#they missed J B's first album. My most listened one this month

[hammill-goes-fogwalking]

September '23 for me •°

[p1harmonyofficial]

[📰] 20 Questions With P1Harmony: K-Pop Rookies on the High Energy of 'Disharmony: Break Out' Mini-Album

By Heran Mamo

Plus: See a full, translated video interview with the sextet exclusively on Billboard.

P1Harmony explore a wide range of topics and genres on their high-intensity mini-album Disharmony: Break Out, which was released April 20 as the follow-up to their first EP, Disharmony: Stand Out.

Named one of the rookie K-pop groups to watch in 2021 by Time, members Keeho, Theo, Jiung, Intak, Soul and Jongseob had a unique experience stepping into the spotlight for the first time: The sextet debuted in the Korean film P1H: The Beginning of a New World on Oct. 8, 2020, before releasing their debut EP, Disharmony: Stand Out, on Oct. 28. Starring in a film prior to releasing their own music allowed P1Harmony to be more comfortable and confident enhancing their choreography (their Billie Eilish medley choreography has amassed more than 1 million YouTube views) and even coming up with their own music video concepts.

To commemorate the release of Disharmony: Break Out, the members of P1Harmony answered Billboard’s 20 questions about how Korea shaped who they are, how their evolving sound shines through on their latest mini-album, and the meanings they've taken away from this project as well as what they hope their fans will too.

1. What’s the first piece of music that you bought for yourself, and what was the medium?

Keeho: 5 Seconds of Summer, CD

Theo: BIGBANG’s MADE, CD

Jiung: Lee Moon Sae, cassette tape

Intak: Teen Top's "Miss Right," mp3

Soul: G-Dragon, CD

Jongseob: B.A.P’s "1004," CD

2. What was the first concert you saw?

Keeho: Ariana Grande’s The Listening Session

Theo: BIGBANG’s MADE Concert

Jiung: Lee Sun Hee’s Concert

Intak: Open Concert by KBS when I was 7!

Soul: Teen Top’s Japan Concert

Jongseob: B.A.P Concert

3. What did your parents do for a living when you were a kid?

Keeho: [My mom] used to do work related to music, she was a musician. My dad used to work at a university as a counselor.

Theo: My mom is a hairstylist.

Jiung: My mom used to be a banker and my dad used to work at National Tax Service.

Intak: My mom is a [yoga] trainer or coach and my dad is a businessman.

Soul: I’m not sure.

Jongseob: My mom used to be a jazz dancer as well as an instructor and my dad used to work at National Dance Company of Korea.

4. Who made you realize you could be an artist full-time?

Keeho: Myself and acquaintances

Theo: Myself

Jiung: My rap and my vocal coach

Intak: My parents. They gave me full support, as well as the confidence to be able to pursue my dream.

Soul: Teen Top

Jongseob: B.A.P and my parents

5. What’s at the top of your professional bucket list?

Keeho: The Grammys!

Theo: Our own world tour!

Jiung: To perform in front of a million people

Intak: To become a respected musician

Soul: To perform at a big music festival or a stadium, like Coachella

Jongseob: To perform until I can’t

6. How did your hometown/city shape who you are?

Keeho: It’s a place where I was able to gain my own confidence and learn the importance of being friendly [manners]. It’s also where I was able to experience a wide range of vocalists and their styles, which ultimately helped me shape and find my own vocal style.

Theo: It’s a place where I was able to live without any pressure or concerns.

Jiung: For me, my hometown is currently a place where I can find mental stability and state of relaxation. I reminiscence about my hometown quite frequently when I need to recoup and find mental stability.

Intak: I was raised in the rural part of Korea, so I was always close to nature and grew up playing in the valleys or riding gunny sacks in the mountains. I think that’s what helped me be at leisure.

Soul: It’s a place where I grew up without any hardships.

Jongseob: It was one of the most comfortable places in Korea with positive vibes and clean, refreshing air, which helped me find peace and ease.

7. What’s the last song you listened to?

Keeho: Ariana Grande’s "POV"

Theo: P1Harmony’s "End It"

Jiung: DPR IAN’s MITO

Soul: P1Harmony’s "Reset"

Jongseob: Penomeco’s Dry Flower

8. What’s your karaoke go-to?

Keeho: Alicia Keys, "If I Ain't Got You"

Theo: BIGBANG’s "BANG BANG BANG"

Intak: Bobby’s "YGGR"

Soul: I don’t go to karaoke haha

Jongseob: Beenzino’s "Dali, Van, Picasso"

9. If you could see any artist in concert, dead or alive, who would it be?

Keeho: Beyoncé

Theo: G-Dragon and Huh Gak

Jiung: Lee Sun Hee

Intak: Michael Jackson

Soul: Beyoncé

Jongseob: Post Malone

10. How has the pandemic affected your creative process?

Keeho: My source of inspiration has become very limited, as I don’t get to go to new places or meet new people.

Theo: I think because I couldn’t really go out, I was able to focus more on my craft.

Jiung: I was able to really dig deep into my work, writing lyrics and composing.

Intak: I didn't have a lot of ideas, but I also thought writing about COVID-19 could be a source of new ideas.

Soul: It was hard because I couldn’t really go to places that would usually help me get inspiration.

Jongseob: It was a bit difficult because I lacked having new experiences and meeting new people. My source of inspiration was also very limited, because I would just go to the same places.

11. How did starring in the film P1H: The Beginning of a New World prepare you for your debut as a K-pop boy band?

Keeho: I think it was a good opportunity for me to learn how to be more comfortable in front of the cameras.

Theo: I was able to gain confidence and felt a sense of pride knowing that we were the first ones to debut in a unique way with a full-length movie.

