Disney Wish, Sleeping Beauty, Nimona, Disenchantment, Asterix and Obelix, Lego Nexo Knights, the Middle Ages, and the Renaissance, from the fashion and the architecture to the culture and the events happening in the story. Centering on the three protagonists, the refugee/royal ward from the pop tribe who was adopted by Queen Celestia, Princess Poppy, her best friend Queen Rose, the new queen of the Platinum Tribe and the late queen's granddaughter, and her fellow pop tribe refugee/royal ward Branch, the trio of best friends and their merry band set on a journey to search for the Pop Tribe and unite the troll tribes and subtribes but helped the five troll tribes, the vacaytioners, and the rageons along the way.

Since Poppy and Rose were princesses from the start, they had an expensive education and lived luxuriously together, thanks to their royal status. The Snack Pack were taken in by the Platinum Tribe as royal wards after the separation from the Pop Tribe during the escape from the troll tree so they had destined occupations within the adopted tribe but their pop attitude often gave the nobility and the upper class members of the Platinum tribe headaches. Branch was trained to be a knight among the Platinum knights and was favored by the nobles. Smidge was also trained as a knight but she chose to become a royal bodyguard. DJ Suki took on music lessons as a troubadour and Guy Diamond likes to volunteer as a model for many artists and sculptors. Cooper becomes a royal ward as a newly-hatched trolling and works as a royal baker with Legsly in the royal bakery. Biggie works at the royal stables as a wrangler for prized critters like solions, umbigris, armadillo buses, puffalos, unicorns, canine or feline critters, swag stags, and many more. After the destruction of the old Platinum castle, the Snack Pack members starts their journey to unite all of the tribes and subtribes while looking for the pop tribe.

Here's the weapons that the Snack Pack and their allies use throughout the story:

Queen Poppy: Twin blades Branch: Axe and bow and arrows Queen Rose: Claymore sword and shield DJ Suki: Halberd Guy Diamond (isn't in the battle since he's with Tiny Diamond so he's tending to the injured): Rapier Satin: Double swords Chenille: Crossbow Biggie (tends to the injured): Bow and arrows Smidge: Mace Legsly: Hammer Fuzzbert (tends to the injured) Cooper: Lance Prince Darnell: Floating turntable platform Queen Barb: Double-bladed axe

Billy Reverb: Greatsword Val Thundershock: Katana Holly Darlin’: Pike Hickory: Mace Dante Crescendo: Rapier Linden: Spear Aurora: Bow and arrows Twilight: Swordstaff Synth: Trident

John Dory: Greatsword Spruce: Trident Clay: Double crossbows Floyd: Whip Viva: Spear

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hit-song-showdown · 1 year

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Year-End Poll #73 (The Finale!): 2022

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Glass Animals, Harry Styles, The Kid Laroi, Adele, Ed Sheeran, Jack Harlow, Lotto, Justin Bieber, Kodak Black, Elton John and Dua Lipa. End description]

More information about this blog here

And now we're at the final poll. Much like the previous years, many of the songs featured here are from previous years. This is mostly due to how Billboard calculates their hits and there are other methods of calculating the charts. But since this blog focuses in Billboard, that's the metric we're going with.

It's hard to know for certain which direction pop music is headed at this moment since we're still in it. Depending on how things go, it seems like TikTok is going to continue to be a taste maker when it comes to popular music. This could also account for why pop songs are getting shorter. The "verse chorus verse chorus bridge chorus" format is not set in stone. In fact if you followed this blog since the beginning, you've seen the beginning and rise of this pop song format in the late 1950's.

Also from what I can see, it looks like pop music is taking a more meta direction, with overt influences and references to recent pop music history. This can be seen in both stylistic choices, such as the synth-pop influences in Harry Styles' As It Was, to the way samples are used. Jack Harlow's First Class samples previous poll entry, Fergie's Glamorous, and Latto's Big Energy samples Mariah Carey's Fantasy -- which samples The Tom Tom Club's Genius of Love.

The charts are admittedly in an awkward place right now. I'm looking at the Hot 100 right now and I'm having trouble putting together a narrative (other than "wow, people forgave Morgan Wallen fast lol"). Between the lockdown, shifting tastes and listening habits of audiences, economic factors, and the splintering of the streaming industry, "pop music" doesn't mean the same thing it did fifty years ago. Or even twenty years ago. But between influences from the changing political climates, the rise and fall of different genres, developments in music technology, and the question over the cost of music, the one consistent thing about pop music is that it isn't consistent.

Thank you to everyone who took part in these polls. I'll post a follow-up post shortly wrapping things up and discussing the future of this blog.

#billboard poll #billboard music #tumblr poll #2020s #2020s music #2022 #glass animals #harry styles #the kid laroi #justin bieber #adele #ed sheeran #jack harlow #latto #kodak black #elton john #dua lipa

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singlesablog · 10 months

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A New Cool

“West End Girls" (1985) Pet Shop Boys Parlophone Records (Written by Tennant/Lowe) Highest U.S. Billboard Chart Position – No. 1

There are two lines of thinking concerning the debut pop single for the seminal electronic pop band Pet Shop Boys; one, that the song is atypical of all of the hits they would ultimately create (and are still creating over 30 years later), and the other is that this is their signature song. I am of two minds, that it is at once very them, and conversely not them at all; in some ways their first hit was a makeover of the band, whether by design, or not. It is undeniable that in 1986 it was enormously successful, an evocative ear worm, and that the single introduced the strangely beautiful tenor voice of singer Neil Tennant, and ushered in one of the greatest pop duos ever.

Neil Tennant and Chris Lowe met in a hi-if shop in London on Kings Road in Chelsea in 1981, and discovering a mutual love of electronic music, formed a band. Tennant was at that time an assistant editor at Smash Hits magazine, and Chris a college student studying architecture. Immediately, they began writing songs together in Neil’s bedsitter apartment (which I believe translates as a studio in the US). They signed with American producer Bobby O (who oversaw rather crude Miami-tinged 80s dance music) in 1984/85; together with him they produced for the first time many of the songs that would appear on their debut Please, and the follow-up LP, Actually. “West End Girls” was released in 1985 as a 12” disco version that was much cruder and sparer; it was a minor hit in Europe and a “Screamer of the Week” on the influential 80s radio station WLIR in Long Island, New York (who's djs had a nose for new wave talent). Nevertheless, it sank, and they spent the next year extricating themselves from Bobby O and signing with EMI, relinquishing to him some of the future royalties on many of the soon-to-be famous songs they had already written, including “West End Girls”, “Opportunities”, and “It’s A Sin” (all of which were re-recorded and eventually went top ten in the United States). It would seem that the Imperial phase for any great band must always begin with a lawsuit.

“West End Girls” was re-released by the band in late 1985 in a much different version produced by Stephen Hague, and it immediately conquered the world, selling 1.5 million copies. Where the Bobby O version squawked and squealed and sounded dated even then, this new track slithered on to the airwaves with a newer, more insinuating quality. Rather than a club banger, this was now a highly suggestive track, with droning, floating synths, every effect modulated downward into an expression of cool detachment. It was an important single not only in introducing this idea of bored aloofness from the duo, but also by permanently stamping them with the image. No matter how hard they would try in the future to produce bombast (say, on “It’s a Sin”, a truly bezerk pop hit) they would be forever labeled as sardonic, stand-offish, bored, or sarcastic. These are words that really translated into one idea for me: that they were actually gay, and smart, and therefore happy to play along with any narrative the public chose for them as long as people continued to buy their records. The song’s lyrics, written by former history major Tennant, apparently reference Eliot’s “The Waste Land”, which sounds hilariously high-toned, but for the then 19 year old that first experienced it, it was clearly a coded story of gay boys clubbing on the wrong side of town, because the gay bar is inevitably on the wrong side of town, and that perhaps West End Girls is a clever wink at describing gay men crossing over. On top of all of these suggestions was a very fey British man successfully talk-rapping lyrics (a rap I can to this day successfully recite), telling a story with no obvious conclusion, because, well, you know. It is a coded song about a coded world. And while the Pets didn’t invent the electronic pop song, like couturiers they certainly tailored it to the measure of some very strict gay signifiers, and when I fell in love with the hit (and the band) I was already acquainted with those ideas and understood them instantly. Of course, I did not experience the duo as detached; instead, they were stylistically and artistically brilliant, and their songs were clever, propulsive, and unique.

