#they did release the ultimate summer bop after it

[smtown-tourist]

It still blows my mind that Onew - ONEW!!! LEE, JINKI!!! - is the SHINee member with not one, not two, but THREE Waterbomb appearances this summer!!! 🤯🐰

[abbysreverie]

THE BEST THE 1975 ALBUM

I like it when you sleep for you are so beautiful yet so unaware of it (2016)

This was the era where I was able to fully anticipate anything from The 1975 and it was one of the most special moments of my life. This was the time where I must say my musical preferences have fully awakened. The 1975 and Dirty Hit did so sooo good in this era. From the aesthetic visual teasers to actual promotions to the production with their live stages on tour, everything was beautiful. I still love ILIWYS’s neon lights visualizers better than the theatrical stage set-up of BFIAFL. The setlist too was much better even if we’re talking about songs only from their first 2 albums released, we’re still beyond satisfied then.

Fave tracks:

Somebody Else (obviously, who doesn’t love this song?)

Paris (i just love the vibe, nothing personal)

Iliwys (i would sacrifice my life just to hear this live!!!)

Notes on A Conditional Form (2020)

Now NOACF was something else. This came out during the peak of the COVID-19 pandemic and I couldn’t thank my boys enough for saving my life back then. Everyone was still in shock and filled with anxiety because of the virus but The 1975’s NOACF came to rescue me from that. It was jam packed with so many good tracks, all of them were no skip for me. Apparently, NOACF carries my most fave song from the whole discography of The 1975—perhaps of all time, and nothing’s taking its place still even after BFIAFL’s release ‘cause let’s be real, BFIAFL in general is just isn’t it. Just me? Alright, no sweat. But I guess I really took a step back from them because I expected too much from it but just ended up kinda disappointed instead.

Anyway..

Fave tracks:

Tonight (I Wish I Was Your Boy) (this bad boy holds the crown as my ultimate fave The 1975 song. And the fact that Rome also worked on this song makes it extra special for me. The melodic run is what attracted me to this song, it was a mix of late 90’s pop, alternative R&B and neo soul. Matty said it was their first pastiche-y song since it’s like a mixture of samples. Matty also shared that he considers this song as the “anomaly one” off of the whole album because of how experimental it is. But I don’t really care, to me it’s fun and very satisfying to listen to and it’s absolutely beyond perfection)

Then Because She Goes (i understood why they made it a short song, like Roadkill. i just have a strong feeling they’d make a part 2 of them lol)

Yeah I Know (i was literally bopping and whispering “tf is this” at the same time when i first heard this song. it was like some sort of spiritual awakening and i enjoyed it very much. hit that shit, go hit that shit SUPREMACY)

P.S. Their self-titled Album is already a given. I mean, nothing beats the OG. Most of my favorite songs of them you will basically find in the self-titled album. The 1975 was like the soundtrack of my pre-college arc, like my anxiety was lessened because of how I discovered The 1975 on the summer of 2014, when there was literally a lot going on in my life. My family moving in to another city while I was still emotionally and mentally preparing for college was kinda stressful tbh, and I thank The 1975 for giving me the energy and for keeping me motivated during that time… yeah..so that’s it i guess..

[missmeganlee]

"omar had stage presence" gimme a break. did you see the crowd in rixfm shows?? now compare them to climate live? the little noise in the last one were the stalker fans. no one else was even bopping their heads. it was so bad that his manager didnt film the crowd. even during todo de ti, which has the ace of base song as chorus. nothing. the quality of his songs are bad, granted they were never great, but on top of that he stopped writing in swedish even though sweden is the only place he can book a gig right now (w/out victoria) and tbh he shouldnt have given the shoot to a friend he met the one day ago in an magazine event if said friend filmed with a random man in the background and edited the cover using microsoft word fonts. do you think the label is gonna give money or choreagraphers to an artist like that?? to an artist who prefers to stay home and says his best is this?? no. it is not important what other artists did, omar's songs arent good so he needs to improve his performances. if he doesnt or at least start writing better music, his career is gonna fizzle after yr. he says he wants to be an international star?? ok!! but then this is not the way to do it. he said before he didnt plan to be in sweden at all this summer but he hasnt left. so whatever he planned didnt go the way he hoped either (I am guessing an album tour but its sales arent good so now he denies its existence - very professional of him) and so far everything you said that went wrong to defend him ultimately comes back to it being his own fault. or choice whatever you wanna call it. and we can criticise that if we want to. being a fan doesnt mean blind faith. this is not a religion.

ps. everything related to mello was over before yr set started so. try again. I just hope his performance as simon didnt suffer because of the album otherwise he is never gonna book another role either.

ps2. a release party is sth the label organizes with influencers/industry people/radio djs etc. where usually the artist performs, so the album/song can be promoted (think dum). what it is NOT is whatever omar got for OMR.

"being a fan doesn't mean blind faith. this is not a religion." True, it doesn't mean having blind faith in someone and putting them up on a pedestal, but it also doesn't mean that you critique every single thing the person is doing with their career. You know for a fan you don't seem to like his music all that much, anon. Might I introduce you to the idea of not interacting with something/someone you don't like. Shocking I know. You can just hit "unfollow" and "block" just like that and *poof* you'll never have to see that thing that makes you so miserable.

I'm not going to argue with you about what Omar should or should not do with HIS career because it's obvious you have your mind made up, and I'm not going to waste my breath arguing with a brick wall.

I hope you have a wonderful day, anon. Maybe go outside, get some fresh air. Take some time away from your screen and the internet. This is all the attention that you're obviously craving I'm going to give you. Thanks for the engagement 😘✌️ Gonna go listen to Omar's "never great" music on repeat now 💜

[letters-from-r]

Windy by JEON SOYEON: A Review

So last July 5 Soyeon released her first mini album as a solo act, 'Windy' which takes its name from her alter-ego. It is written, composed, and arranged by Jeon Soyeon with the help of a few professionals in the industry.

This is my review of the album.

#1 BEAM BEAM

The title track 'BEAM BEAM ' is an absolute summer bop. This is a story about Windy in her 20s. It's pop mixed with a little bit of rock. The addition of the electric guitar riffs is perfect in my opinion, it adds to the addictive feel of the song.

It's been a while since I've been so red with love I'm twenty-four, what I realized now is that, love is fucked Even if my eyes are sometimes cloudy

Even though at first it doesn't sound like it would be deep lyrics-wise, I still think Soyeon did a good job with this one. Of course, I don't speak Korean so I wouldn't know how her lyrics would sound to native speakers. I still definitely feel the poetic vibe of the lyrics when translated in English. I especially like the part where she says something along the lines of, "I have to start saving, but it takes so long to gain and it's so easy to lose," which I think describes how I feel about my own adult life in general (especially with K-Pop as an obsession, am I right? 😉).

The music video for the title track is well done. It's colorful and I liked the choreography as well. This is a solid 9/10 for me.

#2 Weather

This second track, 'Weather', has actually been spoiled before by Soyeon on a variety show. It was supposed to be the 'DUMDi DUMDi' of 2020. Now that it has been released, I definitely see the qualities of 'Weather' that would make it fit for a girl group, but 'DUMDi DUMDi' was still ultimately the better decision in my opinion.

'Weather' gives me nostalgic vibes. It doesn't even sound old, or have an old type of beat or style, but it gives off upbeat cottagecore. If anyone reading this would like to listen to 'Weather', I suggest listening with headphones because there are some really pretty background vocals in here that is very (G)I-DLE (come to think of it, 'DUMDi DUMDi' had interesting background vocals as well).

My favorite lyrics from this song:

How was your sky today? How was your day today?

I just thought it was a really interesting way to ask somebody how they're doing or how they're feeling.

Soyeon's vocals in this song is great. I see parts where she's sorta maybe kinda channeling a (G)I-DLE member, maybe she visualized a line or two to be sung by another member.

This is an 8.5/10 for me.

#3 Quit

When I heard the audio snippet for Windy, 'Quit' was one of the songs I was super excited to listen to. There's a satisfying drop for the chorus that I just really, really, really like. And I was not disappointed. Even now as I'm writing this and listening to the song I have to stop from time to time just to savor the song. Yes, it's that song for me.

This is sort of at a faster pace compared to 'Weather', with Soyeon almost rap-singing the whole time. It reminds me of her earlier songs 'Smile' and 'Day of a kid' from Unpretty Rapstar. It has some guitar in the background that is really nice as well.

There are some beautiful vocals in this song too. I had heard the live version of this song when Soyeon sang it during Miyeon's radio show on Naver called 'Gossip IDLE' and it was amazing to listen to. Soyeon is such a strong and stable vocalist that I think it would honestly surprise new fans that she isn't a lead or main vocalist.

The build up towards the chorus is signature Soyeon in my opinion, and it works every time. I like it, I like it a lot.

Don't even get me started with the lyrics. In my opinion, out of the whole album, 'Quit' has the most interesting lyrics. Soyeon had mentioned in an interview that this song is what she imagines someone else would sing to her or about her after a breakup. After reading these lyrics it makes total sense:

Thank you for crying, even if it's the end Now write songs for me, whatever This breakup must hurt you too

Implying that Soyeon would be the one writing songs for the person after the breakup. I just think it's brilliant.

The bridge after the last chorus is just *chefs kiss*. She changed up the beat a little and removed some of the instruments, which will make you feel like it's a different song completely, but after a few listens I came to absolutely love that last bridge. I love this song. 10/10.

#4 Psycho

Before the release of Windy, Soyeon described 'Psycho' as a sound she hasn't shown Neverland before, a different (new) side of her. That's exactly how I would describe this song too. It's haunting and dark. It almost has a Billie Eilish-esque quality to it, but spicier.

Did you get what kind of bitch I am? I like things that are harder than what I can have Whether it’s money or love, in front of me I make it kneel before me and I get excited about it

I think this song shows a little of what Soyeon is like when she's feeling a little mischievous and competitive. I already know as a fan that she likes to push boundaries, likes to make music that's better than what she's done previously, and isn't afraid to call people out for what she thinks are injustices. In her 'Lion' rap verse, she basically tells us as much:

I'll bite off your useless courtesy We tear down your suffocating prejudice Who would dare to stop me Careful with my sharp claws I create a new path no one has attempted before All those condescending people will click their tongues But the applause I receive after breaking that prejudice is thrilling I've had a taste, now I can't deny it I'm a queen

Which is why I love Soyeon so much. I think 'Psycho' is just the tip of the iceberg. I hope 'Psycho' is just the tip of the iceberg. I would really like to listen to more of this type of music from Soyeon.

Soyeon also achieves a new personal record with 'Psycho', with her rap verse becoming her 2nd fastest rap in her career (barring the 8-second constant).

Overall this song was interesting and enjoyable. 9/10.

#5 Is this bad b****** number? (feat. BIBI and Lee Young Ji)

This is the collaboration of the century. Lee Young Ji is one of my favorite rappers outside of K-Pop, so I was really excited to see her feature in one of Soyeon's songs (she was also in 'BEAM BEAM' music video). I've heard of BIBI before, but I hadn't listened to her songs prior to this. She's pretty famous in the K-Music scene as well.