Jiung: I think it was a unique way of introducing us to the world and gave us the opportunity to learn how to be more focused and theatrical onstage.

Soul: It was a great experience, because it allowed me to learn the basic manners of the industry and the importance of staff members.

Jongseob: I think it helped us build a strong storyline and composition for our music. It will be easier to understand our music and its message if you watch the movie.

12. What do you want fans to take away from your mini-album Disharmony: Break Out?

Keeho: I believe it would depend and vary on how you interpret it, but we hope our listeners really enjoy our music.

Theo: I hope our fans and listeners gain confidence through our music, which is one of our strongest messages.

Jiung: I would like for our fans P1ece to really understand, take and gain everything from what we are trying to deliver in our message.

Intak: I would like for our fans to find the courage to speak up and have their own voice.

Soul: I just want our fans to be happy when they're listening to our music!

Jongseob: I think it depends on who is listening, but I hope our fans can take away anything and everything they can in a positive way and earn confidence as well.

13. Which song from Disharmony: Break Out is the most meaningful to you and why?

Keeho: I think it’s "If You Call Me" because it's a song that all six of us worked on together

Theo: I would like to pick "Reset," because I did so well in the studio while recording this song, so it means a lot to me.

Jiung: I’d say "Pyramid" because the lyrics "I’m on the top of the pyramid" helps me feel like I’m really the best and makes me want to live by that mindset. It definitely has become one of my favorite tracks.

Intak: I would pick "If You Call Me" for the same reason Keeho picked it. It’s a meaningful song to me because we all worked on it together as a team.

Soul: I think every single track on the album has a special meaning for me and because it’s all our songs, it’s a super difficult question to answer.

Jongseob: I think for me, our title track "Scared" is the most meaningful. The message of the song, which is not to be afraid to voice your own opinions and to live the life you want to live, is what I strongly believe in and that’s the kind of attitude I want to have.

14. Your debut EP Disharmony: Stand Out is much more hip-hop leaning, while your second features more R&B harmonies and EDM production while still refining the rap verses. What made you want to switch up your sound in only a manner of six months?

Keeho: I think we wanted to really make sure our message is being delivered clearly and strongly, so I think that’s why we picked tracks that were as strong with aggressive sounds.

Jiung: I don’t think we had a special moment or particular reason as to why we decided to do what. We just wanted to portray our feelings and thoughts that we felt at that moment while making music, and the time that we spent in between our albums, is what probably contributed to the change of sound as well.

Intak: As Keeho mentioned, I think we wanted to stand out a bit more with more clarity and distinct characteristics, which is what drove the aggressiveness and the slight change of sounds for this album.

15. Since you help choreograph and conceptualize your videos, what do you hope to convey in the accompanying visuals for Disharmony: Break Out?

Keeho: As you can see in our choreography for "Scared," we incorporated football into our routine. Football is a sport that is very aggressive and requires a lot of energy so we thought it was a good fit with our song. With these specific key points, we tried to really emphasize our message as well as our energy.

Jiung: I think our choreography, stage outfits, and concept all adds up and helps level up the intensity of the song as well as the message that we want to deliver. Our music video and choreography really turned out well, so I hope our fans appreciate and enjoy it!

16. Which artist is on your bucket list to collaborate with?

Keeho: Ariana Grande

Theo: BIGBANG, Taeyang, G.Soul, Dean

Jiung: Ty Dolla $ign

Intak: Justin Timberlake, A$AP Rocky

Soul: Les Twins

Jongseob: Penomeco, Smino

17. What’s one thing that even your most devoted fans don’t know about you?

Keeho: I really don’t like long nails. I just can’t stand it, so I tend to always keep my nails short.

Theo: I don’t really sweat. I don’t think I sweat at all.

Jiung: I have a habit of chewing the inside of my mouth, unintentionally.

Intak: My lips are naturally moisturized so I don’t need to use a lip balm to make them glossy!

Soul: I have dermographism, so even the slightest irritation like a scratch will leave a mark/scar for a while.

Jongseob: I have a slim waist and biggest feet of all members.

18. What movie, or song, always makes you cry?

Keeho: I don’t really cry, so I don’t think there’s a movie that ever made me cry.

Theo: The Korean movie Miracle in Cell No. 7 makes me cry every single time I watch it.

Jiung: Korean traditional children’s song "Daddy Cheer Up" makes me tear up.

Intak: I have a couple, but if I had to just pick one, it’d be the movie Forrest Gump.

Soul: I don’t cry like Keeho so I have never cried watching something and I just don’t like to watch sad movies.

Jongseob: "Falling Slowly"

19. What’s one piece of advice you would give to your pre-debut self?

Keeho: Don’t worry too much and work harder.

Theo: Think 100 times before acting on it.

Jiung: Are you truly sincere?

Intak: Enjoy life a bit more.

Soul: Be more emotionally stable.

Jongseob: It's never too late.

20. What does a successful 2021 look like for you?

Keeho: I hope to release as much music as we can!

Theo: I wish we can make at least 3 comebacks.

Jiung: I hope to gain more emotional peace and stability.

Intak: "Rookie of the Year" award!

Soul: There’s a necklace I really want to buy and I hope to buy it by the end of this year!

[symeraid-s]

My 2020 Awards (Music & Anime)

Music

Song of the Year: xaa-xaa – Horror This is the most played song on my playlist this year and it’s deserved. It’s just a really great song with one of the best intro’s of the year. Kazuki’s voice is perfection.

Honourable Mentions:

SID – Siren This one could technically be considered SOTY, but I thought that Horror deserves it a bit more. Still, Mao’s vocals give me chills

Taemin – Criminal It’s definitely one of his best songs and one of this year as a whole. And you know… it’s Taemin.