Please as an album can be examined as a cohesive slice of queer nightlife in the 1980s: escaping to the city (“Two Divided by Zero”, “Suburbia”), sneering at society (“Opportunities”), fighting oppression (“Violence”, “I Want a Lover”), and, finally, reconciling to life and love, whatever that might mean (“Later Tonight”, “Love Comes Quickly”, “Why Don’t We Live Together?”). I am sure “West End Girls” does reference “The Waste Land”, but somehow, just perhaps, Neil, the master of collage, is actually speaking more allusively to the mating habits of the male homosexual circa 1985. Chris Lowe, for his part, made absolute certain that the songs would be played were they belonged, which was in the club, his complete obsession in every way; the electronic sounds he produced are essential to the texture of what Pet Shop Boys ended up doing better than anyone else, which was to document gay lives by dropping clues and signals to fantastic disco music while leaving out the specifics. And this is possibly why the original Bobby O version was so awfully wrong, and not really them: the duo must have discovered that they didn’t need to bang bang bang, that they could be better than that. In fact, they actually didn’t need Bobby O at all; they could conjure up these subtle and delicious scenes all by themselves.

Sadly, Bobby O still got the money. Kind of just like a Pet Shop Boys song, isn’t it?

A little cynical, but true.

*The title of Please, which I always found entertaining, I imagined was a reference to gay men chastising one another with "Oh, Please", or "Girl, Please." This has never been substantiated. Instead, Neil was quoted as saying it was a little joke, so when a customer asked for it, they would be forced to say I would like Pet Shop Boys, Please. Hmmm. Regardless, this would still qualify as a double entendre.

Dropping a hairpin (verb, gay, archaic slang term): to reveal one's sexual preferences by dropping broad hints; thus keep your hairpins up, and maintaining a 'normal' mask.

Who, who wants a cocktail? (“Opportunities (Reprise)”)

Someone spread a rumor. Let’s run away. (“Two Divided By Zero”)

In every city, in every nation, from Lake Geneva to the Finland Station. (“West End Girls”)

You may not always love me I may not care But intuition tells me, baby There's something we could share If we dare, why don't we? (“Why Don’t We Live Together?”)

And you wait 'til later, ‘til later tonight. 'Cause tonight always comes. (“Later Tonight”)

Neil Comes Out

In the early 1990s, Jimmy Somerville, formerly of the very out, gay 80s band Bronski Beat, accused Neil and Chris of Pets Shop Boys of exploiting gay culture for career purposes, and of not putting anything back.

Neil came out officially in 1994, and commenting in print on the matter, said that he resented anyone telling anyone how out they should be, or just what constituted a “contribution” to gay culture:

“I do think that we have contributed, through our music and also through our videos and the general way we’ve presented things, rather a lot to what you might call ‘gay culture’. I could spend several pages discussing the notion of ‘gay culture’, but for the sake of argument, I would just say that we have contributed a lot. And the simple reason for this is that I have written songs from my own point of view…”

He pauses again. “What I’m actually saying is, I am gay, and I have written songs from that point of view. So, I mean, I’m being surprisingly honest with you here, but those are the facts of the matter.”

Having finally got all that off his chest, Neil Tennant pours himself a glass of mineral water and takes his sweatshirt off. He is looking distinctly pink around the gills. Maybe it’s the effect of suddenly admitting that for all these years he has been singing nothing but the truth. Or maybe it’s just the unbearable heat in here. “Well,” he says, in a voice which carries a distinct [air of]‘moving swiftly on’, “what’s your next question?”

Source: Neil Tennant in Attitude Magazine, 1994

#west end girls #pet shop boys #1980s #pop #disco #electronic music #Please #music history

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n0wav · 5 months

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Pinkerton appreciation

HELLO CHATTERS!!!

Today i did what i do on almost a weekly basis, which is to listen to pinkerton. i was in a good mood listening to this very awesome album... UNTIL! i noticed something that somewhat upset me not really but its really interesting.

you see back in the 90s pinkerton wasn't loved as much as blue album because it's messy dark and emo and not silly fun power pop like blue. it wasn't till many years later that pinkerton the the love and appreciation it deserved. Although it isn't nearly as popular as blue, green, or even make believe (really only because of Beverly hills), it is still very loved by weezer fans now.

Today while looking through the deluxe version i realized that "I just through out the love of my dreams" is more popular than any of the songs on the normal non deluxe album. Now don't get me wrong its a really good song (although this cover of the song is kinda better imo :3) and i do really enjoy it, i do feel like its a repeat in history.

now if you don't know what i mean by this repeat in history, i will shift the attention for a short moment to another band, PAVEMENT!!!

one side note i think is funny is that back when weezer started, people called them cheesy pavement rip-offs... just something i remembered!

pavement is an awesome band and they will get another post out of me at some point of me writing on this tumblr blog, but in the mean time... Pavement has always been relatively popular in indie rock circles, but nothing exceeds the popularity they got when harness your hopes blew up like crazy on tiktok, making it their most popular song on streaming services by a very large margin. AND Just like i just threw out the love of my dreams, harness your hopes is also a B-side that randomly got popular from social media.

Don't get me wrong I'm not upset at all, to be honest i don't care that much like it really isn't that deep, i just think its interesting how common this is, where a song from an older band gets big thanks to social media, more specifically tiktok.

The only thing i do wish is that people listened to more of the bands music rather than just listen to the one song they know, but then again i just realized not everyone is as obsessed with music as i am lol.

Back to pinkerton

i LOVE pinkerton, i def like it more than blue album, which isn't much of a hot take since the weezer fandom has been split on which album is better for prolly 2 decades at this point. For me the album is just more up with the kinda music i listen to, while being very different at the same time. the way the album starts with the synth, and you automatically hear the raw and underproduced sound this album has.

aside from the sound, i just personally kinda relate to some of the songs, maybe not the weird parts... but def many of the bit more normal ones.

With tired of sex, I have definitely grown tired of having relationships with people where there's no actual relationship or connection at all. for a long time i really didn't know who i am (weezer reference).

getchoo is hard for me to analyze or related it to anything so i will skip that one (good song tho)

no other one hit pretty hard home for me. i've been in pretty shitty relationships with people who treat me like shit, hence the shittiness, and for some reason i didn't leave because i didn't think i could do any better and that nobody knows me like her, that we're all we got and we don't wanna be alone (weezer reference).

why bother? is me when I'm scared to make relationships and friendships with basically anyone because of my fear that whoever i talk to will eventually not like me and abandon me, to where in my head i will think "why bother? its gonna hurt me. it's gonna kill when they desert me. It's already happened to me twice before. it wont happen to me anymore." (weezer reference)

i only semi relate to across the sea because i've e-dated as a young child on discord.... next song (still a good song)

the good life is me too because i used to be really cool and leave my house a lot and play shows and have lots of friends and just do things that aren't me sitting at home doing nothing being a pig and a dog (weezer reference). it is def time i got back to the good life (weezer reference) But to be fair i don't really want to go back to that time i just wanna be a normal person again.

i don't really relate to el scorcho much but its still an awesome song.

pink triangle is me because I've dated girls who turned out to be a lesbian but trust me i didn't turn them, they were already lesbian before we started dating i don't know why they started dating me maybe because I'm not very masculine so they thought it would be fine. (note that i didn't know they were lesbian till after we would break up)

i put falling for you in a mixtape i made my ex. whenever i would hear that song i would think of her because its how i felt about her. i was afraid of falling for her, but in the end i just wanted to settle down with her (weezer reference)

I don't relate to butterfly either but it is a really really good song

as you can see i really like pinkerton and relate to it very much. it is prolly one of my favorite albums of all time no doubt

this is the end of the post

we love pinkerton

pinkerton is our everything

here's a song rec from the album pinkerton by weezer

thanks for reading my weezer rant! idk what i will post about next but we will see!