ITBBN has an addicting dial tone sample to it and a bass-heavy beat that just tells you it's about to go down. K-Rap fans love this track, and for good reason. Lee Young Ji is amazing as usual, and BIBI with her signature laid-back rap-singing, and of course Soyeon. It was actually surprising, because Soyeon changes up the beat completely for her rap verse. It reminds me of 'Giants' by True Damage, where she also rapped as the League of Legends character Akali.

Soyeon of course breaks another personal record in this song, with her rap verse becoming her fastest rap in her career thus far (barring the 8-second constant). And her rap verse says it all:

Oh, why did I make a phone call elsewhere when I'm here? This crazy good song and an ocean of money Burning on stage, beauty is a bonus Everyone knows, in this new generation Who the leading idol rapper is, if it's king or queen or whoever it is That's not breezy, she's so Windy Oh my God, she just lights a fire and wipes it off Oh no, ew, push-off From outdated junk To ancient filth: fuck it Ring ding bring No entry except for invited Bibi and Youngji Generation Z's bad bish You probably hate us more and more But you can't help but just want to be a part of it Even by using money Right?

This is a 9/10 for me.

[yourdeepestfathoms]

Heat Haze Daze

song is Kangerou Days by Kagepro and was also my bop back in seventh grade

———————

With a chilling vibrato, Jane concluded her performance of At Last. Instantly, there was a booming swell of cheering and clapping, and a very radiant look of adoration from both Kitty and Joan. The silver queen smiled bashfully, but proudly and bowed. A second later, Anne crashed into her, spinning her around in a tight hug.

“Oh! My! God!!!” Anne exclaimed, clasping Jane’s hands in hers mere minutes after releasing her from the bear hug. “That was so amazing!! You did so good, Janey!!!”

“Oh please,” Jane waved a hand dismissively. “It wasn’t that good.”

“Don’t be modest,” Aragon said. “You have a wonderful voice, dear.” Her retort was backed up by several agreeing comments in the whirlwind of a comment section on the Live.

Jane blushed. “Thank you, Catalina. Thank you everyone, really!”

After a few more compliments and Jane struggling to not be humble, the Sunday Session was wrapped up.

Or so they all thought.

“W-wait-” A nervous, shaking voice squeaked. “I’m sorry. Can I sing something?”

They all looked over to their fidgety pianist, who can’t seem to stop tugging anxiously on the straps of her overalls. Suddenly, she looked a lot younger and her choice of outfit seemed a lot dumber, but fitting for her current shy demeanor. Only Joan would wear such a thing with a sunflower yellow shirt underneath, despite it being 2020.

“You?” Kitty said. She glanced Joan up and down, as if she were trying to find an ounce of vocal talent in her. “Why?”

“Because I want to.” Joan said, gathering herself up to her full size and this time not stammering, although she didn’t seem any more mature in those stupid overalls. “Please? I have this song I wanted to sing and I��ve really been practicing and...” She trailed off, opting to look up at the queen with hopeful eyes.

Despite most of them not being all that close with Joan, they had to admit that those puppy dog eyes were extremely effective, so they gave in and agreed. Instantly, Joan perked up. It seemed she wasn’t expecting them to say yes.

“Oh joy!” Joan exclaimed in glee. She skittered back over to her keyboard, tripping momentarily on one of the crisscrossing wires on the floor in her excitement. She nearly toppled over when she sat down in her stool, but regained her balance and flashed a grin at the queens and the phone pointed at her. “Ready?”

There’s a scattering of agreements, both in person and in the chat, although she couldn’t see those. She beamed again, then promptly straightened herself up and turned to her keyboard.

In an instant, her glowing smile and shimmering eyes were wiped, leaving her face blank and focused. But even then, it was clear her nerves were beginning to take over, knowing that tons of people, including the ones she desperately wanted to impress and the ones that didn’t like her at all, were there, watching her.

Joan’s stomach flipped at the thought of singing in front of so many fans and the queens. She’d sung before, but nothing like this. Not where other people really noticed or heard her. Stage fright began to get the better of her as she awkwardly fidgeted for a moment, then got her fingers into the right place and began to play an upbeat, fast-paced tune. A moment later, her voice resonated through the air.

“August 15th at 12:30 noon I don't see a cloud above

The sun is shining down, what a pretty day

So sick of this summer heat I can't beat away the haze

The rays are giving way

And spending all of my time having conversations sitting next to you”

The words, slightly rough from a lack of a vocal career, slide gently from her lips. They shake and shudder as they come out, but hold strong and don’t fracture on the tip of her tongue like a few of the queens and many of the viewers were expecting.

Joan was actually singing.

And she was singing good.

“"Hey but I...don't really like the summertime"

And as you were petting on that cat you said such a daring thing

Right from under your breath”

It was amazing. Sure, it was no Heart of Stone or All You Wanna Do, and maybe her voice wavered and strained on simple notes a few times, but Joan was actually doing really well. A lot better than anyone was expecting. In fact, Kitty had been betting that she would have failed the moment she opened her mouth.

“Ah, and as that cat had ran away

You tried to chase it in the end

Jumping right out in front of a

Traffic light that poured a shade of red bright red”

And then, things took a jarring twist.

“Crashing in and breaking you to bits

That truck a heard a scream a little bit too late

Blood dripping everywhere and choking your smell of hair

I breathe in a gulp of air and just can't take it

Are these lies? The heat is mocking me

"What you see is exactly what you're gonna get!"

And with the blue of sky I hear singing crickets cry and

Fall right back into another dark sleep”

It happened out of nowhere- the peaceful, serene song Joan had been singing suddenly wrenched around and turned into something much more sinister with enough force to give everyone watching whiplash. The warm summer day she sang of was gone, replaced by the gruesome image of a grueling car accident. And her tone helped portray that perfectly.

Joan’s voice was dripping with gore. It oozed from her lips like pus from an abscess and stained any ears that heard the lullaby of carnage she was harmonizing. Her eyes were lit up, too, wide and shining silver. She rocked back and forth as she sang, sometimes leaning forward against her keyboard on the more intense notes, only to lean back and relax on the lighter ones, although every word in that chorus seemed to be gratuitously gruesome.

And then, her words die off and the tune of her keyboard morphed back into a gentle, peaceful hum.

“Sitting up in my bed I could hear ticking clocks the shock

Will mock my ever ringing head

I look to see the time

August 14th at 12 something noon I don't see a cloud above

The sun is shining down

And yet I hear a cry of a cricket singing loudly in my head”

The queens were shocked into silence, and not just out of respect during a performance. They were genuinely stunned by the darkness of Joan’s song. And, yes, they knew that she had her own pent up emotions, but never in a million years did they expect their shy, soft-spoken, stuttering music director to ever sing such a thing.

It was startling. Actually startling.

“"Hey but I...I really have to wonder why

Because in the dream I had last night we sat in the

Same old park we are sitting at now

"Hey, I think the two of us should leave."

But stepping slightly off the path, their heads turned up towards sky

And were gaping pointing struggling to keep away a scream”

Something flashed in Joan’s eyes. The queens braced themselves.

“Stabbing holes and splitting you in two

The beam made seam as it fell straight from the sky

Ringing an old wind chime and shaking a passerby then filling the air

Until they hit those park trees

Are these lies? The heat is mocking me

"Bet you wish you were asleep, but it's not a dream!"

Vision it blurred away and keeping my thoughts at bay I swear you stood there while keeping such a dark smile”

A tidal wave of carnage spilled free from Joan’s lips and crashed over the queens. Another vivid death is laid out for them, this one somehow much worse than the first.

The reactions to such a thing were mixed.

Aragon had her chin raised in an impressed manner. She was stunned to see Joan sing such a thing, but proud nonetheless.

Anne looked a little dizzy, as she wasn’t the best with blood, even blood in a song. She shut her eyes, trying not to think about what was happening to the poor girl being sung about, but ultimately failing.

Jane was startled. The look in Joan’s eyes gave her chills, making her feel entirely exposed even though she’s just another face in the crowd at that moment, another spectator in the small Sunday Session audience.

Cleves hadn’t expected Joan of all people to sing a song like this. She didn’t think she had it in her, so the girl had her captivated.

Kitty was backed up against Jane, her face twisted with disgust and fear. She kept looking up at her mother, hoping her pleading eyes would make her yell at Joan to stop and shut up, but she was dismayed to see Jane far too engulfed in the song to notice her distress.

Cathy was intrigued. She never really took Joan for the type to sing, and yet, here she was. And her transitions from slow to fast, from relaxed to intense, from soft to loud, where smooth and amazing. Especially the one right after the first chorus- an elongated, downward spiral of madness.

“Endlessly I see that over heated haze

And again the laughing will repeat on through the days

You've been dying for the past ten years

We are trapped in cycles and the end is never clear”

Joan’s voice has softened, as was her playing. The notes echoed around the auditorium, soft and mournful. It sounded like the ghosts of ancient monarchs whispering from beneath the floorboards.

“But a story is a story all the same

And today like any has an ending so to say

Far away and out beyond that scorching summer day”

For a moment, all is silent. The queens get just a second to breathe and recover from the madness they had just heard, and then Joan is slamming her hands down on the keys and sliding them down the keyboard, causing an awful, but fitting shriek to pierce through the air.

“Crashing in and hitting me instead you

I pushed you aside to nearly dodge a truck

Blood dripping everywhere and choking my smell of hair

You breathe in a gulp of air and just can't take it

Are these lies? I haven't heard him say

"What you see is exactly what your gonna get"”

Her voice is soft at first, but then it builds up and up and up until it’s an uproar of blood-soaked words and shrill, screaming notes. Her eyes are lit up again, this time even brighter, and her vibrato shuddered in the air. At the last line, she suddenly leapt to her feet, knocking over her stool and continuing to play enthusiastically while keeping pace with her music.

“Maybe this summer day has finally gone away

But that's all I'll say so this is where it ends now”

Before the instrumental took over, she slammed her fingers down on the keys and cried over the wailing sound, singing louder and louder and louder.

“August 14th and sitting alone on a bed a girl awakes repeating just the same

Muttering again

"Guess I failed again.." as she sat all alone

And held a cat still cradled in her arms”

With a few final notes, the song concluded. Joan stumbled back, taking deep, heaving breaths. Sweat is dripping down her reddened face. She didn’t bother to wipe it away, instead whipping around to the queens with an eager expression.

“Well?” She said, beaming at their gobsmacked expressions. “What did you think?”

[jjungkookiex]

My review/thoughts on MOTS7!

This album blew me away in terms of the lyrics, sound composition, EVERYTHING in fact so I figured that I would write a little review of it! Listening to every past BTS album brings me acutely to a period of my life when it was first released so I’m curious to see what memories I’ll forever associate with MOTS7

Interlude: Shadow- From the moment the MV was dropped I was speechless by this masterpiece. It sets the tone for this album so incredibly well by setting up the parallels between fighting your shadows and being engulfed by them. This constant battle I feel is central to the album as a whole. The alternation between Yoongi’s whispered beginning of “I wanna be a rapstar” “I wanna be king” to the Agust D esque switch of flow at the end almost seems as though his shadow is talking back to him. It is as though he realises that he cannot escape it but must embrace it to emerge from it. And also his INSANE flow and fluidity of rap is just something else, this song was made for Suga. 