MY FIRST STORY – Underground Has a cool beat and great vocals. I also adore the lyrics.

QUEEN BEE – BL Probably has the best beat/Bass-line of this yea. Also showcases Avu-chan’s range.

Artist of the Year: xaa-xaa (Horror, Happy Wedding, Reito Ningen) I love this group. They constantly put out Bangers only and yet always end up under my radar. But this year, with the rest of the J-Rock scene being kinda dead, they really stood out. All of their songs landed on my playlist this year, so they really deserve it.

Honourable Mentions:

Kenshi Yonezu (KANDEN, Campanella, Canary) This guy is just one of the most interesting Japanese artists currently active. His Stray Sheep album is also really good.

Stray Kids (gods menu, Back Door) This year, Stray Kids really took me over. They had two very well directed Comebacks with amazing Music Videos.

TWICE (More & More, I Can’t Stop Me, Cry for Me) I didn’t really care for them in the past years, but they really delivered good music.

Super Junior (2YA2YAO, Burn the Floor, the Melody) TIMELESS was my favourite album of the year and the tracks we already got for the Renaissance sound really good. The Sub-Units (especially D&E) also had good comebacks.

Best Music Video of the Year: Stray Kids – gods menu This music video is a piece of art. There are no unclean cuts or weird jump-cuts, the Transitions are really fluid and the editing in general is just genius. Even if somebody doesn’t like Stray Kids, they can appreciate this video.

Honourable Mentions:

Stray Kids – Back Door Has the same great editing as gods menu, but there is one(!) unclean Cut. But it does have my favourite shot of the year.

Xaa-xaa – Horror It’s really well made and basically a Horror movie in cue with the music.

QUEEN BEE – BL Has a really creative production design and colour scheme and some really nice transitions.

BUMP OF CHICKEN – Acacia This is just a Music Video straight out of Nostalgia. And it’s animated by Studio BONES, so your argument is invalid.

Dance Performance of the Year: Taemin – Criminal First of all: It’s Taemin. This man can make everything look effortless, no matter how hard it actually is. And dancing with your hands tied is really f**king hard! Let’s just cut this short before I actually get into a five page long analysis about why this choreo is so amazing and just say: It’s one of the best K-Pop choreos of all time.

Honourable Mentions:

Super Junior – Burn the Floor Probably has one of the coolest concepts of this year, but isn’t perfectly executed. The combining of classical and modern elements is really interesting though.

Stray Kids – Back Door It’s energetic and has one of my personal favourite choreo elements of the year. 

BTS – Black Swan A cool choreo, but appears to be a bit overproduced. Still, that MMA performance blew me away. It’s also sad, that it got overshadowed by Jimin’s solo dance in the MV.

Dreamcatcher – Scream It’s one of the coolest Girl Group choreos and one of the few, that actually reserved a spot for a missing member, by replacing her with a masked dancer (take notes, EXO!)

Rookies of the Year: E’LAST (Swear, Tears of Chaos) They had one of the most interesting debuts this year, but got massively overlooked. The Comeback they had a few months later was definitely better executed and actually great, but was still overlooked. E’LAST really deserves more attention, please listen to them. If you don’t, them you could at least watch one of their dance covers of Black Swan, gods menu or Criminal.

Honourable Mention:

GHOST9 (Think of Dawn, W.ALL) They also had a really interesting debut concept, but their Comeback was a bit weaker.

Most Underrated Comeback of the Year: E’LAST – Tears of Chaos It’s a really amazing song with great styling, but was overlooked, because the group is from an unknown label and the stages were partly cut, since they couldn’t afford full promotions. Still, please check it out.

Honourable Mentions:

CIX – Jungle People somehow didn’t like this song and I can’t understand it. It definitely had one of the best breakdowns this year.

ONF – Sukhumvit Swimming This song needs more than one listening to like it, but it’s honestly one of the funniest/ most nonsense Comebacks of the year.

Super Junior D&E – No Love D&E is probably one of the best subunits and the song just slaps.

ONEUS – TO BE OR NOT TO BE It has an amazing build up, but the refrain is a bit weak. The Breakdown is the best of the year though.

Most Underwhelming Comeback of the Year: BTS – Dynamite Honestly, the Instrumental of Dynamite is really great, the execution of the rest is just… questionable. I still don’t understand, why this couldn’t be a Korean Comeback. About a year ago, they insisted that they were Korean artists and that they would not release and English song, but look were we are now. And I don’t even want to start on the Autotune. Jimin sounds like a chipmunk and I wasn’t able to pick out the difference between the rest of the vocalists. This could have been a Jungkook solo for all I know. With a better execution, this could have been a good song, but how it is, it’s just a stale earworm.

Honourable Mentions:

BTS – Black Swan It’s kinda the same problem. The Autotune is obnoxious and makes the song too forgettable. Without it, it could be great.

Super M – 100 It could have been better, but sounds a bit phoned in. There’s also a lot of questionable styling.

VAV – Made for Two Similar to Dynamite it also has a great instrumental with a weak execution, but it’s still a nice send off for Baron to the Military.

EVERGLOW – La Di Da The chorus and bridge are really good, especially the chorus, I love this chorus. But sadly the verses and rap fall flat. The rap-part is also slightly obnoxious.

Worst Comeback/Song of the Year: BLACKPINK – HOW YOU LIKE THAT I’m sorry, Blinks, but I really don’t like this song. The lyrics are all over the place, it rehashes the same formulas musical and video wise and the worst part is: It sounds like four songs stitched together. I kinda like the bridge, but the rest of the song is actively obnoxious.