Goodbye!!!! :3

#weezer #power pop #noise pop #pavement #say it aint so #blue album #pinkerton #i just threw out the love of my dreams #tired of sex #nerdcore #losercore #Spotify #rivers cuomo

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retropopcult · 1 year

Video

youtube

"Puttin' On the Ritz" is a classic song written by Irving Berlin in 1927. The title derives from the slang expression "to put on the Ritz", meaning to dress very fashionably. This expression was inspired by the opulent Ritz Hotel at the time.

The song received renewed popularity in 1982 when Taco, a Dutch musician, recorded and released a synth-pop cover as a single from his album After Eight. His version musically references other Irving Berlin songs, such as "Always," "There's No Business Like Show Business," "Alexander's Ragtime Band," and "White Christmas." "Broadway Rhythm" from Broadway Melody of 1936 is also referenced.

The single was accompanied by a music video which was popular and went into heavy rotation on MTV. The original version of the video contains characters in blackface and has since been banned from many networks.

Taco’s version was a global hit, reaching No. 1 on the Cash Box chart as well as No. 4 on the Billboard Hot 100, making Irving Berlin (still alive and 95 years old at the time), the oldest ever living songwriter to have one of his compositions enter the top ten. It was certified gold by the RIAA and was ranked No. 53 in VH1's 100 Greatest One Hit Wonders of the 80s.

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analogskullerosis · 2 months

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4, 7, 42 !!!

4. what are you looking forward to?

Going back to school so I can enjoy my first full year as a high school library assistant and do all the fun things I have planned for the year (I started last December so I only got a half year).

I'm also planning on going to a few shows in September. I'm excited to finally get to see Magdalena Bay (a synth-pop duo I've loved for a while now) and I'm catching Electric Light Orchestra one more time in Philadelphia before Jeff Lynne hangs it up. I'm sure there are other things I'm excited for, but that's all that's coming to mind currently.

7. what was your life like last year?

I had just finished earning my master's degree in English Lit, I finally left retail for good (although it would be months before I would start my current job), and was enjoying the summertime. My father was still alive and little did I know that he would be gone in three months. Still strange to think about sometimes. But I was happy then and I'm still relatively happy now! Just some things are different now :)

42. favourite book(s)

Oh jeez! This is a hard one. I don't know if I have a definitive favorite, but I can name a bunch of ones I really love!

The book I've probably re-read the most is The Great Gatsby and it's my go-to example of a breezy story that's just easy to go back to and just holds up well. Very few people can be called "The Voice of Their Generation," but I think F. Scott Fitzgerald really captured the world around him and his specific moment in a way that few others could. I think The Beautiful and Damned also does that really well.

I've always loved J.D. Salinger's Franny and Zooey (to the point where I wrote my undergraduate thesis about it). The way he writes character dialogue is simply unmatched. Most of that book is conversation, but it never feels like it's dragging. You feel like a fly-on-the-wall listening in on two characters talking about heavy stuff that maybe you shouldn't be hearing, but you can't resist. I know Catcher in the Rye has a reputation and stink surrounding around it, but Holden Caufield is such a fully realized character by the end of the second page and his narrative voice just jumps off the page. Salinger's characters have always felt like real people to me and it makes for incredible reading.

Two recent favorites of mine have been Reaper Man and Soul Music by Terry Pratchett, two of the many books in his Discworld series. I love them for different reasons. Reaper Man explores why Death himself feels its important to give a shit about the humans he's tasked with taking to the afterlife ("What can the harvest hope for if not for the care of the reaper man?") Soul Music is just a great demonstration of Pratchett's humor, his ability to weave pop culture and music references seamlessly into his fantasy, and present a fun and heartfelt story that explores what happens when his characters are introduced to something from our world (rock n' roll in Soul Music's case). Terry's "Death" series of Discworld books kept me laughing and kept me going when my dad passed (don't ask me what attracted me to the "Death" series during that time hahaha). Different Seasons by Stephen King has always been one of my favorites (it got me back into reading in tenth grade). I fell in love with "The Shawshank Redemption", really enjoyed "The Body" (which became the movie Stand By Me) and loved the realistic horror of "The Breathing Method." I'm currently knee-deep in his Dark Tower series, but that's one of my favorite King works because the horror is understated and not supernatural based. He uses the four novellas in that work to explore realistic characters and real horrors (prison, how easy it is to fall into fascism, learning about your own mortality, and the fear that comes with difficult pregnancies and the unknown-ness of whether a mother will survive the delivery). I love it! I revisit it every couple years.

I could shoot your ear off about books forever, but I promise I won't do that! :)

Anyhoo! Thanks for submitting some questions! This was fun!

From this post. Feel free to submit a number, if you so choose!

#question #answers #antidecay

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iamnotawomanimagod · 8 months

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what do you expect, want, think H5 will be like? any ideas?

Oh man, so many. None of them are very organized right now, and they're all based off my memory of things H has said/done recently, and rumors online. But here are some of my thoughts!

(Also it's gonna get a little parasocial with a whole lot of speculation.)

I have to shout out some sources here: this one that breaks down all the clues on the formylasttrick website and this one keeping track of the rumors/theories that people have so far and also this one detailing some "insider" rumors about the release of the first single/video

In short:

People are picking up big 70s vibes, references to disappearing, references to magicians/magic tricks, some rabbit hole references, maybe something about Biblically accurate angels, etc.

I've also noticed Halsey referencing some things a lot in their social media posts. Spiders were a theme of the orchestral shows they did at the beginning of 2023 (merch was sold with the phrase "the life of the spider") and H recently posted an Instagram spread that included a photo of a spider on a piano with the caption "me writing." They've also posted more than one photo of herself in wings, specifically butterfly wings and angel wings. These posts often came with references to cocoons or rebirth.

Halsey has been going through it lately, and I think a big part of why they stepped away from social media so much is because they needed to grieve privately. Their relationship with Alev, their health struggles, the death threats and SWATting scares - I think their relative silence and distance in 2023 was to protect the space they needed to heal and grow while going through a lot of tough shit. And I think this is going to be a very vulnerable album as a result, because she's had time to try to process things with a bit more distance from the public eye. This album has also been hinted at as being "A2" - aka similar to Manic in that it's an Ashley album, and not as much of a Halsey album. Less dressed up in a concept or a specific aesthetic and more abstract and reflective of a her as a complex person.

Because of that, I really have no idea where the genre is going to go, or if we'll be able to really pinpoint an exact aesthetic or vibe. Manic is - intentionally - a very all over the place album, and I think we could be hearing a similar theme with H5.

It's interesting, because one of the things that happened in the lead-up to Manic was that Halsey changed her mind. The "Nightmare" video was the first place Manic was ever teased. For awhile, H was talking about making a really angry, punk-rock, feminist rage album. And then things shifted for her, and the vibe on Manic ended up being completely different - so much so that "Nightmare" didn't find a home until IICHLIWP. And I think something similar might have happened here.

If you asked me eighteen months ago, before Halsey and Alev broke up, I would've said that I expected a fully pop album, in the vein of "So Good" and this song snippet they posted on TikTok. It really seemed like that was where they were headed. But then 2023 happened, and I think things changed. Based on the little hints we have, I think this is going to be a more 70s folk rock kind of vibe.

What I don't think it will be: a pop album, anything hip-hop/rnb a la HFK, a hard rock or industrial album, a cohesive concept album like IICHLWIP, HFK, or Badlands.

I would personally love to see something a little more stripped down. More guitar, piano, violin, less synth and vocal mods. I've kind of already had my ideal producer for H - it'll be very hard for anyone to beat Trent Reznor at this point, for me. Would be wild if they worked with Lido again, lolololol. It'll be interesting to see what direction they take for the production style.