Black Swan- This has got to be one of my favourite songs from the album, I was hooked by the dark, almost classical intrumentals paired with the urgency of the vocals and rap. I feel as though this is one of the most introspective songs the boys have ever written, with the analogy of the dancer’s first death working to illustrate how art is all consuming for the creator. The pulsing beat underneath the vocals and rap served as a reminder of how important it is for artists to have something that literally makes their heart beat. It’s rare when songs make you truly analyse not only the lyrics but your relation to them and Black Swan 100% did that for me. 

Filter- This had me HOOKED from the first few strings and the smooth Latin beat made me imagine listening to this whist walking through a bustling city at sunset. Jimin’s vocal range and siren like vocals make this song alluring and addictive in a way that no other singer could have done. The lyrics are playful and confident yet simultaneously deep. Jimin realises how attractive his various sides are to millions around the world and he owns that, yet he’s also aware that what people see is mostly akin to a filter, not reality in itself. 

My Time- I’m so proud of Jungkook for experimenting and creating different sounds for each of his solo tracks and My Time is no exception. His beautiful airy vocals echo and blend perfectly with the lowkey beat. The lyrics hit hard when you realise that Jungkook’ s time scale of life has been directly opposite to that of his peers. He’s grown up on airplanes while they took the subway and you get a sense of yearning from his voice, a yearning for maybe the childhood and things he missed out on. Yet there’s a sense of assertion, that he owns his time has been different and accepts his fate. 

Louder than bombs- I 100% understand why Namjoon cried writing this song. It so perfectly encapsulates the sense of fear and desperation that arises from uncertainty in one’s position in life. Troye did such a great job helping the boys with this song because it sounds sonically like the pair of them together. Even though this song is one of the darker numbers on the album it is offset by the small hints of hope. Namjoon’s mantra that he’s going to “pray for better days” is so striking because often in life that’s all you can do when you’re breaking- hope that things will change and the majority of the time they do, so you need to keep that fire of hope alive in you. 

ON- On is a certified bop and its so INTENSE with the drum beats in the beginning. This song is going to be amazing in concerts with its anthemic rhythm and the lyrics “bring the pain on” and “can’t hold me down cos I’m a fighter” are so empowering. I feel this song embraces the pain and hardship with the confidence of the rap and vocals coming together to say- bad things will happen but we’ll emerge stronger and surge ON. 

UGH!- Even from the title I could tell that this queen was going to sit with her sisters Ddaeng and Cypher. I’m so incredibly proud of our rapline they SNAPPED, like the flow, the wordplay the artistry?? The gunshots immediately grabbed my attention and the build up the chorus which hits like a gut punch is EVERYTHING. The way they discuss anger is so pertinent, with the rise of social media people unleash their anger on whoever they choose whilst hiding behind a screen on anonymity. Anger, like they say, is necessary but only when it can be used as a motivator for justice. Petty cowardly anger, like that which is directed towards BTS, can only lead to pain and that is what our rapline so masterfully condemns. 

Zero O Clock- This is my new healing song, the acoustic guitar and soothing vocals are like a warm hug. The chorus is so uplifting and assuring, just hearing the gentle refrain of “and you’re gonna be happy” is so comforting. This reminds me of curling up on a winter’s day and finding comfort in small things and happy memories regardless of the storm that rages outside. The way that BTS never tell you meaningless words like “don’t be sad”, instead they assure you that sadness will not last forever and that the metaphorical spring will brighten your life once more. 

Inner Child- Tae’s solo track radiates innocence and I am so in love with it. The way that he accepts his past and the hard times he went through and instead of allowing himself to dwell on it, he looks to the future. The refrain “we gon change” is going to be so uplifting at concerts. Even though our boys bring us so much joy we have to remember they’ve been through so many trials in the past. It’s comforting to know that I’ve gone through struggles alongside him and we can both move on whilst still recognising that our scars are the reason we are here now and that they prove we are alive and capable of healing. 

Friends- One of my favourites from this album hands down. This makes me so inexplicably happy. It reminds of walking home hands intertwined with your best friend after school, late night conversations and inside jokes that make you double over whilst still containing that deep and powerful love you share with your soulmate alone. And isn’t that just vmin encapsulated? I can’t wait to see they perform this live, the Stay! Hey! part makes me so nostalgic and makes me want to reassure them that they’ll always have each other and the cheers of us, their ARMY. The part where they acknowledge their relationship as soulmates made me BAWL, their bond is one of such purity and rarity and I’m honoured to even witness it. 

Moon- Another one of my all time favourites from this album. This could be the soundtrack for a slice of life anime and it is so bright and cheery, like Jin himself. His sweet vocals and the beat fits the spring season so well and the lyrics made me so soft. The way he uses the metaphor of him being the moon and circling us, his precious earth made me realise even more how much his man ADORES us. How could anyone sleep on Jin?? He’s songwriting is so pure and his presence gives me such comfort and hope, you’re so much more than just a moon Jin. You’re our one and only moon. 

Respect- Namgi you geniuses! The wordplay, playful banter and topic matter are so unique in this song that I knew that it could only be made for the two of them. Respect I feel at the foundation of all relationships, can you ever have a healthy and mutual relationship with anyone or thing if you don’t respect them? With their distinctive rap that blends and flows so well with each other Namgi discuss the concept of respect and what it really means in the modern world when people place a veneer over their actions and words so as to disguise whether or not they truly respect you. As artists all I feel Bangtan want is people to respect them, not idolise them, but respect their artistry and work and sadly in an world where people hold numerous prejudices this is hard. Kudos to them for exploring this topic in a way that is simultaneously light with the satori at the end but still very thought provoking. 

We are Bulletproof: The Eternal- I was 100% expecting this song to be a hardcore hip hop track so imagine my surprise to find a song that made its way into my BTS songs I can’t listen to casually because they mean too much to me and will make me bawl in public tracklist. The gorgeously haunting melody, the angelic vocals and intensely emotional rap has me in tears. When they sing “We were only seven” and “But we have you all now” I lost it. The memories I have of BTS who were my second family for the majority of my youth, the times we spent together, the music that was the soundtrack to my life. The way they adore us and find comfort and hope from us... this song really made me believe that I’m going to love them forever and vice versa. It makes me less scared to go on the rollercoaster that is life knowing that I will always have Bangtan beside me. 

Outro:Ego- I saw a post that said Namjoon looks up to his Persona, Yoongi’s Shadow looks down on him but Hobi is the only one who is at the same level as, and looks his Ego right in the eye. I feel this song is such a wonderful upbeat positive track that is so Hoseok?? The way that he accepts his fate and looks forward and is confident and happy in the person he is now? This is going to be amazing at all the summer concerts and it just radiates such joy and never fails to make me dance. The perfect ending to an album that chronicles the ups and downs of BTS’s relationship with their career and selves and ultimately ends on such a bright note of hope and happiness. 

[bipercabeth]

So, can we hear your thoughts on TS7? I remember your breakdown for the Ben Platt album and wanted to hear what you have to say about Lover

oh man, i already know this has to go under the cut. i have,,, so many feelings

i forgot that you existed - this song is such a good opener for the album. both the lyrics and production are so light and carefree, which makes it the perfect transition from the intensity of reputation to the softness of lover. she’s not reinventing herself, she’s growing. i love the way she plays with harmonies in the chorus! and i adore how the last line of the verses swells ominously before releasing into the playful staccato of the chorus, i think it’s really indicative of the anxiety surrounding the situation vs the simple and relative ease with which it was all forgotten

cruel summer - tbh i’m glad this wasn’t a single in the place of ME! or yntcd because listening to this was literally a full body experience. it would’ve killed as a lead single, but it definitely hit harder for me hearing for the first time in the context of the album. i read the lyrics of the first five songs when they leaked and genuinely thought i wasn’t going to like this song, but i went absolutely feral at the bridge. (also upon listening i adored the lyrics, so i will no longer be trusting my opinions based on lyrics alone.) if i wasn’t sold on the rest of it, the bridge is what solidified this as one of my favorites on the album. the way the synths build and then cut out for HE LOOKS UP GRINNIN LIKE A DEVIL,,, i lost my shit. astral projected. if this song is playing, i will not turn it off before i get to scream that line. also “i love you, ain’t that the worst thing you ever heard?” is incredible. 

lover - words cannot describe my love for this song. my friend veronica described it as the love song of our generation and honestly? she’s not wrong. lover’s lyrics are simple, but hit like a ton of bricks regardless. the key to simple lyricism is finding the words that everyone has always wanted to say (lean on me is a really good example of this but i’m not going to get into songwriting theory on this post) and lover does exactly that. simple descriptions of simple acts are her window to how all-encompassing this love is. the 6/8 timing (a fucking WALTZ y’all) gives it the 2 in the morning kitchen dance feel. it’s a love song in every aspect. i’m never gonna be over it. 

the man - a bop. the low notes in this song? incredible, especially in the bridge. those low harmonies took me OUT! the first line of the chorus is so killer as well. and she says bitch twice! taylor said i am 29 i curse and have sex, get over it. there’s less to analyze in this song, but that doesn’t mean i’m not in love with it. 

the archer - i am telling you i heard the first goddamn synth note and KNEW jack antonoff was all over this song. i really needed this song to come out when it did, because after those two singles,, i needed some hope for this album. it did not disappoint. the slow build of the synths into one massive crescendo at the bridge instead of the usual rise and fall of most pop music. every single note builds to the bridge, to the anxiety of that repeated they see right through me, to the cause all of my enemies started out friends / help me hold on to you. it swells like the slow draw of a knocked arrow, like an archer taking aim. and then all at once, it fades like the string was released. i adore every single aspect of this song. 

i think he knows - my percabeth loving ass needs to take a second to talk about the line i am an architect, i’m drawing up the plans and how it sent me to the fucking moon. but anyway. different post. it is physically impossible for me to stay still when this song plays. the harmonies on that AH in the chorus made me lose it. i want you, bless my soul is so southern and absolutely beautiful. she’s straight up pining in this song, and she knows it. that way she closes the song with that line on loop? sets the tone so well.

miss americana and the heartbreak prince - i have no idea why i didn’t like this song upon first listen, but now i like it! still not my favorite on the album, but the bar is high. 

paper rings - god i cannot believe that she said his friends were high at the met gala i’m fucking dead. this whole song is peak old taylor, just grown up. it’s got the same catchiness as stay stay stay, but with a more grown (but still fun) outlook. this one is real experience talking, and it shows. she’s got the love she always wanted to write about! i’m not okay! 

cornelia street - her delivery really makes the song for me. you can physically feel how much she loves joe and how real that fear of losing him. that stripped down chorus after the bridge where her voice breaks? she’s so in love. i’m so in love. 

death by a thousand cuts - GOD i love this song with everything in me, even more since watching Someone Great. it’s the perfect narrative song for that movie. it also contains the single most Taylor Swift^tm lyric of all time: but if the story’s over, why am i still writing pages? ALSO? WE WANNA TALK ABOUT BRIDGE CITY?? this bridge goes so hard. i can’t convey my love for it unless we’re in the car together so i can scream it properly. ultimate car song. 