Honourable Mentions:

BTS – Respect The entire 7 Album isn’t really good, but this song is just annoying. The way it starts really grates my nerves and, come on guys, this is basically a Cypher, when did you forget how to do this?

BLACKPINK feat. Selena Gomez– Ice Cream Whoever green-lit these lyrics deserves to be fired. Selena Gomez also sticks out like a sore thumb.

TREASURE – MMM Just… just… No! YG, go home, you’re drunk!

IZ*ONE – Secret Story of Swan The chorus is probably the most obnoxious one, I’ve heard all year. The Music Video is also a technicolour nighmare.

Anime

Anime of the Year: Jujutsu Kaisen This Anime has just really amazing Animation, some of the best animated fights of 2020 and, damn, the characters are engaging. Sukuna really seems like he could be one of the new greatest Manga/Anime antagonists. Park Seonghoo really proofed himself to be a really great director, so now it’s pretty clear, that Crunchyroll is to blame for the train wreck God of High-School turned out to be.

Honourable Mentions:

Attack on Titan the Final Season As a Manga-reader, I really appreciate that MAPPA is not censoring anything from the Marley arc. They really proved, that they can hold the torch from WIT.

Fugou Keiji: Balance Unlimited It’s just a really well made Mystery show, with interesting main characters, but not for the reasons Tumblr says.

ID:_Invaded A really interesting Sci-fi original Anime, with probably one of the coolest protagonists this year.

Moriarty the Patriot One of the most underrated Animes of the year, but Saito Souma really gives an amazing performance.

Opening of the Year: Fugou Keiji: Balance Unlimited (SixTONES – NAVIGATOR) It’s just a really cool song, with a very nice verse. The full version also has a really cool rap-part. It’s just a really well made OP and, even though the Animation isn’t the best, it really hits all the right notes. I also like how in sync with the Song the Animation is.

Honourable Mentions:

Moriarty the Patriot (Tasuku Hatanaka – DYING WISH) Just has a really nice intro and build-up, as well as good high-notes.

God of High-School (KSUKE feat. Tyler Carter – Contradiction) It certainly is the best animated OP of the year, but goes a bit too hard with the Techno for me.

Attack on Titan the Final Season (Shinsekai Kamettechan – Boku no Sensou) It fits the new tone of the season surprisingly well and yeah, it’s basically a banger.

Jujutsu Kaisen OP 1 (Eve – Kaikai Kitan) The song is pretty standard, but it looks really pretty and there is a panda running on a rooftop, so…

Ending of the Year: Jujutsu Kaisen ED 1 (ALI feat. AKLO – LOST IN PARADISE) This is one of the few Anime songs that actually gets me to stand up and dance. The Animation is pretty adorable and, damn, the final chorus hits way too hard in the full version, holy shit. I liked ALI fine for Wild Side (the Beastars OP), but this song really knocks that out of the park. This really is a band I’ll keep an eye out for.

Honourable Mentions:

Fugou Keiji: Balance Unlimited (OKAMOTO’s – Welcome My Friend) This was my ED of the year, before we got LOST IN PARADISE. It has a great intro and I really just adore the song.

ID:_Invaded (MIYAVI – Other Side) It’s really boring Animation-wise, but the Cologne Cathedral may be in it, so that’s a plus. On the other side, the song is really awesome and hits way too hard. I swear, this entire Anime is just a MIYAVI fan convertor.

Haikyuu!! To the Top!! 2 (SPYAIR – One Day) It’s a really nice song, certainly one of SPYAIRs best, there is only one problem: You just don’t hire SPYAIR for an Ending!

The Great Pretender (Freddy Mercury – The Great Pretender) I mean, it’s Freddy Mercury! How can you not like it? Also, the Animation is cute.

[middleeyt]

Coachella 2020 Top Artists To Watch

It’s that time of year again fam, Coachella is rolling around in about 4 months and it’s time to get the total lowdown on what artists to keep a close eye on. 

Anyone who knows the trend with Coachella, knows that you can almost guarantee the artists in the lineup to become heavy hitters in the months to come. As soon as Coachella 2019 was over, Golden Voice got to contacting booking agencies, probing for what talent will be available, agencies began to submit lists of artists on their rosters that will be interested, and the contracts began to roll out. Now in January 2020, we have the full list of artists: 

This year marks the (technical) 20th anniversary for the festival since it’s emergence in 1999. Every year the festival aims to highlight a solid pool of artists in different genres, and give stage to an older rock band/ performer in homage to how the festival started. I have to say that this year, I am quite pleased with lineup as a good set of R&B and Hip Hop artists take center stage on the list. But besides the popular headliners on the billing, there are a number of (tiny name) performers that I think you absolutely have to see. Here are my picks for top artists to watch at this years Coachella fest: 

Doja Cat- Amalaratna Zandile Dlamini, known professionally as Doja Cat is a 24 year old rapper unlocks a sweetly coated rap sound with a mix of R&B and Pop. Favorite song: Juicy 

Princess Nokia- American rapper of Puerto Rican descent Destiny Nicole Frasqueri, better known by her stage name Princess Nokia, brings an educated blend of activism and authenticity to her sound. Favorite song: Sugar Honey Iced Tea (S.H.I.T) 

Joji- Japanese singer, songwriter, rapper, record producer, one-time author…oh and former internet personality and comedian George Kusunoki Miller, better known by his stage name Joji, is what I consider a total Coachella artist. His blend of Indie Pop, Hip-Hop, and Alternative R&B have garnered some major hype. Favorite song: YEAH RIGHT

Lost Kings- American DJ duo (one of the few) consisting of Robert Abisi and Nick Shanholtz gives us a dope mix of catchy lyricism, EDM, and pop. They got a ton of fun bops, making them a definite act to watch this year. Favorite song: First Love 