So yeah, I don't have any really hard and fast theories, other than I think this will be a really vulnerable album, it likely won't be pop (like it first seemed it might,) and it will likely have 70s influences and the references I mentioned up top.

On the bright side, if the insider rumors are correct (and a lot of times, they are, "insider" usually just means "this celebrity's manager") we won't have to wait too long! There's allegedly going to be a single and a video to go with it in the second half of February!

#asks #anon #anons #this is mostly rambling I'm sorry lol #I have no idea what to expect but I bet it's gonna be good #halsey #h5

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castlebyersafterdark · 3 months

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you've mentioned you love upbeat pop and 80s tunes... can you speak a little more on what you'd like for musicality in the final season, soundtrack and score?

i personally think that pop culture is missing the sincerity of 90s/2000s film scores like john williams and swelling violins, and if any show could bring back unabashed sincerity (today known as cheesiness because we are still allergic to being genuine instead of ironic somehow) - its ST! the overall themes and story, the 80s ET-esque influences, and they already went there with an orchestral version of eleven's theme in s4. i really want to feel hopeful and uplifted by this story in a way that makes me feel like a kid again, even though edgier endings are seen as cooler. the score has some beautiful classics like the Eulogy motif that played when bob died, when el searched for her mother, and when mike and el broke up lmao

as for soundtrack, people seem to discuss that a lot and im up for almost anything. i think cyndi lauper will return. we know the clash will return too, and seeing as we centre around will i think more alternative and rock might be the way they go instead of mainly the new wave pop classics.

One of the things that made me fall in love with Stranger Things was that it had such a unique, distinctive score. The synths and specific motifs. Super engaging, really different than what a lot of shows were doing. It's always given the show more of a cinematic quality. I'm hoping for more super cool moments like in season 4 - the Journey revamp, Separate Ways?? So good. And listen, as cheesy as it is, I still get chills when I watch the sequence that mixes Running Up that Hill with the Main Theme, like are you kidding?? I was transfixed, hands white knuckling the couch during that whole sequence. The music just took you there, you know?? And that was just the penultimate season, can you imagine what these fucking insane composers are cooking up for the series finale? Whewwww. Because that moment felt like a series ender based on music usage and YET we get 8 more episodes. I'm so excited for the score choices almost as much for the answers to the mysteries and the shipping payoffs. I really really love movie/tv scores. ST has one of the very best. And the influence! You know how many remixes and covers of common songs have been done with synth stuff over the last decade and they're referred to as "Song Name: Stranger Things Mix" despite not having anything to do with the TV show? Her influence. Respect.

One thing that I disagree with the majority on is a reprisal of Heroes - sure, it can return! But I'd really prefer a score track than a song played whenever Byler gets together. More emotional that way. I don't know where it would fit, and I know everyone loves the lyrical connotation of Heroes, but I think this moment deserves something unique. Pinnacle of all the relationships in the show and no I am not exaggerating. Truly.

I have a playlist of potential season 5 song choices! I'll just list some highlights:

Edge of Seventeen - for the Party! When it skips to 1987. Especially for Will. These lyrics are so Will coded they make me insane.

The Breakup Song - This would be so on the nose cheesy fun, but it's a good song, it sets a mood. Mike and El break up and then some danger strike and boom, needle drop.

We need some Judas Priest for Will, since it's 80s, it's rock, and the lead singer is gay!! I never see this mentioned. He came out in the 90s but that would be so cool for future Will to learn that having known this band from his childhood. There's a lot of relevant songs of theirs to use in s5 but even some of the more obvious ones would be cool.

Love is a Battlefield was briefly in s2 but it would be perfect to get a feature in s5.

I honestly love a Billy Idol White Wedding badass moment for Nancy. It just fits her, I think.

I Ran So Far Away for something with Mike, I think this song is very necessary for him.

Only You by Yazoo for the Lucas/Max reunion!! It's so cute and so them.

A friend posted about this before so I'm not the one who came up with this idea, but they predict that Video Killed the Radio Star is going to be featured in promo, using the Radio Station hideout whenever we get the first teaser trailer and I think that's a very possible route. I see the vision so clearly, kinda can't get that out of my head. I think it also ties the 50s/Creel vibes to the present day characters with the radio vs. video imagery for both promotional stuff and the actual show itself.

Listen to Your Heart, Roxette. Again, for Mike. Introspective moments. Figuring out some heavy truths. Facing feelings.

The Man Who Sold the World for Will in some conjunction with his Henry issues. It's evocative, it's dark, it's Bowie, baby! Maybe remixed and slowed and made very creepy.

I don't think Love Will Tear Us Apart by Joy Division has been in the show yet? But, it should.

Self Control - Laura Branigan

Wake Up the Neighborhood - Holland

No One Lives Forever - Oingo Boingo

Running With the Devil - Van Halen

Beds are Burning - Midnight Oil (can be used for a scene to demonstrate the absurdity of going about life, going to school, under military lockdown, end of the world vibes etc.)

Shout - Tears for Fears

Break on Through to the Other Side - The Doors (WillEl moment or something, I've heard some great remixes of this song!)

I'm mad they already used Thriller in the trailer for s2 because I've heard some fantastic synth remixes and the lyrics are soooo perfect for a scene where monsters are running rampant in Hawkins or something. It would be so 80s and I eat that shit up.

Eye in the Sky - Henry inside the minds of the town, tormenting our leads. Make it creepy. Make everything with him fucked up and dark.

If we don't get a really poignant needle drop with the core four Mike Will Dustin Lucas gearing up for battle to Kids in America, what has all this been for???????

PLEASE. Will in a pivotal moment very late in the season with Should I Stay or Should I Go! Seems obvious but worth listing. Some big scene is going down. Then quiet. No score. Then those first few notes cut the silence. Willlllllll. This to me is in the same vein as the lead up to the scene in Endgame when Cap lifts the hammer?? Sorry, haha you can take the boy outta Marvel but...🤣

#my playlist is really long I'll stop here #asks

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thekidsfromyestergay · 1 year

Text

Toxic positivity first thoughts:

Worst I've ever been: MY TITS ARE GONE HOLY FUCK THIS GOES SO FUCKING HARD THEY'RE ON TOP FUCKING FORM

Numb: she's still my baby <3

I hate everybody: might be a controversial one if you didn't like heartwork but I LOVED heartwork so I think the synth goes crazy. But I'm a whore for synth bass and a good groove so maybe I'm biased

Pinky swear: OH FUCK YES. They're on peak banger form this album. It's like a classic 00s upbeat pop punk song but with slipknot riffs thrown in for good measure

Headspace: ANOTHER BANGER OPEN HELLO! Hiiiiiiii jeph HIII he's going crazy today and I appreciate him. Otherwise a little generic for me but. Man does the bass save it he's going so hard. Feels a little like a heavier version of one of the heartwork b-sides. I'm counting the unhinged little giggle as a prison reference

Cherry: oh a little acoustic open... Hoping for a "to feel something" type build. The little pizzicato part is really getting me. HI AGAIN JEPH!!! AND THATS THE BUILD I WAS WAITING FOR HELLO!!!!!!!!!! A LITTLE DNB BREAK?????? OH MY GOD OH MY GOD HOLY FUCK. HOLY SHIT. OH MY GOD THAT WAS SO UNEXPECTED. OH FUCK THATS SO MUCH BETTER THAN I WAS ANTICIPATING. HOLY FUCK

Dopamine: What the fuck is this Tom Waits shit I'm in love!!!!! Once again jeph is carrying everyone here. I literally cannot describe how this feels it's just. So fucking good. There has yet to be a song that doesn't go insanely hard. I'm on another planet rn

Dancing with a brick wall: ANOTHER ONE!!! Man I love how much they're using strings they just work so incredibly well with them. I LOVE A FUCKING OFFBEAT DANCE BEAT!!! Yet again I have to say jeph is going hard. Top 10 builds to open a pit to

Top of the world: HOW DO THEY KEEP DOING THIS!!!!!!! Just as I love how much they use strings I love the synth too!!!!!!!!!!!! This whole album feels so fresh and new but still so distinctly them. AND OF COURSE THEYRE RESCUING A KIND OF SAMEY SONG WITH A KILLER BREAKDOWN! THEY NEVER FUCKING MISS!