london boy - so fun! people who are upset over this song gotta calm down, it’s a fun, catchy song. i don’t have much to say about it, but i enjoy it! i won’t go out of my way to queue it, but it’s cute and cheeky and i like it.

soon you’ll get better - i knew from the first goddamn guitar lick that this was going to wreck me, but once i realized what it was about,,, i didn’t stand a chance. i literally went back after my first listen through the whole album and listened to this song on loop for at least half an hour and just. sobbed. it hits home way too hard for me. again with that devastatingly simple songwriting. you’ll get better soon / cause you have to absolutely destroyed me. also, this is a really small detail, but that breath at 2:41 really does me in. it’s so defeated, i can’t. her delivery in this one is an absolute gut punch.

false god - jack antonoff is all over this one and i love it for that. taylor swift said i fuck and i respect that. the sax? get out of here. it’s so perfect. it’s horny, but like,,, emotionally horny. perfect fit for this album. i adore it.

you need to calm down - okay ngl i don’t like this song or ME!, but i’m really glad they were singles because if i heard them on this album for the first time i would’ve been :/ about it. instead we got that right out of the way and now i can appreciate the good parts of them. the oh’s in the chorus are really pretty! i don’t actively dislike this song, but i don’t actively like it either. 

afterglow - i love that taylor put a song about fighting on this album. i think this made the album feel so much more real. it’s about love, and fighting is a part of that! we break a little from the picture perfect aspect of songs like paper rings and get a little grittier. people make mistakes, but the love guides the choice to stay, to ask for forgiveness and promise to do better. this makes the entire narrative of lover so much stronger.

ME! - same sentiment as yntcd in terms of it being the lead single, except i’m really not a fan of this song. i can handle it up until the spelling is fun part. i cannot believe “can’t spell awesome without me” is so close to daylight. i appreciate the point of the song and what she sets out to do with it, but i just. can’t get over that damn bridge. 

it’s nice to have a friend - i really didn’t like this song at first and i’m still warming up to it, but i definitely am! it’s such a percabeth song. i’m not sure why i didn’t like it, probably because it doesn’t escalate or go anywhere, but i think that steadiness contributes to the meaning of it

daylight - i could literally write an entire essay on this song alone. it’s the perfect closing song for this album. i don’t want to see anything else now that i saw you / i don’t want to think of anything else now that i’ve thought of you are literally the most tender lines i have heard in my whole life. the comparison between this and her notes from red make me openly weep. the bridge of this song literally feels light daylight, it shines and feels warm and god i love love! i once believed love would be burning red, but it’s golden made me cry when i heard it. i can’t stop thinking about that quote that says “lover is the sound of a songwriter getting to write the album she’s always wanted to write”. i could literally cry just thinking about that. she got to write the album about golden love! her whole career is based around singing and writing about love, and now she has exactly what she’s been grasping at all this time. it’s downright poetic. the monologue/outro only did me in more. she’s spent so long being defined by other people, and here she makes that definition for herself on an album that she owns every part of. it’s perfect. 

[3rachatraingoeschoochoo]

2012 Kpop

Now, let’s talk about K-pop groups you may or may not know about. 2012 brought a wave of awesome new groups. I was fairly new to the K-pop scene so I just went exploring and discovering new groups and boy am I glad I did that, because now I can tell you all about these hidden gems:

Debuts

So in this year, Gangnam Style happened, yeah everyone knows that bUT DO YOU KNOW WHAT ELSE HAPPENED??? YEAH, THAT’S RIGHT, B.A.P DEBUTED!!! They were amazing, ruthless, powerful, just wow, no wonder they became my ultimate group right away cause did you see their debut MV?? Bunny aliens that invade the earth to save their dying planet?! it was wild y’all Also you should definitely watch Bang&Zelo’s Never Give Up, although it was released in 2011 I’m still gonna mention it here, because it was that good.

Debut: Warrior - B.A.P 

Another debut that many people may know is that of EXO. Before their real debut, they actually had released some mv’s like History (y’know “enjoy the mayo”).  I don’t know what it is with aliens this year but they seem to like this concept because also EXO turned out to be aliens with special superpowers from a dying planet named EXOPlanet. Till this day I can still hear the iconic “When the skies an-”

Debut: Mama - EXO

Y’all know GOT7? Then y’all must have heard about JJ Project a.k.a JB and Junior!! Jaebum and Jinyoung appeared in the k-drama Dream High 2 just before their actual debut, and boy did I LOVE Dream High 2. So obviously I was sToKeD for their debut, and they didn’t let me down. You should definitely also listen to Hooked.

Debut: Bounce - JJ Project

Let’s talk about my humongous crush on Jung Ilhoon, shall we? That boy man entranced me from the very first beginning. BTOB’s debut was wow, ilhoon was wow, I was wow. I remember watching their MTV Diary late at night, I watched them all and my mom got mad lol but I was so so so into BTOB, and along with B.A.P, they were my ultimate favourites. (pssst.. MTV Diary BTOB is still one of the best reality shows out there, i’m not saying you should watch it but i think you should, they are absolute crackheads)

Debut: Insane - BTOB Wow - BTOB (!!)

VIXX debuted with Super Hero and they had a comeback the same year with Rock Ur Body. Both VERY good songs and that’s why I’m so mad it isn’t on Spotify, this was my jam y’all, why you gotta do this to me, just put in on Spotify please. They actually have more songs from their earlier days that aren’t on Spotify :((

Debut: Super Hero - VIXX

Okay, then AOA happened. I absolutely LOVE their debut song, 10/10, chef’s kiss, just listen. Till this day Elvis and Get Out are my favourite AOA songs. 

Debut: Elvis - AOA

DO YOU KNOW C-CLOWN??? YOU SHOULD cause without this group we wouldn’t have that frickin’ handsome hot sexy Aussie dude named CHristian Yu, insta: @/dprian (thought i was gonna say Bang Chan or Felix? ¬‿¬)  They debuted with Solo but you should rather watch Far Away Young Love, this mv is so good, the story line, the song, the boys… 12/10. Sadly they disbanded back in 2015 and all the members went their own way. Christian founded DPR, and “Maru” or simply Jaejun debuted again in 2019 with the group TREI (you should definitely watch their debut mv, i love it so much)

Debut: Solo - C-Clown

Let me tell you about a group that literally said in a song that they “f*ck like a p*rnstar”. Yes, it’s a South-Korean group from 2012 we’re talking about. Big Star. They are iconic, unapologetic, energetic, i freaking love them. They all went to the survival show ‘The Unit’ in 2017 and you may know Feeldog from that. “I rap like a monster and I f*ck like a p*rnstar….my rap always kills the track, at night I always kill the girl” yeah they did that

Debut: Hot Boy - Big Star (this debut is uhh… interesting)

Y’all, this group deserved so much better, I mean, their songs were absolute bops but I guess they were just ahead of their time. The Wonder Boyz! Wonder Boyz were being mistreated by the CEO of their agency, they were assaulted, verbally abused and the CEO allegedly also stole from them, it was horrible to hear this, they had so much potential. I liked how they made the songs theirs, matching it to their unique voices. So far I know they only have two mv’s. After their disbandment, they all went their own way and I’m happy to report that they are doing well. Young Boy changed his stage name into Roscoe, and is now part of DPR (we gang gang), K or Taehyun is now active as Owol (definitely listen to Why), Master One is now known as V-Hawk (Tokki mv) and I don’t really know what happened with Bak Chi Gi but some sites say he became an independent artist.

Debut: Tarzan - Wonder Boyz (This one’s really good i swear) Open the door - Wonder Boyz 

More debuts worth mentioning:

Nu’est, the big brothers of Seventeen! Their debut song was a bop, really, and Ren was so beautiful. Also, I really digged their hair styles. Face - Nu’est

Y’all know the legendary female Park Jimin from ASC? Y’all know her beginnings with 15&? Y’all should watch these angels: I Dream - 15&

Ailee also starred in Dream High 2 and her debut song was so so so good, just listen. Heaven - Ailee

Lee Hi!!! Love this girl. All her songs are good man. 1, 2, 3, 4 - Lee Hi

100% They were just HOT. Bad boy - 100%

Lunafly yO these kings deserved better. I mean, an acoustic band singing in Korean, English ánd Spanish. If you don’t know them, you missed something good. Super Hero - Lunafly

GLAM said gay rights, just look up their lyrics. Do I need more things to prove that their debut was iconic? Party XXO - GLAM

D-UNIT 2012 was the year of the badboy aliens but let’s not forget the badgirls because they killed it. Luv me - D-UNIT

24K they debuted with Hurry up but their comeback U R So Cute is just so cutesy and very different from their debut concept, ngl that song is my guilty pleasure.

The year of the humble beginnings of EXID! Before Up&Down, there was Whoz that girl - EXID

Tiny-G you may know Min Do Hee from her acting in Reply 1994 and Gangnam Beauty. Their debut mv is soo cute Minimanimo - Tiny-G

A-Jax I remember being really intruiged by their mv’s, not really sure why but just take a look yourself: One 4 U - A-Jax, Hot Game - A-Jax

Mr. Mr. no not that song of Girl’s Generation. They have a whole history with members leaving and members being added but if you overlook that, they still have some good songs worth mentioning. I actually don’t recommend watching their debut song, just watch one of these: Do you feel me, Waiting for you

Comebacks

Big Bang’s legendary comeback: Fantastic Baby 

G-dragon’s Crayon a.k.a my go-to shower song

Super Junior had a comeback and they were Sexy, Free and Single and ready to bingo ;)

Just Teen Top had a comeback with Be ma girl a.k.a the proper way to ask yo crush out

Beast (now Highlight) summer comeback: Beautiful Night

Block B’s released some really good content like Nillili Mambo and NalinA

Boyfriend as angel/demon princes !! Definitely a must-watch: Janus

B1A4 had a really good year, I loved all their comebacks: Baby Good Night, Baby I’m Sorry (you either love it, or hate it), Tried to walk

Shinee’s back with Sherlock a.k.a soy un dorito

Also the year f(x) swept us away with Electric Shock

Some more iconic things worth mentioning imo:

BTOB and B.A.P had a dance stage together and it was a-ma-zing

This  🤯 KMF 2012 really gave us the best performances

Teen Top on Weekly Idol doing random playdance and turning violent

B.A.P’s killing camp and Ta-Dah! It’s B.A.P and MTV Diary B.A.P I’m a sucker for B.A.P, is it obvious ?