NIKI- Indonesian R&B artist Nicole Zefanya, better known as NIKI gained popularity with her covers and original songs on YouTube, gaining more than 40,000 subscribers. Her mission is simple: create dope music and empower Asian artists through representation. Favorite song: Indigo 

Matoma- Norwegian DJ and record producer Tom Stræte Lagergren, known by his stage name Matoma, gives us a solid dance formulated tropical house sound and even has a dedicated song to the Coachella scene “Girl At Coachella”... which is pretty much about a rave bae. Favorite song: False Alarm

Masego- Micah Davis, known professionally as Masego, is a Jamaican born, international musician who gives us R&B vibes at their finest. Having grown up with both parents as pastors, while simultaneously having friends giving him hard hitting drums and trap music influences, Masego has referred to his own musical style as "TrapHouseJazz". Favorite song: Tadow 

Jessie Reyez- Jessie Reyez is a Canadian singer, songwriter, and co-writer of the absolute bop “One Kiss” by Calvin Harris. Her unique voice and permeable blend of Urban Contemporary and R&B has gotten her nominated for a number of awards. Her debut album is set to come out this year! Favorite song:  FIGURES (I also fuck with Broken by THEY in which she is featured) 

Ari Lenox- Courtney Shanade Salter, known professionally as Ari Lennox, is the first woman to be signed to J. Cole's record label, Dreamville Records. I got the chance to see her at Lights On Fest this past year, her incredibly unique voice and clever lyrics made her one of my favorite performers. Favorite song: Shea Butter Baby

Summer Walker- By now if you haven’t hopped on the Summer Walker hype you’re definitely missing out. Her raw and soulful energy combined with some nostalgic R&B production have made her an absolute heavy hitter. On November 17, 2019 Summer won her first BET Soul Train Music Award for Best New Artist. Favorite song: Come Thru (Potential is also a favorite)

Omar Apollo- The Mexican psychedelically soulful singer-songwriter Omar Velasco better known as Omar Apollo, combines his airy and soulful vocals with a solid R&B and soft Rock sound. Favorite song: Erase 

Pink Sweat$- David Bowden, known professionally as Pink Sweats, is an American singer and songwriter best known for his song "Honesty", which reached #23 on Spotify's Global Viral Chart and #10 on Spotify's US Viral Chart. Pink Sweat$ strips everything down with his songs, preferring R&B ballads left to only his voice and guitar. Favorite song: Coke & Henny Pt. 2

Aya Nakamura- Aya Danioko, known by her stage name Aya Nakamura, is a French-Malian pop singer who uses a dope blend of R&B and Afrobeats guaranteed to have you moving. Favorite song: Djadja 

Emotional Oranges-  Oddly enough the American R&B–pop group name perfectly describes their music. The funky bass and jazzy guitar used in most of their songs complement the male and female vocals that narrate their music. Favorite song: Built That Way 

Hands down my favorite part about Coachella is getting to watch a ton of amazing artistry and witness their rise in the industry. Whether you fuck with one or all these artists, take some time this Coachella to catch their acts, I can almost guarantee that you’ll see these names pop up more often as the year progresses. 

Take a listen to these songs and a ton more bops by other Coachella 2020 artists with my Coachella 2020 Collaborative Playlist! 

[theteenagetrickster]

75 Best Hip-Hop and R&B Albums of 2019, Ranked

For the final time of 2019, we’ll see you in the comments.

Before you begin scrolling through our list of the 75 best hip-hop and R&B albums of 2019, likely without reading any of the words we affixed to many of them, let’s make sure we’re all on the same page.

The eligibility period for this list is December 24, 2018, through December 9, 2019.

If an artist and/or their record label labeled a project as an “EP,” it was disqualified. We are publishing that list on Friday.

Our entire editorial team determined the selections (and the order of the albums listed). Please don’t send Donna your nasty emails.

No, we’re not on the payroll of “Insert Popular Artist Here.” But, we’d love an investment. Have them email Z.

This list is our list—not yours. We don’t expect, nor do we want, you to agree with every album selection or our ordering; we do want you to discover a few great albums you probably missed throughout the past 12 months and press play.

Great, let’s begin. Happy Holidays.

75. Radamiz — Nothing Changes If Nothing Changes

“Lately been accepting my mortality, nobody ever told you that your parents goin’ to get older, too,” Radamiz raps on “Shadowboxing,” the intro to his perfectly-titled sophomore album, Nothing Changes If Nothing Changes. It’s one of many lines that will jump out upon every revisit. Radamiz is a rapper who breathes universal truths, who candidly speaks of being a passion-driven and dreaming-chasing millennial fighting against the odds and the clock. Nothing Changes If Nothing Changes is East Coast hip-hop from a student of the game, who gives an honest portrait of his life with fiery rhymes, and head-nodding production that solidifies Radamiz as one of the best new rappers coming from New York. —Yoh

74. Wale — Wow… That’s Crazy

73. Lil Peep — Everybody's Everything

72. MIKE — Tears of Joy

71. Deem Spencer — Pretty face

70. Yung Baby Tate — GIRLS

Do not forget Yung Baby Tate. On the list of newcomers who released projects in 2019 that put on display their world-conquering star power, Yung Baby Tate shines. GIRLS, Tate’s independent debut, is vividly painted with shades of luscious vocals, radio-ready songwriting, and bright-colored, post-Nicki Minaj lyricism. You’ll remember Tate as the charming, Atlanta-born songstress who rapped, sung, wrote, and self-produced all 15 tracks. Tate is every woman, but also every artist, a living compilation of styles and genres. While GIRLS may be her first full-length offering, the album successfully represents her wide-ranging talents, and why Yung Baby Tate is on the road to a takeover. —Yoh