House of sand: oh not a killer intro? Very mid 00s pop rock but I can live with that! A needed break from going insane.

Giving up: I'm sorry but why was this a single! Hearing the whole album there are so many songs that go SO much harder I'm SORRY!!! But this album definitely needed a nice kind of optimistic song and this does exactly what it needs to. This time I'm gonna talk about DAN going crazy because I love a good dnb type beat. A good ender!

Overall... Holy shit that goes crazy. Like I cannot express how blown away I am. They have never gone so hard. I am absolutely praying they break away from the setlist they've been playing for like the past 10 years and play most of the album live because WOW.

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rabbitechoes · 2 months

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feels like a bit of a less-eventful month for new releases, but i still heard a few great records!!! i've been very enamored with the new porter robinson album especially!!! it's looking like august will be a veryyyyy busy month for new releases so let's hope i don't get swamped ... to check out my thoughts on some of the songs that dropped this month click here!!! also feel free to follow me on rate your music and twitter <3

SMILE! :D - Porter Robinson

🥇 BEST ALBUM OF THE MONTH

◇ released: July 26, 2024 ◇ genres: indietronica, electropop, pop rock

Despite the drastic difference in execution, Porter Robinson’s third studio album SMILE! :D is the perfect follow-up to 2021’s Nurture. The latter acted as an exploration to appreciate the beauty of life and art, all through bright and textured production. SMILE! :D is just as existential, but this time it’s a quest for Porter to learn to love himself and find enjoyment in the music he makes. Robinson ventures into his struggles with fame, fandom, and getting lost in nostalgia over bombastic electropop production. Those going into this album with the high expectations set by Nurture will most likely be disappointed – even I, who was pretty late to the hype of that record, found myself a bit stumped by this album at first. It’s a step back and as tongue-in-cheek as it is sincere, but it all comes into focus eventually. To move forward, SMILE! :D was the album he needed to make.

There’s a sugary sweet sound to most of the record which creates this dizzying array of emotions. On my first few listens, I viewed this as one of the album’s main flaws, and while I still have some very minor nitpicks with this approach, the brilliance of this choice reveals itself. The listener has about as much of a grasp on Robinson’s emotions as he does. He’s desperately trying to get a grip and rekindle the fun of making music, all the while putting on a delusionally brave face as he reckons with all of this conflict. Many of the album’s core themes are introduced in the faux-braggadocious opener, “Knock Yourself Out XD.” Robinson wrestles with how people perceive him and his music. Fighting expectations set by both his fans and the music industry at large. He wants to make happy pop music, but he can’t – at least not for long. The end of the song has him defeatedly embracing the aesthetics of a star; face tattoos, a drink in hand, a fancy new car, but it’s all disingenuous. “Cheerleader” and “Russian Roulette” expand on these ideas. The former is a cathartic banger about the parasocial relationships some people have with their favorite artists and the latter is an emotionally dynamic exploration of how it all affects his depression – drawing to a close with the sobering repeated phrase, “I wanna live, I don’t wanna die” before getting swallowed by rave-like synths. Robinson’s analysis of this is all through the context of the internet, which I find very compelling. The perpetual unseriousness of the internet, he sings about “YouTube review, funny monkey / Takes a piss into his own mouth, crazy” a reference to Pitchfork’s notorious review of Jet’s Shine On and how “A bad guy just died / They’re making memes about it.” This behavior, of which most of us are guilty to some degree, can disincentive sincerity and throw emotion to the wind. It can also be dehumanizing to the artists, making them feel like soulless commodities for our enjoyment alone.

“Russian Roulette” and the aggressive “Perfect Pinterest Garden” mark turning points in the album’s focus, it’s from here that Robinson begins to look further inward and dissect his own behaviors. “Year of the Cup” has the same structure as those TikTok videos of people putting Midwest emo riffs instrumentation over random videos which makes for one of the shakier moments on the record, but he manages to make it work. The song is built around this combative interview Lil Wayne did with Tim Westwood in 2009 and Robinson ties it back to his struggles with alcoholism and lashing out at those close to him. The predominant theme for the rest of the album is Robinson trying to come to terms with himself while reconnecting with his audience more healthily. He reminisces on how his past self would perceive him now, vowing to “Take care of the person we’ll both be eventually” on “Easier to Love You.” He regrets the things he’s done to become what he thinks a star should be, he’s just “Trying to look good, trying not to feel bad.” It’s empty and unfulfilling, he has to reconnect with who he is to both himself and his audience – finally coming to some form of a resolution on the optimistic closer “Everything To Me.”

SMILE! :D is an unconventional love letter to Robinson’s fans. In his words, they were “the perfect muse for an entire album.” This is an excellent album, one that is both interesting and immensely enjoyable. I understand why it’s proven to be a bit polarizing, but this is one of his finest achievements yet. His talents as a producer and songwriter are on full display here – and in much different ways than the album proceeding it. I’m pretty enamored with this album.

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Passage du Desir - Johnny Blue Skies / Sturgill Simpson

◇ released: July 14, 2024 ◇ genres: progressive country, country rock

Ever since 2014’s Metamodern Sounds in Country Music, Sturgill Simpson has made a name for himself as one of the most ambitious artists in country music that’s just barely outside the mainstream. Unlike a lot of other country artists who regularly see critical acclaim for simply being normal when compared to the worst the genre usually has to offer, Simpson has garnered that acclaim for making interesting music. His sound balances the rooted and the otherworldly – Passage du Desir is another great showcase of that. Working under the pseudonym Johnny Blue Skies, he crafts this almost cosmic sound. It’s like a country star beamed back down to earth, here to make country music that sounds familiar to us, but with an opulent and psychedelic twist that few artists wield as well as he does.

At each of these song’s respective cores is a damn fine country song, displaying Simpson’s clear understanding of the genre, but the arrangements are what make this album so special. This album was recorded in both Nashville and Abbey Road Studios in London and Simpson sounds in complete control here. He’s determined to take these songs to just the right heights. Like the opening accordion passage and subsequent simmering psychedelia of “Swamp of Sadness” where he sings of “Nights under the bright lights at Mignon on Beaumarchais,” hardly regular country fair – I would be amused to hear Morgan Wallen sing of nights spent in Paris. It has this alluring dreaminess to it that just swallows you, an incredible opener that shows his ambition. The centerpiece of the album is “Jupiter’s Faerie,” a cathartic lamentation of a lost friend. His vocals have this understated effect to them and the instrumentation builds around him as it eventually explodes alongside him in the chorus. The string flourishes in the chorus is exhilarating and beautiful. The near 9-minute “One For The Road” closes the album strong and another crowning achievement in Simpson’s, or Johnny Blue Skies’, career thus far. It’s a bittersweet country ballad that you can just get lost in. Ending the album with an extended instrumental section with harmonica, a soft piano, and a striking guitar solo is a bold move, but it works so well.

There are moments where things are relatively stripped-back, like the jaunty “Scooter Blues,” the delightful melancholy of “Who I Am,” and the sweetness of “Mint Tea” – rather than potentially act as roadblocks between the more expansive tracks, they’re necessary. They re-center the album’s focus, grounding it a bit so that the grander moments hit that much harder. They never veer into the generic either, they still show an artist poised to be different.

Passage du Desir is an amazing album and the start of a bold new chapter for Johnny Blue Skies. Simpson’s use of that alter-ego from here on out is a little confusing given how personal everything still feels, but as long as he’s still making great music like this who am I to complain? This isn’t hokey or gimmicky at all, it just feels like yet another one of his tactics to subvert people’s expectations. Keep it up, I say!