Actually all MTV Diary’s from 2012 are top quality procrastination content (C-Clown, MyName, VIXX, JJ Project, BTOB, B.A.P)

This compilation pretty much sums up 2012′s vibes 

[thefreshfinds]

THE RAW SHOWCASE

By: Natalee Gilbert

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

S.B:

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

Instagram: @remembersb

Spotify:

KORY HIII:

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

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

Instagram: @koryhiii

Spotify:

Bindi Liebowitz:

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

Instagram: @thisisbindi

Spotify:

SUNLIGHT:

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

Instagram: @suunnnlight

Spotify:

[audibleaddixion]

Audible Presents: Top 5 Music Artists To Look Out For In 2019

https://ift.tt/2OrrjCi

Name: Litany

To start off my list of artists to watch in 2019 is an awesome duo with a soft, pop vibe like no other. Coming from the United Kingdom, Litany first appeared in the alternative world in 2015 with their single “Work This Out.” This psychedelic, sweet track brought Tame Impala vibes and grasped attention from some leaving them wanting more. Litany arrived back on the scene in 2017 with the release of their first EP “4 Track.” This EP featured four tracks, each with a short instrumental introduction. These short intros contributed drastically to this 17 minute EP by bringing the ultimate. The standout track that got me hooked on this aesthetically pleasing, soft-spoken, genuine artist was “Bedroom.” This song brings the “it factor” with its flirty, tasteful lyrics and explosive start. I’ve shown all my friends this song and have gotten amazing feedback. I even had this track in my Tinder bio for a year and low key I’m convinced some people only matched with me to tell me how good the song was. Since the release of her last single “Call On Me” in late 2018, Litany’s promised their fans new music to coming soon.

Name: Naii

Up and coming hip hop artist, Naii brought the heat with his first single “Let It Bang” which was released October of 2018. This groovy hip hop track brings hard, catchy lyrics, and exotic, clean beat and Naii’s smooth, confident voice. Since the release of his fire first track, Naii has been featured on 7evin7in’s single “He Say She Say.” This track has surpassed 300,000 listens on Soundcloud and since the feature and release of his first single, Naii’s following has skyrocketed. His latest single “VVS vs Si” hasn’t even been out for a month and has accumulated over 16,000 plays on Soundcloud. I’m not sure if it is Naii’s mesmerizing vocals, catchy, boppin’ lyrics or if it’s the producer he’s been working with, whatever it is this kid is racking up a following. If he stays as consistent as he’s been since hitting the scene, fans of hip hop from all over the world will be jamming to Naii’s contagious tracks soon.

Name: Theophilus London

Soulful, modern-day king of the groove, Theophilus London can do it all. Whether it be vibing reggae, groovy psychedelic music or even hard rap Theo is the definition of natural talent. While Theo has been in the music scene since 2007, he gained mega attention when the lead singer of Tame Impala, Kevin Parker took him under his wing early last year. Theo released a cover of Steve Monite’s “Only You” with Tame Impala and the song now holds over 500k views on Youtube and let me just say, by mentioning that I’m only expressing really how impressive Theo is because you for sure gotta be something special to stand out to a member of one of the best psychedelic bands in the world. If anything Kevin just gave Theo the little boast he needed. His most recent reggae track “Bebey” brings fun, lifting beats and lyrics that could brighten the dullest of days. Theo will continue to shine in 2019 and will hopefully (fingers crossed) jump on tour with Tame Impala this summer.

Name: Tierra Whack

Tierra Whack started 2019 by erupting from the music underworld. The 23-year-old rap and R&B artist has brought track after track since the beginning of this year and she’s not stopping. The motivated singer’s most popular track thus far, “Only Child” brings a catchy beat and relatable lyrics. Since the release of this track, a month ago, Tierra has released four other tracks. She’s also been featured on Jimmy Kimmel and wow is she good. She’s definitely one of those artists who’s just as good live as she is in the studio. Her stage presence is aesthetically pleasing, simple yet different and so her. The soft rap artist is like a refreshing fruit smoothie on a hot summer day, she’s different, modern and someone everyone could vibe to.

Name: ARMORS

The pop-rock duo, ARMORS has started 2019 strong with their tracks “Human Touch” and “DOA” both less than a month old and both expressed through cool, bright music videos. These fun tracks have underwhelming numbers of views and for what reason, I don’t know. “Human Touch” is a contagious, pop-rock track beyond ready to hit radios all over the world just in time for summer. The track brings a touch of 80s electric vibes and did I mention how cute and funny the members are? Olen Kittelsen and Sam Beresford have humor, vibes, and talent (obviously). Look out for them and the rest of these underrated artists to bring major bops and creations throughout 2019.

from WordPress https://audibleaddixion.com/audible-presents-top-5-music-artists-to-look-out-for-in-2019/

[jazsplaylist]

JUNE FAVORITES

Ah shit, it’s August. 

FAVORITE SINGLES: (in no particular order)

1. Illusion - aespa

I don’t think I’ve heard of aespa before this song, but I’m slowly venturing into the world of K-pop more tentatively than before, so I’m still figuring out what I truly like. This was definitely a catchy bop I’ve enjoyed throughout all of June, so I’ll be paying more attention to this group moving forward.

2. I Like You (A Happier Song) (with Doja Cat) - Post Malone

This song is so cute! I haven’t really enjoyed any Post Malone singles (or songs, for that matter) since... I don’t know, “Wow”? They complement each other well here, and if it wasn’t for that indication that they’re going after someone taken, this would’ve been such a wholesome song. Still, it’s a great contender for song of the summer.

3. Dusjen - TØFL

Yes, I’ve included every single release they’ve put out in 2022 on this list. And what about it? I saw them live earlier this year and this song really caught my attention because of the hook. I love how forward-driven it is and the drums just make it undeniably easy to move your body to it, whether it be just bobbing your head, tapping your foot or jumping up and down. 

4. Vegas - Doja Cat

I know this is a May single, but it’s so new that I think missing a month is fine. I just forget to pay attention to things I want to pay attention to. I absolutely love the interpolation/sampling of “Hound Dog”, and I love even more that it’s Big Mama Thornton and depending on how you interpret the chorus, it also can sound a little shady towards Elvis. Which is a total boss bitch move when you’re on the soundtrack of Elvis’ biopic. Doja nailed this, yet again.

5. Move - DNCE

I love that DNCE is really back - they’re the ultimate feel-good group bringing the best vibes with their music. A great song of the summer contender as well.

Honorable mentions: No Thanks - SKIA / SOLO - ELISHIA

FAVORITE ALBUMS: (in no particular order)

1. How To Let Go - Sigrid

Also a May release, I know. I did want to check this out earlier, but I was also seeing a lot of lukewarm reviews on this album, so I kind of wanted to forget my expectations for it or others’ opinions on it before getting into it. I honestly thought it was a pretty solid album! I think it’s similar in consistency as her first album is, and sonically, it feels true to her. It probably won’t be an album I will be listening to for years to come, but for this moment, it’s just the right main pop girl vibe.

Favorite tracks: A Driver Saved My Night, Burning Bridges, It Gets Dark

2. A Business Proposal OST - Various Artists

I’m going to break the rules once again with this one and the next one, because I haven’t really been listening to albums in June and I was really getting into K-dramas… But both this and next one came out in spring 2022, so I feel like it should be acceptable? 

I’m so fascinated by the way soundtracks are used in K-dramas compared to shows I’m used to watching. They have a handful of songs that they use frequently, and I’m not used to hearing the same song over and over again in one episode or throughout the whole show (unless it’s the theme song). By the time I watched this show, I grew to like it a lot. This is also the first K-drama I watched where a main actor/actress is featured in the soundtrack. Not so strange considering Sejeong was in a girl group! I also learned pretty quickly after watching my first romcom K-drama that I really enjoy listening to their soundtracks, especially as background music or while reading fanfics (lol). It just really sets a really nice vibe, and I really love the vibe of this soundtrack. I also am so obsessed with “Love, Maybe” that I considered putting every version of it as my favourite tracks.

Favorite tracks: Love, Maybe (Acoustic Version) - KIMSEJEONG, Closer - Ha Yea Song, It’s Up To You - Moon Sujin

3. Twenty-Five Twenty-One OST - Various Artists

Because this series is set mainly in the 90s, the OST is heavily inspired by 90s sounds, which is why I like this OST. There are also a handful of songs that remind me so much of those music tap/dance games that were super popular in my childhood and it makes me so nostalgic. The OST also does a good job of capturing the essence of the show and main pairing very well, so I feel like I’m living in their world every time I listen to this. I also love that there is a song where the entire cast sings in it! More shows should do that.

Favorite tracks: With - Twenty-Five Twenty-One Cast, Starlight - TAEIL, Your Existence - Wonstein

FAVORITE DISCOVERIES: (in no particular order)

1. Después de la Playa - Bad Bunny

I don’t really care much for Bad Bunny. It’s not like I dislike his music, but it’s just not interesting enough for me to put my energy into it, if you know what I mean? Anyway, I decided to listen to his new album Un Verano Sin Ti, and while there wasn’t much that caught my attention, there was one song that did. Después de la Playa is the perfect summer vacation song that you could make a whole party around. It makes me want to get up and dance no matter where I am when listening to it.

2. I Think I Like You - The Band CAMINO

This song reminds me of songs like “Shut Up and Dance” in terms of vibe and the kind of style that was wildly popular in that era. Just a total fun, cute, uptempo band-pop love song that just puts you in a good mood.

3. Hello Hello - Trixie Mattel

I don’t know anything about the popular drag queens of current pop culture besides some of their names. I think this was on my Discover Weekly, and I wasn’t even looking at the name of the artist when I went to add this to my playlist. There’s something about this song that is very... early 2010s commercial/TV show intro music, but I strangely love that. This is my first proper encounter with Trixie Mattel and I’m not mad about it.

4. UNNATURAL - WJSN

In relation to one of my favorite albums/OSTs of the month, I had to check out Bona’s (who stars in Twenty-Five Twenty-One for those who haven’t seen it) girl group and I was not disappointed one bit. “UNNATURAL” had me sold by the first sentence of the chorus. Rhe punchy synth that follows the choppy rhythm of the topline? Incredible. What a pop treat.

[dachroof]

REVIEW: ‘Caution’ - Mariah Carey

best song: “Stay Long Love You"

worst song: "GTFO"

hon. mentions: “8th Grade”, The Distance”, “Giving Me Life”

The vocal confectionist kept it light in terms of frosting and sugar drizzles, which I think is a testament to the strength of these records as there’s still some very hearty, full-bodied, cake present. This album has the most potential energy of her more recent releases. The foundations of the songs are stronger than they’ve been for a while, and though at times she fails to realize all the harmonic, melodic, and climatic potential of a song — as on “Caution” — or she mistakenly leaves a feel good bop too underdeveloped (and therefore vapid and redundant) — as on “A No No” — she still manages to create a solid body of work. Ultimately, Mariah’s back in good form. She’s excited, and I’m excited about it. This is the most confident and comfortable she’s been in years and the material reflects it.