69. Baby Keem — DFMB

68. Medhane — Own Pace

67. YG — 4REAL 4REAL

66. Kaina — Next to the Sun

65. 03 Greedo & Kenny Beats — Netflix & Deal

Ever wonder what a Netflix binging session with your favorite rapper and producer would be like? 03 Greedo and Kenny Beats’ collaborative debut is the closest you’ll get this year. There’s no underlying concept about cinema’s relationship to rap or trying to create a #cinematic experience; Greedo raps about movies he used to watch in his trap house over a sampling of Kenny’s eclectic beats. Netflix & Deal is as brisk and exciting as any John Wick movie. You know bodies will be caught, but the thrill comes from seeing how they will top themselves this time. Movie magic. —Dylan "CineMasai" Green

64. Big K.R.I.T. — K.R.I.T. Iz Here

63. Roddy Ricch — Please Excuse Me For Being Antisocial

62. Dreamville — Revenge of The Dreamers III

61. Wiki — OOFIE

60. Malibu Ken — Malibu Ken

Aesop Rock deserves to have a little fun. Teaming up with producer TOBACCO for , he puts his extensive vocabulary to use, describing plants dying from neglect on tour and the inner workings of Bob Ross paintings. TOBACCO’s woozy pre-tech synths whir and click at the speed of rap, matching Rock’s saturated yellows with nauseating greens. Malibu Ken is colorful, silly, and more than just a little morbid, a perfect slice of Magic Eye playtime handspun by two of alt-rap’s most endearing weirdos. —Dylan "CineMasai" Green

59. Summer Walker — Over It

58. Jack Harlow — Confetti

57. Jhay Cortez — Famouz

56. Young Dolph & Key Glock — Dum and Dummer

55. Grip — Snubnose 

Snubnose, the sophomore project by Atlanta rapper Grip, is a sneaky album. The kind of independent release that sounds major from a newcomer who could be confused as a young veteran. Where there should be kinks, Snubnose appears polished; where most artists fall into a mimicry of trends, Grip leans into original storytelling. He makes 13-tracks about gun violence feel like you’re watching a violent Quentin Tarantino film, with far-less n-words. Meticulous in form, riveting in execution, Snubnose is one rap album that you won’t forget. One of the best surprises of 2019. —Yoh

54. Roc Marciano — Marcielago

53. Young Nudy & Pi'erre Bourne — Sli'merre

52. SiR — Chasing Summer

51. Kano — Hoodies All Summer

50. YBN Cordae — The Lost Boy

YBN Cordae remembers what albums sounded like during the blog era. When Kendrick Lamar made Section.80; when J. Cole made Friday Night Lights; when Chance the Rapper made Acid Rap. Cordae channels that timeframe into , his debut album on Atlantic Records. The North Carolina-born, Maryland-raised rapper weaves through a coming-of-age story with thoughtful self-reflection, pointed storytelling, and soulful nostalgia. It’s a charming, major-label effort by a developing and youthful rapper with an open, old soul. Cordae still lacks a defining identity, but at the very least, The Lost Boy proves he knows how to tell a compelling story. —Yoh

49. Flying Lotus — Flamagra

48. Injury Reserve — Injury Reserve

47. Kevin Abstract — Arizona Baby

46. SAINt JHN — Ghetto Lenny’s Love Songs

45. Griselda — WWCD

Griselda’s debut album, WWCD, does not feel like a traditional debut. The record is wider in scope and sharper in presentation. Between the ferocity of Benny The Butcher, the ear of Westside Gunn, and the mighty snarl of Conway The Machine, Griselda are Buffalo, NY’s unstoppable force. As a group, Griselda have little to prove. Alone and together, the trio have gotten cosigns from some of hip-hop’s greatest writers: Black Thought, Pusha-T, and Raekwon. Respect given is respect earned and studied, in the case of Griselda. Bar for bar, WWCD is the essence of New York street rap for the modern era.—Donna-Claire Chesman

44. Maxo Kream — Brandon Banks

43. Kemba — Gilda

42. Mereba — The Jungle Is The Only Way Out

41. Baby Rose — To Myself

40. Lucky Daye — Painted

Given this was his debut record, Lucky Daye could've played it safe. As anyone who's heard "Roll Some Mo"—Painted's lead single and Lucky's breakout hit—knows, there's a wrenching tenderness to his voice that fits like a glove atop stripped-back production. The risk he took to pepper his album with funkier pop cuts, then, is not one every artist would have taken. Fortunately, Lucky rises to the challenge, proving himself a dynamic enough artist to erase this risk altogether. Plus, when he breaks out those vocals, they're all the more affecting because they've been used sparingly.—Hershal Pandya

39. KOTA The Friend — FOTO

No album warrants a tracklist of 19 songs. Yet, in crafting a worthy spiritual successor to the Rawkus Records era of music that many fondly romanticize, KOTA The Friend comes as close as humanly possible to justifying this run-time on FOTO. The album personifies the term “easy-listening,” maintaining a consistent mood throughout between KOTA’s strikingly unaffected delivery and the delicate, jazzy production on which he raps. No slouch on the mic, KOTA possesses a rare gift for situating bravado alongside vulnerability. He conjures favorable similarities to Phonte at his best, but not so much that FOTO ever suffers for these comparisons. —Hershal Pandya

38. Future — Future Hndrxx Presents: The WIZRD

Women, wealth, and worries are the three Ws found pulsing through the veins of Future’s seventh studio album, . Lyrically, there’s nothing new under WZRD’s promethazine sun, but the magic is in his ability to resurrect old muses as revamped concepts. Future hasn’t radically changed over the years, but here the presentation is altered. WZRD is another installment of melodic confessing, hypnotic anthems, and oil-black trap production that carries the infectious torch passed down from its predecessors. Still, it stands alone as a fresh glimpse into Future’s rockstar world. —Yoh