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魔法学校 (Mahōgakkō) - Hakushi Hasegawa

◇ released: July 24, 2024 ◇ genres: art pop, glitch pop, nu jazz, deconstructed club, folktronica

I’ve been acutely aware of Hakushi Hasegawa for a little bit now, mainly through the acclaim of their 2018 EP 草木萌動 (Sōmoku hōdō). Despite that, 魔法学校 (Mahōgakkō) was my first foray into their music. Talk about a first impression, this album is insane. Right from the start, it grabs you by the scruff of your neck and throws you on a rollercoaster of abrasive, colorful, and rhythmic instrumentation. These songs are captivating, both in how wild they tend to be and even more so in how occasionally beautiful they are. Like the disorienting sound of “行つてしまつた (Gone)” with KID FRESNO or the serene folktronica of “撤回 (Repeal).” Hasegawa has a deep understanding of the eclectic sounds they’re incorporating on this record which makes both their renditions and disorientations of them pay off in such a unique way.

Nearly every song here has some kind of unexpected twist and turn. The rare ones that don’t still add this feeling of surreality to the album. There’s such a palpable energy to the album too, it’s like electricity currents are running underneath every song on the album. It feels almost magical like you’re in some kind of distorted fantasy land where things only vaguely resemble what you’re familiar with. Hasegawa is in complete control of these eccentric sounds. This is very evident on tracks like “恐怖の星 (KYŌFUNOHOSHI)” with its distinct blend of nu jazz and glitch pop. Or the avant-garde sound collage nature of “焱ばみ (Enbami).” Nothing sounds out of their jurisdiction. They lead these songs into bold new territory and you’re just along for the experience.

魔法学校 (Mahōgakkō) is an amazing album that greatly showcases Hakushi Hasegawa’s talents. This is an album best experienced in one sitting. Let all of these sounds wash over you – or rather let them throw themselves at you. This album hardly wastes a single second, besides that 30-second interlude of an A.I. conversation, they just keep crafting wild, exciting, and sometimes gorgeous sounds that are sure to enthrall you. This is one of the best instances of maximalist music in the online age. It’s also a good motivator to finally go back through Hasegawa’s back catalog and hear what I’ve been missing.

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King of the Mischievous South Vol. 2 - Denzel Curry

◇ released: July 19, 2024 ◇ genres: southern hip hop, trap, hardcore hip hop, memphis rap

Denzel Curry has proven to be one of the most consistent rappers of the modern era and that remains true with this new record, King of the Mischievous South Vol. 2 – the sequel to one of his early mixtapes. Curry’s last album, Melt My Eyez See Your Future, was the biggest progression of his sound since TA13OO in 2018. However, instead of pushing forward, Curry decided to take a step backward and get re-acquainted with his roots. This album is just no-nonsense southern hip hop in a concise and effective package. Gone are the dense, jazz-flavored beats of his last album – in are the hard-hitting hardcore beats that cut right to the heart of the matter. Neither approach is inherently better or worse, but Curry has crafted one of the most fiery hip hop records of the year with the latter.

Curry is no stranger to scaling things back after a big project – in fact, it’s a part of his formula at this point. The ambitious TA13OO beget ZUU the following year and Melt My Eyez led into this great new record. This is a much more effective record than ZUU, it shows Curry returning to his old stomping grounds and showing that he is a force to be reckoned with. He enlists numerous fellow southern rappers to aid him, aside from a few from the East and West coasts, as well as Kingpin Skinny Pimp to host the record in its interludes. This is a very collaborative effort, but make no mistake Curry is the star. He rarely ever does things halfheartedly, but he sounds incredibly reinvigorated on this project. His bars are clever, sharp, and confident. They have this air of spontaneity to them which makes this album so infectious. The other rappers featured here, for the most part, keep that same energy. Like on “BLACK FLAG FREESTYLE” where That Mexican OT – who I had never heard of before this project, damn near steals the show. That’s another cool thing about this album, alongside some well-established names, it features a lot of lower-profile rappers like That Mexican OT, TiaCorine, Key Nyata, and Armani White who get the opportunity to shine here alongside Denzel. Everyone brings the heat and most of them make a good impression. On his quest to prove that he’s the king, Curry raises these artists up with him while also sharing the stage with legends like Juicy J and Project Pat – although Pat will show up damn near anywhere at this point.

Although some tracks don’t fully stick the landing, like “Set It” with Maxo Kream and “Hit the Floor” with Ski Mask the Slump God, there’s no shortage of bonafide heaters on this record. “HOT ONE,” the album’s lead single, is an awesome mix of trap, cloud rap, and Memphis rap. Curry boldly claims that he hasn’t changed despite leaving the South, he’s still just as driven. That drive is evident throughout the project. “G’Z UP” is a straight-up jam that doesn’t waste any time and features great guest verses from 2 Chainz and Mike Dimes. “SKED” has Curry, Kenny Mason, and Project Pat sounding fearless over a lowkey almost rage beat. Every now and then some tracks feel like they’re far too brief, but that can be sort of forgiven due to the album’s quick pacing. Dull moments are seldom found here.

King of the Mischievous South Vol. 2 feels like a quick detour for Curry before he goes back to making grander projects – this is hardly a dismissal of the project though as it’s almost endlessly enjoyable. He reconnects with his roots in a deeply satisfying way. He’s always been one of the most exciting artists in hip hop and this record provides further proof to that claim.

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The War - Toy Bastard

◇ released: July 15, 2024 ◇ genres: indie rock, post-rock

Ethan Ives, best known as a multi-instrumentalist in Car Seat Headrest, has released his second album under the name Toy Bastard. The War is a damn fine post-rock record with some big indie rock choruses throughout. It doesn’t reinvent the wheel, but it’s a very great record despite that. This is a concept record about, I believe metaphorically, being at war. Ives uses wartime imagery to detail being at war with the world itself. It’s a concept that could easily be a little corny, but it works well here. This frantic and anxious atmosphere keeps you engaged, waiting to see what comes next. Made all the more enthralling because of the instrumentation – perhaps the biggest highlight of the record. Everything has a punch, nothing lays soft on the ears or floats past you. Everything from the acoustic guitar passage at the start of “The Babe in the Woodshed” to the sporadic synths on “Summer of ‘14,” it all just grabs you. Necessary for the concept to work as well as it does.

My favorite moment on the record comes with the 13-minute “VALIS,” an epic borderline prog-rock instrumental which, even without words, adds so much to the record’s concept. If you take the album at face value and believe the narrator is actually at war, it sounds like being on the battlefield. Loud guitar riffs come and go before being washed out alongside these choral arrangements – it’s unpredictable, but you’re hanging on to every shift. It’s wonderfully paced and not something I was expecting going into this record. Even on the tracks that are more of your standard indie rock, Ives brings in some cool quirks to these arrangements. It never sounds generic or tired, it sounds like he has a strong vision of what he wants this album to sound like, and for the most part, he nails it. The album ends with “Daddy Was a Starship Captain,” another “epic” track and the emotional climax of the record. It displays all of his strengths as both a songwriter and a producer, from the aquatic vocals to the killer guitar solo towards the end – everything just comes together here. Songs like this and “VALIS,” make me so excited to hear what Toy Bastard has in store for the future. The War is a great record and I feel like we’ll get even more great records from him in the future.

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My Light, My Destroyer - Cassandra Jenkins

◇ released: July 12, 2024 ◇ genres: singer-songwriter, sophisti-pop, indie rock

My Light, My Destroyer sounds like sifting through old photos during a transitional period of your life and letting all of the old memories wash over you like waves on the shore. One minute you’re transported back to the past, not a perfect one, but one that seems more comforting than where you are now. The next you’re reflecting on the present, the dishes are piling up and you feel alone, but there are still beautiful things in the world and you need to be reminded of that – The constellations in the sky, the colorful flowers, and the people you love. Cassandra Jenkins explores them all in her bold third studio album, the follow-up to her acclaimed previous album An Overview on Phenomenal Nature as well as her label debut on Dead Oceans.