The sonics of this record place it in tandem with Erykah Badu’s ‘But You Cain’t Use My Phone’ and Lalah Hathaway’s ‘honestly’. However, this is more characteristic of Mariah than those two, which is part of the reason she sounds so much more at home than they did on their projects (and than Lalah specifically). ‘Caution’ is both ‘Butterfly’ and ‘The Emancipation of Mimi’ minded. This is ‘Butterfly’ in the world where “The Roof” and “Babydoll” are the album highlights, and more than meeting that task. The world where “Mine Again” and “Stay the Night” are ‘Mimi’’s. In their places we get “Giving Me Life” and “Stay Long Love You”, respectively. This is Mariah, as a more seasoned artist, further expounding on the idea she and Mary J. Blige introduced. Hip-Hop plus some SINGIN’ singing. What Mary J. did with soul vocals and emotional depth, Mariah did with ethereal pop vocals and compositional complexity. Mariah is in such good spirit and vocal shape here it’s reminiscent of 2005, the era her fans describe as her second prime. I’d go as far as to say the best songs on here sound like throwaways from that album, that is, they are comparably strong ideas though they don’t all execute as brilliantly (as “Shake It Off”, “We Belong Together”, or “Fly Like A Bird”).

Album highlight “Giving Me Life” is easily my favorite song. Slick Rick sounds quick and fit, and with as much wit as ever, and his verse feels like bumping into your uncle for the first time in a while and seeing he’s doing well in body and mind: It was a blessing. And the warm, stanky, groove Dev Hynes strokes out of the production with that fuzzy-like-a-bumblebee bass line makes it feel so Black, it’s a fellowship. Mariah is full on New York mixed girl here. We get the swag of hip hop, the attitude of an elusive chanteuse, and the hilariously hyperbolic and yet appropriate slang of Black LGBT folk (which sounds great on her as we know it’s authentic: she really talks like that and isn’t just adopting or co-opting the language for cool points). The other highlights include “The Distance” and the breezy “Stay Long Love You” which sounds like Harlem in the summer time, specifically Harlem summer 2004. The summer of “You Don’t Know My Name” and “All Falls Down” and “Yeah”. “The Distance” is a great feeling modern dance track, with a spastic bass line and anchoring drums that jump your pulse and get you right into a sturdy ass head bop. The strength of this record is definitely in the latter half.

I firmly believe the pre-album singles do this record no justice. “GTFO” specifically was corny, and lazily attempted to capitalize off of shock value. I imagine the conversation after it dropped being “Oh my god, Mariah is singing curses on a vibey song,” which may interest initially but the song is so weak it couldn’t even hold my interest until the end. To her credit though, Mariah did say the song was a just-for-fun record that happened in the spirit of improv and I think a post-album release, in similar vein to Beyoncé’s just-for-fun “7/11”, would have better communicated that to the public. It definitely should not have lead this album roll out. “With You” is similarly weak, but I think that’s due mostly to the fact that it followed “GTFO”. So hopefully, “With You” can find new life on shuffle in playlists as there is some compositional and emotional depth present.

Overall, this is a strong effort from Mariah. I imagine this album has the same energy as ‘Butterfly’ and ‘The Emancipation of Mimi’ because she, again, feels free. Free from the drama, and negative relationships both romantic and professional, and maybe even from negative self-talk. She’s in great spirits, she sounds good, she feels good, and that’s oozing out of the record. So even on weaker songs like “A No No” and “Caution” the fun cup runneth over so much you just want a taste, and so you join the soul train line to 2 step to the undeniable bops. More than the strength of this album alone, this album feels as though it marks a kind of return for the criminally underrated artist. Her voice isn’t as big and agile as it used to be, but her songwriting is as potent and interesting as ever. I mean after all, this is the writer of the American holiday classic “All I Want Is You”. She has 18 #1 singles for a reason: she knows what the fuck she’s doing. Be cautious, Mariah’s back and as good as always. 6.5/10.

Rate: 6.5/10

Dopeness Level: x8000

Lyrical Depth Level: x7000

Sonic Beauty Level: x7000

(Sonic) Cohesiveness Level: x7000

Style Level: x8000

...by Te’von Walker

[badpadfoot]

Holding Out For A Hero (Nothing But Thieves)

{So immediately when I heard this rendition of the CLASSIC bop I was like, this is not a damsel in distress calling for help this is a villain, a powerful one, begging to be stopped. SHE is the one causing the fire and flood and only a mythical, Herculean hero can stop her. She's raging at the Old Gods (as she's a goddess herself) for their silence and their brutal punishment of her sister. The more they don't intervene the wilder she becomes until we reach the start of the story when a "white knight" appears to challenge her, and ultimately save her from herself. She's holding out for this hero and has all of these ideas of who "he" must be in order to defeat her. I've always loved stories where the Great Hero is assumed male and at the last moment joke's on everyone cause they're not and that's exactly why they can succeed. Also definitely was thinking of Te Ka's form of the "woman scorned" from Moana and the idea that even the wildest and most broken of hearts can be healed with a little love. Hope you like it! Thanks for reading! (Also sorry it's not under a Read More, I'm mobile and will cut it once I get back to a computer!)}

Chaos. She surveyed her surroundings and found death at every turn. The sky with its red black hue gave the scene a ghostly glow, like dying coals. Screams echoed around her, the sounds of women and children wailing, the tamest animals stampeding in pure fear as fiery rocks rained down, scorching any creature within five feet. Torrential rains and wind ripped up trees long rooted and tossed them like discarded twigs. Lightning streaked through the sky, setting homes and fields ablaze despite the oppressive rain. Her storm was raging, ferocious, unyielding and unforgiving.

Her focus came to a pair of young girls, an elder and a younger. One, the younger, was desperately trying to support the other but her legs were weary and Chrona watched as they were trampled by fleeing soldiers.

Guilt tore through her and in that moment she was no longer the harbinger of destruction that stood atop the ruined castle, she was a more youthful self, scared and clinging to her sister’s arm as the girl dangled over the very pit of hell.

“Chrona!” she screamed, a creature too foul to describe gripping her by the waist, dragging her down. “Please!”

Chrona gripped a dagger in her hand, one meant to end an eternity of suffering before it began, but it shook as she looked in her sisters eyes. Just as she steeled herself to do the deed the beast gave a savage tug and Chrona felt her sisters thin fingers slip through her own. She screamed, a soul splitting sound, as the girl fell into the abyss, her final expression filled with judgement and despair.

She roared in pain at the memory and lashed out at the soldiers, casting down shrapnel and lava and sheer celestial rage until their blood mixed and pooled on the burned earth.

“Is this what you want!” She yelled to the ever quiet heavens, “You think me crushed!? Defeated!? I will show you crushed! I will show you defeated!” Chrona’s lip curled at the deafening silence.

“Are you so frightened you will not even help those who worship at your altars! You look on as they die, viciously, and you speak nothing, you send nothing, you do nothing! Nothing! “

The last word cut through the cacophony of noise and all who heard it trembled, fearing some winged hellbeast was on the horizon.

Then, she saw him. Riding through the chaos, a knight in starlit armour, sword glinting and whistling as it sliced through debris and foes like summer berries. He rode on a horse the color of bright flames and indeed in its wake it left burning hoofprints. She thought of the wise woman’s words, that her end would be at the hands of Phaethon’s rider, and her resolve and rage only deepened.

‘Let him come,’ Chrona thought bitterly, ‘And I will add his blood to the rivers that have been made this day. Should he succeed, I have known my fate.”

As rider and steed galloped towards her she whispered to her blades, waking them with the promise of fresh kill. They sizzled in her hands but did not burn; their loyalty was to their provider and none else.

Finally her enemy stood before her, a mighty being that lesser deities might cower in sight of, but she was Chrona, Mother of the Flaming Storm, Master of Chaos, Temptress of Death. She would not cower easily.

“To stand in my presence is to court death,” she snarled, but the would be hero said nothing, only lifted his sword and stepped forward.

She lunged at him, her blades as hungry and feral as she had become, and the ring of metal on metal was clearer than any bell. Strike after strike she came at him but he was faster than she’d thought and parried each blow with little difficulty. This, she thought, would be her last battle, for though they had long slept deep within her regret and remorse dulled her senses with each swing. By chance he knocked a blade from her hand and, seeing her madness grow, made quick work of dispatching the other. Chrona howled and called for her weapons but they had been lost in combat and so no longer held any allegiance to her. She leapt back, teeth bared, and held herself for a moment as the white knight spoke.

“End this!” he shouted, his voice gentler than she imagined, “Mistress Chrona, Lady of the Shunned, Vengeful Sister I beg you bring an end to this horror!”

Curiosity crept at the edge of Chrona’s mind; what mortal left alive would know that title? She had destroyed that city and all who had fled with the knowledge of her sister’s misdeeds. Still, she was sure he was mortal as he possessed no exceptional energy, save for what radiated off the sword and armour, and if she could not take the day then she would take her enemy with her. She gathered her energies, once noble and respected now twisted black with despair, and channeled them into a blast that would level the ruins to rubble.

“NO!” Cried the knight and he rushed forward, the full force of the shot ricocheting off his god-made armour back to it’s originator.

Chrona flew back, limbs splayed, and felt her skull hit the marble archway with a sickening crack. She stumbled, trying to regain her stance when she felt cool metal and the bite of a sharpened edge at her throat.

“Impudent wretch,” she hissed, her eyes glassy but fierce, “How dare you-”

The words turned to ash in her mouth as the knight removed his helmet, and there stood her first devotee and mortal lover, a woman, Damopheis.

“Please my Lady,” Damopheis pleaded, tears streaking through the grime on her bronzed face, “End this, or I must end you.”

A deep sadness welled up in Chrona’s heart as she took stock of what her righteous anger had wrought. The city was on the brink of utter obliteration, fire consuming what feet and falling stone had not already destroyed. The winds whipped about them and in her love Chrona saw the foil of her evil.

“Damopheis,” she said in a hushed voice, “My sweet Damopheis you returned to me.”

“My heart has always been with you my Lady. But yours is dark and unfamiliar. If this,” Damopheis gestured broadly to the wreckage, “Is what it has become, I will not hesitate to carve it out.”

Calm washed over Chrona despite the threat. The guilt of her sister’s fate still hung heavy on her immortal soul but hatred and vengeance no longer consumed her. She looked to the far off mountains where sat the Old Gods and was sure all divine ears were bent towards them.

“Release me, my love, I will do no more harm.”

Damopheis held the blade a moment longer then stepped back quickly, in case the goddess’ wrath resurfaced.

Chrona straightened her spine and with her mind reached inward, through the sludge of pain surrounding her energy right to the very core of her being. She marvelled at it’s purity in the face of such sin as hers. Then, like a fresh well she pushed it up, up, and out, arms stretched to the sky, and slowly life began to return to the land. The rains turned from battering to soothing, the fires began to dissipate and the earth shook as new flora burst from the ground, thick and vibrant. The injured found their wounds healed and their hearts comforted. Even the dead were revived, for they had not been long departed from their bodies and even Death in his halls could not begrudge such an awesome and selfless display of cosmic power.

Chrona noticed as her feet became rooted to the marble floor, stone creeping up her body as she poured every drop of her power into the act. She heard Damopheis shout as though from leagues away but kept to her task until only her head remained untouched. Then, Chrona looked her lover in the eyes and finished her work, a grateful smile frozen on her face for all time.

____________________________________________________________________________

Damopheis wept openly as her Lady sacrificed herself to undo what she had done. It had not been easy to trade blows with one she had once, and truly still did revere. But she had been chosen by the gods and she would not have anyone, mortal or otherwise, do any harm to her beloved goddess.