37. Quelle Chris — Guns

Quelle Chris is self-aware enough to know that everything in this life—emotions, money, ourselves—is weaponized. His sixth studio album Guns isn’t about physical violence as much as it’s a deconstruction of the actions we take in a world slowly devouring itself. Quelle travels the roads of Trump’s America with a twisted sense of humor and animated beats as his only sidearms, jumping between characters, ideas, and planes of existence as only he can. Guns is a polemic on reality itself, a reminder that no weapon formed against a sharp mind shall prosper. —Dylan "CineMasai" Green

36. Toro y Moi — Outer Peace

What good is inner peace when the outer world is falling apart? Toro y Moi’s Outer Peace combines a sleek disco sheen with contemporary rap cadences to bring pep to an increasingly passive-aggressive world. The housing market has crashed (“New House”), and sex barely sells like it used to (“Ordinary Pleasure”), but at least James Murphy is spinning records at his house tonight (“Laws of The Universe”). That cynical sense of humor alone will keep your toe tapping throughout Outer Peace, that is,if the gorgeous grooves and crushing low-end don’t. —Dylan "CineMasai" Green

35. James Blake — Assume Form

The most accessible of his projects to date, is a triumphant release that marks the evolution of James Blake’s artistry, as he matures past the reductive “sad boy” label he’s famously lamented. An unapologetically romantic album, Blake sheds the claustrophobic production of his previous output in favor of shimmering compositions, genuine hooks, and winning collaborations with the likes of André 3000 and Rosalia. Retaining his lyrical flair, Blake punctuates the album with quintessential lines, like “let's go home and talk shit about everyone,” that reminds you of the artist who first grabbed your attention years ago. —Hershal Pandya

34. Bad Bunny — X 100PRE

I’m in love with the way Bad Bunny says his name. I’m a sucker for a good self-reference, but I’m even more of a sucker for the way Bad Bunny bets on his longevity. With that, X 100PRE, Bunny’s debut album, is about being everlasting in a microwaved music industry. The record covers all adjacent hip-hop genres—which, at this point, means all genres—from pop-punk to trap, to lighter fare, and ballads with fine attention to getting our hips moving. You hear Bad Bunny, and you dance; you sing your heart out; you weep, and you celebrate. In one record, Bad Bunny captured every mode of human living. —Donna-Claire Chesman

33. Kyle Dion — SUGA

There are no words to explain Kyle Dion’s amazing, stunning, arresting, becoming, disarming, endearing, charming, affirming, enchanting, beguiling, mollifying, soothing, blaring, encouraging, surprising, yearning, pining, astounding, breathtaking, stupefying, thrilling, outstanding, exciting, exhilarating, electrifying, intoxicating, moving vocal tone on SUGA. Just press play. —Donna-Claire Chesman

32. Kehlani — While We Wait

While We Wait isn’t the full entrée, it’s just the appetizer. While waiting on the full-length follow-up to 2017’s SweetSexySavage, Kehlani treated fans to a taste of where she’s heading next. Kehlani bares her soul as staunchly as she always has to provide an unfiltered look into her state of mind. On While We Wait, she’s equal parts vulnerable and commanding, struggling to move on from a complicated relationship on “Too Deep” before confidently telling off an old lover on “Nunya.” With a diverse complement of beats, storylines, and moods, there’s plenty to enjoy on this small project. —Kenan Draughorne

31. 2 Chainz — Rap or Go to the League

Twenty-three years after the late, great Notorious B.I.G. rapped, “Either you’re slinging crack rock, or you got a wicked jump shot,” Atlanta hip-hop veteran 2 Chainz stands as an example of a man who had the jump shot and sold the drugs but ultimately chose rap as his escape route from poverty. His fifth studio album, Rap or Go to the League, is an opulent celebration inspired by the city that raised him and the odds he’s overcome. Rap or go to the League is a grown man still progressing as an artist, finding his most introspective voice. —Yoh

30. slowthai — Nothing Great About Britain

An agile storyteller, Northampton’s slowthai expertly mixes elements of UK grime and drill while unpacking the micro and macro of his British upbringing. Carrying no pretensions and seamlessly style-shifting across genres with his frenetic cadence, the singular rapper makes you move and listen simultaneously. In a year that has seen British rap dominate—from DAVE and Little Simz to Skepta and Octavian—slowthai’s versatility and poignant messaging set him apart. He’s funny while commanding attention, hilariously painting stark portraits of British classism, racism, and abuse in an ultimately gripping and focused fashion. —Zach Miller

29. Maxo — LIL BIG MAN

Maxo makes growing up sound incisive and blaring. This album takes place in the crevices of the torment of maturing. is a dusty reclamation of voice, relying on traditional boom bap structures and methodical writing to deliver a solemnly eviscerating experience. The wisdom baked into LIL BIG MAN will at once inspire, surprise, and soothe you. Maxo is Def Jam’s best-kept secret, but not for much longer. —Donna-Claire Chesman

28. Lizzo — Cuz I Love You

Equal parts bold, sexy, and witty, is a commanding listen that features Lizzo at her best. Harnessing her confident mic presence and ear for massive hooks, Lizzo creates a genuinely urgent body of work. A showcase for her eclectic sensibilities, the album jumps effortlessly between the eponymous opener, which recalls the work of The Alabama Shakes, to the infectious pop stylings of “Juice,” without missing a beat. It’s a shame Lizzo infamously fixated on one mixed review because overwhelmingly, the universal response to Cuz I Love You was justifiably glowing. —Hershal Pandya