The instrumentation is the only thing that keeps this album from reaching its full potential. Jenkins’ songwriting is the strongest it has ever been here, but some of these songs lack a distinct sound that separates her from her contemporaries. Like the soaring guitars on “Aurora, IL” which sound reminiscent of some of her new labelmates – it’s not a bad song, I just wish every track here had a striking and distinct sound that matched her songwriting. That’s certainly not to say there’s a shortage of unique arrangements here. In fact, I think this is her strongest material to date in that regard. Like the ambient art pop of “Delphinium Blue” where Jenkins’ voice sounds adrift in the ocean as the atmospheric synths and subtle percussion surround her. She’s trying to keep herself grounded as she gets lost in the delphinium flowers that remind her of someone. All of those feelings are not just conveyed lyrically, but also through the instrumentation. She shifts between that soft art pop and more rock-tinged tracks, like the steady guitars of “Petco” and the almost country flavor of “Clams Casino.” It’s a good balance. The strongest track on the album is “Tape and Tissue,” with its jazzy flavor which juxtaposes the spacey synths in such an amazing way. It’s one of the most vulnerable moments in Jenkins’ catalog thus far, a very captivating song.

This is a fascinating next step for Jenkins and I’m excited to hear where she goes from here. Her music sounds bigger and more polished, but I hope she introduces some more unique sounds in the future to make herself fully stand out. There’s a lot to love here though, I just feel like her best is still on the horizon. I can’t wait for that.

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Charm - Clairo

◇ released: July 12, 2024 ◇ genres: soft rock, sophisti-pop

Bedroom pop icon Claire Cottrill continues to ramp up her sound on her third studio album Charm. Her last album was very folk-inspired, but instead of going further in that direction, she dives deep into this 70s soft rock sound which yields some gorgeous instrumentation while often obscuring her in the process. Clairo’s vocals have always been light no matter the words she’s singing, she’s a very cozy singer. This has worked in her favor a lot of the time, like on the mostly spare arrangements of Sling, but on Charm, she ends up getting lost in it all. Not in a “this music is free-flowing and all-encompassing” kind of way, but in a way that snuffs out some of the heart of the record. These beautiful, mostly organic arrangements yearn for a vocalist with stronger conviction. If there ever was an album for Clairo to add some new flair to her delivery it was this one.

There are some strong highlights here though, namely the opening track “Nomad” with its alluringly textured arrangement – the twinkling guitar and that weighty upright bass work so well together. It’s also one of the songs where I think she stands out as a vocalist, the way she seamlessly transitions to the higher note of the chorus is stunning. Very glad that song finally clicked with me after I heard it as a single and was left a little unimpressed. That starts the album on a very high note and it just keeps going! It’s light on the ears, most songs coming and going without grabbing you beyond a catchy chorus or maybe some cool new bits of instrumentation. Like the whirling synths on “Juna” or the clarinet on “Pier 4,” but those bright spots aren’t enough to elevate the album to a more satisfying level. Charm is a very pleasant album. It’s not bad at all, it’s just pleasant. I understand why some people love this unabashedly, I was just craving something with a bit more substance. The thing is, her lyricism isn’t unsubstantial, I just wish she delivered it in a more engaging form and not within songs that often fade into the background. I’m curious about which direction she’ll go in after Charm, I just hope it’s more interesting.

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Bando Stone and the New World - Childish Gambino

◇ released: July 19, 2024 ◇ genres: experimental hip hop, art pop

Donald Glover is drawing the Childish Gambino era of his career to a close with Bando Stone and the New World – the soundtrack to his upcoming film which doesn’t have a release date yet. It’s a bold move to drop the soundtrack to a film that still has no release date, but Glover has made interesting creative decisions for years now to varying levels of success. In a way, that’s what makes this album the perfect closing chapter for Childish Gambino. It’s an ambitious, eclectic mess with high highs, low lows, and a lot of stuff that falls in between. Such is the case with most of his albums – bar Awaken, My Love which I think is a consistently great project and his best work. However, while it might be a fitting end, that doesn’t make this a great record.

Glover dabbles in a number of different sounds across this album, which is neat, but the songs themselves leave a lot to be desired. It’s cool that “Running Around” is a pop punk track, but is the song that good beyond the novel concept? Not really. The same can be said about “Happy Survival” which is a dub song. It’s cool that he goes to these places, but the execution leaves a lot to be desired. Then again, maybe the songs that didn’t click with me on this album make more sense in the context of the film. There are plenty of voice clips and narrative references I can only assume are related to the film it’s soundtracking, but they mean nothing to me in this current moment. On its own, it feels like this album is awkwardly awaiting its companion. To play on a quote from Glover’s character in Community, “I can’t wait to understand these references!”

With that being said, he manages to throw in some great songs here and there. I said in my write-up on “Lithonia” when it was first released as a single that it was “overdramatic and suffocating,” but that it could be the soundtrack to a climactic moment in both the film and the soundtrack. Well, despite it being only the second song on the album, I unabashedly love this track. The suffocating nature of the production ramps up the energy even more and Glover’s yelped vocals add to the intensity. I don’t know who Cody LeRae is, but that dude is going through some shit! He plays around with various styles of hip hop across the album to mostly good results. The peak of this is the deceptively layered production of “Yoshinoya,” which has Glover cutting out all pretense and making a straight-up banger. “No Excuses” is another massive highlight as it blends neo-soul with some subtle lounge elements and the end result is one of the prettiest songs in his catalog. The little synth riffs in the choruses are just sublime. This album is spotty overall, but it has plenty of gems.

Childish Gambino has been a constant presence in hip hop and beyond for over a decade now. Starting out as an actor making deeply corny music on Camp, to the massive Because the Internet which is considered by many to be a seminal 2010s hip hop record despite its flaws – no shame, I have nostalgia for it too – to his more experimental works in both music and TV throughout the later part of the decade, Childish Gambino’s legacy is nothing to sneeze at. Sure, it’s got an abundance of flaws, and a lot of it doesn’t hold up under intense scrutiny, but he’s nothing if not ambitious. Such is the case with Bando Stone and the New World which, in its own imperfect way, is the perfect end to the Childish Gambino story.

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Y2K! - Ice Spice

◇ released: July 26, 2024 ◇ genres: new york drill, east coast hip hop

Ice Spice has become one of the most prominent figures in hip-hop, for better or for worse. She’s built an empire on hit-or-miss heaters and an abundance of bars of the fecal variety. Now, after what seems like a long wait, we have her debut album Y2K! – an album that doesn’t resemble any of the aesthetics or reference anything from Y2K culture, so that’s a bit of a head-scratcher. This is hardly a bold new statement from Ice Spice, this is just her doing her thing except a bit more tired. These songs, for the most part, leave you with nothing to say. She and producer RIOTUSA craft sleepy bangers that give Spice the stage to do her same old, same old routine. She has “ABC, 123” flows and says the most inane stuff until she spits another funny poop or fart bar that’s so weird that it makes me laugh so hard until I feel sick. There’s a three-track run where she centers all of this soiled energy, she says “I’m Miss Poopie, but I never smell” on “BB Belt,” “Think you the shit, bitch? / You not even the fart (Grrah)” on the titular “Think U The Shit (Fart),” and she rounds it all up with “I'm Miss Poopie like I need a diaper (Grrah)” on “Gimmie A Light.” Ok, Miss Poopie, what the fuck are you talking about? Are you determined to be the poop bar girl?

“Did It First” with Central Cee is the only song I think is pretty great. Somehow they just bring out the best in each other, it’s one of her best for sure. The rest of Y2K! is either just ok, bad, or exhausting, but you would be hard-pressed to find another album that has made me laugh as much as it has so I guess that has to count for something.