She clung to the statue, her tears rolling down the marble face as if the piece itself was crying. Since Damopheis had left her island city she had yearned to hold her Lady, to touch her gentle face once more. Now she cupped the cold stone and searched, frantically, for the life and love that had once enchanted her so. Thinking this would be the last time she beheld her Lady’s image, she bent forward and pressed her warm lips against the statues stiff recreation before turning homeward.

Then, a bolt of lightning flashed through the sky and in a moment the marble began to melt away. Frozen stone slowly became warm flesh once more and Chrona breathed deeply, as if for the first time.

Damopheis felt her tears flow again, this time from joy as she threw her arms around the goddess’ neck, vowing to never leave her side for all her years to come. Chrona’s vow was much the same and they stayed like that, clutching each other, laughing and weeping, for some time after.

@diversetolkien

[blackkudos]

Fontella Bass

Fontella Marie Bass (July 3, 1940 – December 26, 2012) was an American R&B soul singer best known for her 1965 hit, "Rescue Me."

Early life

Fontella Bass was born in St. Louis, Missouri, the daughter of gospel singer Martha Bass (a member of the Clara Ward Singers). She was the older sister of R&B singer David Peaston. At an early age, Fontella showed great musical talent. At the age of five, she provided the piano accompaniment for her grandmother's singing at funeral services, she sang in her church's choir at six, and by the time she was nine, she had accompanied her mother on tours throughout the South and Southwest America.

Bass continued touring with her mother until the age of sixteen. As a teenager, Bass was attracted by more secular music. She began singing R&B songs at local contests and fairs while attending Soldan High School from which she graduated in 1958. At 17, she started her professional career working at the Showboat Club near Chain of Rocks, Missouri. In 1961, she auditioned on a dare for the Leon Claxton carnival show and was hired to play piano and sing in the chorus for two weeks, making $175 per week for the two weeks it was in town. She wanted to go on tour with Claxton but her mother refused and according to Bass "... she literally dragged me off the train". It was during this brief stint with Claxton that she was heard by vocalist Little Milton and his bandleader Oliver Sain who hired her to back Little Milton on piano for concerts and recording.

Bass originally only played piano with the band, but one night Milton didn't show up on time so Sain asked her to sing and she was soon given her own featured vocal spot in the show. Milton and Sain eventually split up and Bass went with Sain; he also recruited male singer Bobby McClure and the group became known as "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure".

With the support of Bob Lyons, the manager of St. Louis station KATZ, Bass recorded several songs released through Bobbin Records and produced by Ike Turner. She saw no notable success outside her home town. It was also during this period she met and subsequently married the noted jazz trumpeter Lester Bowie.

Recording career

Two years later she quit the Milton band and moved to Chicago after a dispute with Oliver Sain. She auditioned for Chess Records, who immediately signed her as a recording artist. Her first works with the label were several duets with Bobby McClure, who had also been signed to the label. Released early in 1965, their recording "Don't Mess Up a Good Thing" (credited to Oliver Sain) found immediate success, reaching the top five at R&B radio and peaking at #33 at pop. In 1979 the song was covered by Ry Cooder with Chaka Khan on Cooder's album Bop 'Til You Drop.

Bass and McClure followed their early success with "You'll Miss Me (When I'm Gone)" that summer, a song that had mild success, reaching the Top 30 on the R&B chart, although it made no significant impression on the pop chart. After a brief tour, Bass returned to the studio. The result was an original composition with an aggressive rhythm section; backing musicians on the track included drummer Maurice White (later the leader of Earth, Wind, & Fire), bassist Louis Satterfield and tenor saxophonist Gene Barge, with the young Minnie Riperton among the background singers. The song, "Rescue Me", shot up the charts in the fall and winter of 1965. After a month-long run at the top of the R&B charts, the song reached #4 on the US pop charts and #11 in the UK, and gave Chess its first million-selling single since Chuck Berry a decade earlier. It sold over one million copies, and was awarded a gold disc.

Bass followed with "Recovery," which did moderately well, peaking at #13 (R&B) and #37 (pop) in early 1966. The same year brought two more R&B hits, "I Can't Rest" (backed with "I Surrender)" and "You'll Never Know." Her only album with Chess Records, The New Look, sold reasonably well, but Bass soon became disillusioned with Chess and decided to leave the label after only two years, in 1967. Bass claimed that, although the credited co-writers Carl Smith and Raynard Miner, and record producer Billy Davis, had assured her that her contribution to co-writing the lyrics of "Rescue Me" would be acknowledged, this was never done.

"I had the first million seller for Chess since Chuck Berry about 10 years before. Things were riding high for them, but when it came time to collect my first royalty check, I looked at it, saw how little it was, tore it up and threw it back across the desk."

Bass demanded a better royalty rate and artistic control; she approached her then manager Billy Davis about securing her writing credit on the song but was told not to worry about it. When the record came out and her name was still not on it she was told it would be on the legal documents, but this never happened. She continued to agitate about the matter for a couple of years but later recalled: "It actually side-stepped me in the business because I got a reputation of being a trouble maker."

Tiring of the mainstream music scene, she and husband Lester Bowie left America and moved to Paris in 1969, where she recorded two albums with the Art Ensemble of Chicago – Art Ensemble of Chicago with Fontella Bass and Les Stances a Sophie (both 1970). The latter was the soundtrack from the French movie of the same title. Bass's vocals, backed by the powerful, pulsating push of the band, have allowed the "Theme De YoYo" to remain an underground cult classic ever since. She also appeared on Bowie's The Great Pretender (1981) and All the Magic (1982).

Even with the success of "Rescue Me" it was many years and much litigation before Bass would be credited with her share of the songwriting and the royalties. In 1993 Bass sued American Express and Ogilvy & Mather for the unauthorized use of the song in a commercial for the credit card giant.

Later career and death

The next few years found Bass at a number of labels, but saw no notable successes. After her second album, Free, flopped in 1972, Bass retired from music and concentrated on raising a family; she had four children with Bowie. She returned occasionally, being featured as a background vocalist on several recordings, including those by Bowie. In 1990 she recorded a gospel album with her mother and brother David Peaston, called Promises: A Family Portrait of Faith and undertook a fall tour of the US West Coast, called "Juke Joints and Jubilee", which featured both traditional gospel and blues performers. During the 1990s she hosted a short-lived Chicago radio talk show, and released several gospel records on independent labels. In 1992, through her old friend Hamiet Bluiett, she was invited to perform three tracks on the World Saxophone Quartet album Breath of Life.

The original version of "Rescue Me" was used in a TV advertising campaign by American Express. Fontella Bass has stated that she was at a low point in her life when on New Year's Day 1990 she was astonished to hear her own voice singing "Rescue Me" on the American Express television ad. The experience gave Bass the inspiration to set her life in order: it also motivated her to make queries over the commercial use of her recording of "Rescue Me" with the ultimate result a 1993 settlement with American Express and its advertising agency awarding Bass $50,000 plus punitive damages.

Like many artists of her time, Bass experienced a revival of interest. She was featured on the PBS Special and accompanying DVD, Soul Celebration. Soul Spectacular recorded live at Heinz Hall in Pittsburgh, Pennsylvania, November 2001. Her voice can be heard on two tracks on the Cinematic Orchestra's 2002 album Every Day, and another two tracks on their 2007 album Ma Fleur.

Bass received a star on the St. Louis Walk of Fame in the Loop in May 2000.

In the 2000s, she toured Europe with her younger brother David Peaston until she fell ill. For her last years she had to struggle due to her deteriorating health. Bass survived breast cancer, a series of strokes beginning in 2005, and also had a leg amputated. On December 26, 2012, she died at a St. Louis hospice from complications of a heart attack suffered earlier in the month; she was 72.

Wikipedia

[dailyexo]

[NEWS] 170825 Billboard: “How EXO's 'The War' Came Together: A Song-By-Song Breakdown With the Band, Its Producers & More”

A behind-the-scenes look at what went into making summer's hottest K-pop album.

From the frenetic synths of “Going Crazy” to the dreamlike melodies of “Walk on Memories,” EXO's latest album, The War, held nothing back from fans. Pulling inspiration from funk, reggae, EDM, trap and more, then weaving it all together through top-notch production, it proved a logical progression in their sonic journey and a summer-friendly successor to the group's darker previous album, Ex'Act.

With The War, EXO topped Billboard's World Albums chart for two consecutive weeks and went on to sell over 1 million copies globally, proving that the EXO-L fandom is sticking around for the boy band's evolution.

Learn what went into the hottest K-pop album of the summer from the members themselves and some of the producers behind its hottest tracks.

“The Eve”

Mike Woods: I was one of the producers on “The Eve” which was originally titled “Black Dress.” I wrote it alongside Kevin White, Andrew Bazzi and Henry Lau. Originally the song was for Henry Lau's project, but we all felt that it going to EXO would be best for everyone as it was a perfect record for them. The sound came about from us wanting something sexy and melodic, but also performance driven. We wanted to paint a dark and mysterious vibe, hence the title “Black Dress.” We wrote the song during a writing camp for SM [Entertainment] -- we basically write one to two songs a day for about 10 days and see what we come up with. “The Eve” came about on the fourth day of the camp and only took us one day to complete, from conception of music and lyrics to the final composition. We recorded the demo for the song the same day of conception.

“Ko Ko Bop”

Styalz Fuego: I went out to Seoul early November last year. It was maybe 10 of us ... and basically we were all put in the the SM studios for a couple of weeks. It was my first time out there. [You're] basically hearing a quick [overview] of the whole scene and everything that's going on in K-pop and then you're put in the rooms every day to just write songs. “Ko Ko Bop” was maybe the fourth of fifth day in. The first couple of days I was trying to get a hang of [it.] I listened to a lot of K-pop, but still, it's a different scene to write a song [for] because it's so much more complex. [K-pop songs] have so many more moving components to them, than say, if you're out in L.A. writing, trying to make things very simple and trying to get to the core of the lyric and have the beat as simple as possible.

I kinda knew as soon as we'd done the song and we played it back for everyone, just from the response we got to the song it was gonna be something, but I had no idea it'd be [EXO's]. Going into writing that song, it was basically to do something with the reggae feel, that was the main thing we were aiming for. It took a whole different direction with the crazy drop section after the chorus. We went into this doing a reggae-pop song and it transformed into what it is.

I don't think it was ever for EXO -- I think it was more for a female group. Shaylen [Carroll, co-producer] did the demo. When they did the playback for everyone at SM, [we thought] they would essentially understand this is for one of the girl groups. A girl is singing it and it's in the range of what the girls can sing. The song was actually in a higher key -- I think three semitones higher -- so it was more fitted for a female [group] originally.

But I guess it worked out well because we had a few of our voices in the song spread out, so I guess when they started picking where the song could go, it made sense for EXO because there are so many different sections vocally.

Shaylen Carroll: I wrote the lyrics and melodies with Tay Jasper, then I sang the demo. It's a “feel good” type of track, so the melodies came easily. Styalz's stuff is easy to write to. When I was recording some melody ideas I kept on singing nonsense phrases and one was “Shimmy shimmy Ko Ko Bop,” which we all thought was super quirky and catchy. So we built off that and turned it into something real. The song is about not worrying about things... Sometimes you just gotta go with the flow! Don't worry about the haters.