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Guilty Pleasure - JoJo Siwa

◇ released: July 12, 2024 ◇ genres: electropop, dance-pop, slap house

Dance Moms and Nickelodeon alumni JoJo Siwa has been making an ass of herself over the last few months as she ushers in this new “adult” era of her career. From gaudy outfits and makeup to claiming that she wants to invent “gay pop” to downing Fireball during a live performance, she’s become a consistent scapegoat of the internet. After hearing this new EP Guilty Pleasures, I just have to ask … why did she do all that? Now, Siwa has never had a penchant for subtlety – see her car with a wrap-around decal that’s just a collage of her face as the most damning example – but this music just doesn’t call for any of that. It’s more mature in a sense, she sings about “twirlin' in a ballroom” and “twerkin' in the bedroom” in the song “Balance Baby” and the biggest hook on the album is Siwa crooning that “Karma’s a bitch!” so this wouldn’t get played on Nickelodeon that’s for sure, but it all just feels so childish. It’s almost like she’s doing an over-the-top parody of the infamous edgy phases a lot of child stars have gone through – which if that’s the case, maybe this is all genius, but I highly doubt it. Also enlisting Meghan Trainor for help on your “I’m a big kid now” EP is laughable. It’s like trying to buy punk clothes at an Old Navy.

On the whole, I guess Guilty Pleasure isn’t as big of a trainwreck musically as I thought it would be – not to say it’s good by any means though. It’s just loud, vapid, boringly competent pop songs for the most part that weren’t worth all of the antics we’ve been subject to for months. I don’t see this being the starting point for a fruitful new chapter of JoJo Siwa’s career. The music is incredibly forgettable so maybe that’s why she feels the need to make a fool of herself in public.

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The Death of Slim Shady (Coup de Grâce) - Eminem

◇ released: July 12, 2024 ◇ genre: hardcore hip hop

In this messy concept album, Eminem resurrects and then kills his alter ego “Slim Shady” while also offering an introspective look at his own life. Sounds like a cool concept, in theory – no doubt, a little bit of a nostalgia ploy for the millennial crowd, but in execution, this is one of the most clumsy albums I’ve ever heard. I wasn’t expecting much at all going into The Death of Slim Shady given the state of his work over the past, give or take, 20 years, but it might be worse than I was anticipating. He fumbles over this concept of wrestling with his edgy other self for the bulk of the record, relying on tired shock humor and staccato flows that wear thin barely before the album gets going.

The shock humor in question is seemingly self-aware, but that doesn’t make it any less exhausting. Eminem and Slim Shady poke fun at several things that will get the worst people you know to cheer and applaud. Multiple jabs at Caitlyn Jenner and transgender people in general, Christopher Reeve and paraplegic people, people with dwarfism, and numerous mentions of people being “woke” and Eminem being afraid of the “politically correct police.” The desired reaction is a “WOAH, CAN HE EVEN SAY THAT?” – but my reaction was just a shrug of the shoulders and an “ok?” This concept plagues the album and he runs every joke into the ground right as it’s getting started. If I took a shot every time Caitlyn Jenner was mentioned on this album I would die of alcohol poisoning. More than the material on the album being tired, Eminem’s fanbase by and large clings to this edgy stuff. They lament the “woke mob” and “cancel culture” so they’re taking the album at face value. Likewise, Eminem’s critics take it at face value as well and pick lyrics out of context to make Eminem look like the bad guy he pokes fun at. So, this album is one both his fanbase and critics misinterpret and an incredibly rough listen even if you grasp the concept – so is there anything at all The Death of Slim Shady succeeds at? Uhhhh, some of the beats are cool I guess.

This album is just Eminem doing his thing. He’s stuck in this “lyrical spiritual miracle” style perpetually and it’s grating even if he had something of worth to say – which he doesn’t. Even the ruminations he offers on his own life, career, and family feel way too theatrical and obtuse to connect with. The album’s drastic shift at points towards the end, namely “Temporary” and the closer “Somebody Save Me,” where he makes songs directed to his family in the event of his passing just falls flat. Not helped by the fact he comes into the record with a full head of steam as he lashes out at the world in his own self-obsessed way. The rare time it sort of, emphasis on that, works is on the short opener “Renaissance” where he takes aim at modern hip hop fans. There’s no shortage of clunky bars, but “You nerdy pricks would find somethin' wrong with 36 Chambers” gave me a good laugh, ostensibly making it the highlight of the record for me.

The Death of Slim Shady is a complicated misfire being celebrated by those who don’t understand it as a win and being torn down by those who also don’t understand it as a bigoted dumpster fire. I want to make this perfectly clear, it is not the onus of the artist to spoon-feed the audience what the actual meaning of it all is, but this just seems like a total miscalculation and misunderstanding of your fanbase and the world at large. Slim Shady’s edgy antics seemed outlandish in the 2000s which is what made them kind of work, but when he goes on record venting about “woke people” and transgender people it just doesn’t ring the same in 2024. These are talking points that aren’t hard to find anymore, they’re in the mainstream. It will be celebrated by those who agree with his observations and ridiculed by those who see Marshall Mathers as another old rapper who cried “cancel culture.” It’s a lose-lose situation, not helped at all by the fact that this album simply isn’t good – I would go as far as to say it’s pretty bad.

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I Love You So F***ing Much - Glass Animals

◇ released: July 12, 2024 ◇ genres: alt-pop, pop rock

Glass Animal’s previous effort Dreamland is one of my nightmare albums. One of the vapidest and most irritating albums I’ve ever heard – made even more unbearable by the fact their disaster song “Heat Waves” lingered on the charts for well over a year, 91 weeks to be exact. The band holds the record for the longest-charting song on the Billboard Hot 100 of all time. Everyone I’ve spoken to tells me some variation of “This band used to be good” or “They just got too commercial,” and while that may be true, they’re not worthy of much grace. My only prior exposure to the band was through “Life Itself” playing all the time on my local alternative radio station in the summer of 2016. That song isn’t perfect by any means, but listening to it after having heard Dreamland and I Love You So F***ing Much, made it feel like one of the greatest songs of all time. The band did not clean up their act on this new record here, in fact, they just dug their graves even deeper.

A lot of the same horrible qualities of their last album are present here except for that corporate summer veneer. Instead, that’s traded out for spacier sounds which don’t make the album any more palatable. There is no life here. It’s as if a group of deeply sheltered 20-somethings who had only heard sacred music their entire life stumbled upon MGMT and decided to make their version. The band is not good songwriters, perhaps their only talent is the ability to drive the most annoying choruses and melodies you have ever heard far into the ground – ironic given the interstellar aspirations they have for this album. The worst offender here is “A Tear in Space (Airlock)” with its repeating “WATAAH” hooks in the chorus. I sense a desire from the band to have another “Heat Waves,” they want to fluke their way back onto the charts with another big song with a big, obnoxious chorus, but I don’t see that happening with any track on the album. That’s the only artistic motivation I can grasp from this project, it feels desolate. It’s empty and soul-crushing, it doesn’t feel human. Made even worse by the fact that I don’t think any of the normal pop music listeners were clamoring for another song from the “Heat Waves” band – so I have to ask, why did they decide to go down this dead-end road instead of making something even a teeny tiny bit interesting? Have they simply just thrown in the towel and resigned themselves to making this kind of music for the foreseeable future? I Love You So F***ing Much is a hopeless record, a deeply miserable affair with little to no redeeming qualities. It’s the sound of a band with no convictions and no heart. The threat of A.I. and its inevitable use in music is a genuine fear, but I feel like a computer could never replicate the human element of music. I have faith that the general public will see through it as some sort of gimmick and it won’t put any musicians out of a job – well, maybe except for Glass Animals.

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psssst. i made a discord server called COSMIACORD ... if u wanna join and have fun, talk about music, play fortnite, or whatever here's the invite :3 https://discord.gg/rsHMenTU

#month in review #music #rateyourmusic #2024 #music review #porter robinson #johnny blue skies #sturgill simpson #hakushi hasegawa #denzel curry #toy bastard #cassandra jenkins #clairo #childish gambino #ice spice #jojo siwa #eminem #glass animals

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