Jared Cotter, Shaylen's manager: [SM Entertainment] let us know it was being considered for a girl group.

Carroll: [I] definitely never thought it would get flipped to EXO, but obviously we are thrilled it did. We [knew] it was special when we finished it. I am really glad it found the home that it did.

Chen: [The members and I] wrote the lyrics separately and worked on putting the lyrics together for the song afterwards. We worked on the song using a special method, where we gathered all three of our lyrics for the song and selected which lyrics would suit the song the best. I don't think I have any regrets or wish that it could have better since it's the best result produced through all the effort that our members and other various writers have put into the process. Through the lyrics, I wanted “Ko Ko Bop” to have people shake off all their stress and enjoy themselves just as who they are.

Baekhyun: I felt that a lot of our fans were unable to fully enjoy our concerts or performances because they're conscious of what others would think. Since “Ko Ko Bop” is a reggae and EDM genre and it's easy to groove to, I wanted my lyrics to have people to become more carefree, release their stress and dance away with the music.

“What U Do?”

Ronny Svendsen: The song was written in Seoul last December. We went over to Korea to do a camp for SM with our, at the time, new publishing company called Ekko Music Rights. We tried to create a song that would be danceable and organic sounding with emphasis on real instruments -- bass, guitar, piano. The song was really based around the guitars and a simple chord progression. Sound-wise we had a reference from another boy band of SM Entertainment's called NCT, which we originally aimed for: danceable, but not “synthy.”

“Forever”

Greg Bonnick of LDN NOISE: This was written in Seoul with Kenzie and Adrian McKinnon. We knew the vibe was perfect for EXO so we worked on it for about a week on and off to get it right, trying different chords and toplines. The intro part was initially the chorus. We thought, “Great, we nailed it,” but once we listened back, it needed to go up another gear. We then added the extra section, which is now the chorus, and it came to life and made it so much bigger.

To be honest, we wanted to make a “Monster” 2.0 but still be different and bigger, you know? We always have fun when we can mix hard hip-hop verses with a bright chorus, and for a group like EXO, it gives it the perfect balance.

We wanted to make a statement: this song, this album, it's EXO forever. We feel really connected to this group and the fans so it's important we got it right, and the feedback has been amazing, so we are very happy.

“Touch It”

Denzil Remedios: From what I recall, “Touch It” came to Ryan [Jhun]'s hands first. He got the song originally from the Jackie Boyz [Carlos and Steven Battey] and the Fliptonez. I think they sent it to him while we were still in Korea and this was actually more than a year ago now, maybe close to almost two years ago when they sent that record, and it just kinda connected right away. We heard what it could be -- it already sounded like the guts of a smash was there, at least something we could put into a big group's hands. From there, Ryan and I did what we normally do, which is pick it apart and say, “Hey, what parts could get stronger? What could we do extra with the production to pump it a little bit more?” That's how we got the record, and then we just worked on all those elements over probably months back and forth.

“Touch It,” when we first heard it, already had such a non-today-ish vibe -- a classic vibe. It's not like the everyday pop EDM electronic-y sound that everyone's doing, which was refreshing when we first heard it. We were like, “Yo, this sounds like an old Justin Timberlake, almost Michael Jackson type of thing.” That old school vibe. We didn't wanna change the production or toplining to the point where it didn't sound like that anymore. When we were hearing it, sonically we were like, “Cool, this can be something that a group like EXO can take and use for the album and it doesn't sound like everything else they would normally be putting out.”

We were thinking stage performance at the time too. It's just a really fun track that doesn't have to be too serious -- you don't have to have crazy choreography where they drop from the top of the stadium.

Chen: My imagination provides the most inspiration for the lyrics. For “Touch It,” I played out the lyrics in my mind as if it is like a scene from a movie when writing it. After completing the draft, I worked on it by fixing awkward pronunciations by singing along the lyrics with the music. This helped me figure out more suitable and comfortable words that would enhance the groove when listening to the song.

“Chill”

Otha “Vakseen” Davis: We went to a song camp last year -- I wanna say it was November -- and it was probably the third camp my team has been on. Anytime we go to song camps at SM, they usually have a focus for us as far as what to work on and I know we worked on some things for EXO. For any creator, you always wanna try to make an EXO project. We fell in love with the vibe and the energy[of “Chill”] in the studio and SM's team felt the same way about the record. That happened to be one that everybody loved -- the guys loved it ultimately when they heard it.

There were certain elements like the breakdown in “Chill” that was added at the camp, but we came with the ideas already fleshed out. Ultimately, [the breakdown] was to serve as a dance breakdown. K-pop acts, especially EXO, are very performance-oriented, so you wanna have sections to show out. You wanna make something that feels good but still can allow them to move.

Chanyeol: Usually it's common to work on the lyrics based on a demo guide, but for the song “Chill” I worked on the lyrics with an empty track without demo lyrics. I think that’s part of the reason why the lyrics were able to come out pretty naturally.

“Walk on Memories”

Albi Albertsson: In late 2015, Wassily Gradovsky, who was actually interning for me as a producer at that time, brought an instrumental to me, which was later to become the instrumental for “Walk on Memories.” He had recorded a loop on the upright piano I have in my living room and incorporated it into this smooth R&B style beat.

I immediately liked the chord progression and the vibe of the track, so I sent it to Justin Reinstein, a writer from New York who we had just started working with at that time. He had a very smooth topline and vocal style that I thought would be perfect for this track, so he worked on the instrumental to craft the melodies.

From then on it was only finalizing the song: I added stacks of vocal harmonies and other details to make it work better for a group performance and make it more “K-pop,” added some vocal adlibs and then finalized the production by adding more instruments and finalizing the mix.

When I sent it to EXO's A&R, he immediately loved it but wanted a more distinct intro that reflected the fantasy theme he had in mind for the new album. So instead of the very basic intro the track originally had, I came up with a new, more mysterious and vibey intro, which is the intro you can hear in the final version of the song.

Wassily Gradovsky: The track was influenced by the genres of '90s R&B and jazz, reimagined with contemporary sounds. The arrangement of the piano chords -- being arpeggiated from bottom to the top -- was inspired by Justin Timberlake's “Cry Me A River,” but with a lighter and more positive tone. The slightly melancholic bridge, which is modulating into the final uplifting chorus, represents an uplifting, “happy ending” twist to the story.

“Going Crazy”

Otha “Vakseen” Davis: It was something that we did maybe around February of 2016. They loved it and for some reason could not find the right topline for it -- I think they had one originally and it didn't work at the end of the day. So they had this track, it was already placed on EXO and my team was presented with the opportunity to write to it. So I had one of my writers go in and do what he does. Funny enough, it was supposed to go on the Ex'Act album. It was something that they loved, but it didn't make sense then. We were persistent. Between myself and my business partner, we [would say], “Hey, what about this one? Don't forget this record!” Fast forward to now, the new album was coming out, [and] we were finally able to get them to connect. I think we had to make a couple of edits on it between that year or so passing just to make sure it was as fresh as possible.

The track's over a year old -- there's something so special about it because you drop it now, 2017, and it's still hot, still relevant. And that's the goal: create timeless music that can be good any time.

Credit: Billboard.

[eevee371]

Kpop Ask Game

I was tagged by @jhope-is-my-bias to do this ask game! :D

What was the first song you heard by your bias group? When did you hear it? I found BTS’s I Need U 3 days after it’s release.

List your top 5 favorite k-pop groups. Astro, BTS, EXO, Twice, and Golden Child.

Who is your ultimate bias and why? Taehyung has been my ultimate bias since Day 1. The first Bangtan Bomb I watched was the one where he has orange hair from Boy In Luv era and he was doing that adorkable dance backstage and that instant my life changed forever.

Has a k-pop song or music video ever made you cry? Me: *remembers when Spring Day dropped and i was sobbing into my pillow for ten minutes straight* also Heaven by Ailee ALWAYS makes me cry. For some reason I tear up listening to Swimming Fool by Seventeen just because I get so overwelmed with joy that such a bop exists

Name your top 10 favorite k-pop albums. You Never Walk Alone and HYYH Pt. 2 by BTS, Love Me Right and Ex’act by EXO, Dream Pt. 1 and Summer Vibes by Astro, Flight Log: Arrival by GOT7, Twicecoaster Signal and Twicegram by Twice.

Who is the funniest idol in your opinion? Kim Myungjun of Astro!!! He could be a professional comedian without even trying.

What is your favorite k-pop choreo? Signal by Twice. 

Put your playlist on shuffle and list the first 5 songs that play. My playlist is on computer and doesn’t have shuffle

What is your favorite k-drama that any k-pop idol has played a part in? MISSING 9 WITH CHANYEOL IN IT THATS MY FAVORITE K-DRAMA AND CHANYEOL DID SUCH A GOOD JOB BEING LEE YEOL!

What is your favorite OST by a k-pop group/idol? “Even If I Die It’s You” Hwarang OST.

List your top 10 bias wreckers. Okay fun fact- I’m very loyal. So I will list my top biases that I’m LOYAL to: Taehyung, Yoon Sanha, Xiumin, Dahyun, Joshua Hong, Umji, and Choi Sungyoon.

What is the oldest group that you stan? EXO

What is the youngest group you stan? Golden Child

Do you have a favorite music video of all time? If so, what? Spring Day by BTS, Baby by Astro and Power by EXO.

What is the most underrated/under-appreciated group you stan? TRCNG. PURE TALENT. GO LISTEN TO UTOPIA ASAP.

How long have you been listening to k-pop? Three years!

Do you have a favorite k-pop blog? If so, tag them. Okay i love all my mutuals very much but I don’t wanna leave anybody out!!!

Do you own any k-pop albums? If so, how many? I OWN TOO MANY. 6 BTS ALBUMS, 6 ASTRO ALBUMS, 6 EXO ALBUMS AND 3 TWICE ALBUMS. So I own a total of TWENTY ONE ALBUMS help me

Name the top 5 groups you’d like to see live. I have already seen BTS and Astro live, so I want to see EXO (cough) Elyxion (cough), Twice, Gfriend, Seventeen Golden Child and Astro again (i went to a fanmeet not a concert)

Who is your favorite soloist? ERIC NAM!

Are there any k-pop songs that you can sing or dance to? If so, which ones? I can sing to almost all the songs I listen to on repeat, I know the choreo to Twice’s Signal and Likey, BTS’s Baepsae, EXO’s Koko Bop, and Astro’s Hide and Seek.

Is there an idol you’d like to hug? If so, who? YOON SANHA BECAUSE IVE SEEN HIS FAN HUGS AND ITS THE CUTEST! 

What groups do you like that have either disbanded or disappeared? I don’t stan any missing groups, but I was super into Super Junior and Boyfriend, they aren’t gone but I miss them.

What idol do you think you have the most in common with? Me and Yoon Sanha are twinsies

If you could hang out with any of your biases, who would you pick and why? Xiumin, i feel i could be least nervous with him!