27. Anderson .Paak — Ventura

A throwback to the beloved soul music of the ’70s, is a return to form for Anderson .Paak after the mixed bag that was . The key takeaway here is Anderson .Paak is fine when he raps, but he is special when he sings. Whether via the glorious, Smokey Robinson-assisted cut, “Make It Better,” or the disarmingly danceable, “Twilight,” Ventura is a breathing testament to this takeaway. The album offers lush canvasses to showcase the stunningly silky tone of .Paak’s voice. Add to this a transcendent André 3000 guest verse, and the case for Ventura becomes undeniable. —Hershal Pandya

26. GoldLink — Diaspora

Subtlety isn’t a characteristic that listeners often encounter on a major label album; the machine believes in a straight line product that doesn’t require further explanation. That’s not GoldLink. The Maryland native is a master of music woven to unveil slowly. With , his RCA “debut,” Link has created his most subtle, yet replayable work of art. Thanks to production warm as spring, Diaspora is a splash of Utopian sunshine, yet in the shadows of his lyrics, the 26-year-old is adding his mysterious life to the lexicon of Black music. It’s the mystery that endures, not the explanation, and GoldLink shapes Diaspora to be an album that lasts. —Yoh

25. Solange — When I Get Home

Solange’s take on Houston hip-hop belongs in a museum. She treats her hometown’s “chopped and screwed” traditions with elevated care throughout When I Get Home, placing it on a golden pedestal to be admired and revered. Dispersing interludes at every turn in the form of fragmented conversations and poems, she creates a linear journey that eternally builds upon itself. When “Almeda” parades into the spotlight with strutting kicks and whooping vocals, it’s impossible not to stand and salute Solange. —Kenan Draughorne

24. Rico Nasty & Kenny Beats — Anger Management

Kenny! Rico! Together! A match perfectly made, is a brisk concept album that captures all the stages of a temper tantrum and boasts some of Rico’s best work (“Big Titties”), and highlights the duo’s impeccable chemistry. Rico made this album from the heat of anger and the thrill of the up-and-down. She imparts boundless energy unto every cut. Kenny’s production is from another plane where music is warped and only made on acid. Their collective thump and vigor make Anger Management the pump-up album of every summer. —Donna-Claire Chesman

23. billy woods — Terror Management

You can’t eat books. You can’t rest easy at night. You can’t trust those closest to you. These are the lessons of billy woods’ second album of 2019, Terror Management. A show of strength from woods, who is writing through the apocalypse, Terror Management feels like being led down a series of jagged alleyways by a dishonest narrator. A narrator who is mistrustful in their own right. The album is knotty and internal. The album is wounded and beside itself. At times, Terror Management serenades fear. Sometimes, it merely quakes in place. Sometimes, woods cracks a joke. Most importantly, Terror Management is fucking good, man. Fucking. Good. —Donna-Claire Chesman

22. Ari Lennox — Shea Butter Baby

Ari Lennox blessed my new apartment during our interview; her soul is kind, and her music is knowing. Her musings on the failures of modern dating sound scrumptious with her silky vocal texture. The beauty of Shea Butter Baby is in the way Ari captures minutiae and makes it sound regal. She does not pull from the abstract, and it’s the rootedness of her art, the humble quality of the content, that makes the album such a triumph. Ari’s professing that this record is for Black women, too, is triumphant. The beauty and love of community permeate the work. —Donna-Claire Chesman

21. Polo G — Die A Legend 

Polo G isn’t waiting to receive his flowers. At just 20 years old, the Chicago rapper’s debut album, Die A Legend,reads like a breathless statement of purpose. Life has taken too much from the rapper, born Taurus Bartlett, for him to quit now. Across the album’s 14 tracks, scars created by loved ones lost (“Deep Wounds”) and a corrupt police system (“BST”) compel his meticulous croons. Even a banger like “Pop Out” mixes the spoils of victory and pained reflection with dizzying ease. Die A Legend maintains this balance throughout, finding energy in the melancholic. —Dylan "CineMasai" Green

20. Snoh Aalegra — -ugh, those feels again

Often, you'll listen to a modern R&B record, and sandwiched between trap concessions and crossover attempts, will be a bare and emotive track that'll make you wonder, “why isn’t this the album?” On , Snoh Aalegra took this approach and ran with it, constructing an album composed entirely of these deep-cuts. The effect is 14 organic songs, across which Aalegra shows remarkable restraint. Though her vocals are as lush as the production, she's careful never to over-sing or push for the emotion. As she acknowledges via the album's title, the "feels" are more of an inevitability than anything else. —Hershal Pandya

19. DaBaby — Baby On Baby

DaBaby’s Baby On Baby is 32 minutes of exhilarating trap sermons. He builds the church of Baby On Baby upon confidence pure as cocaine, a charisma so contagious it could charm the Halliwell sisters. The lively, dynamic production perfectly fits his distinctive, Southern rap voice. There are few holes to be found in DaBaby’s artistic armor; it’s refreshing to hear a new artist sound so developed. Baby On Baby is one of the most replayable albums of the year, and at this rate, we will remember 2019 as the year that DaBaby broke out and began his hip-hop takeover. —Yoh

18. Burna Boy — African Giant

With African Giant, international Nigerian superstar Burna Boy created more than a masterpiece. He created a social statement and global experience. Burna paints a spiritual picture, one that is uniquely his own, yet still feels like it belongs to all of us. African Giant is undeniably Naija, dipped in history and Yoruba dialect, leaping over language and cultural barriers. Burna’s lyrics are poignant, coasting over production charged with Afrofusion anthems, dancehall riddims, and hymns. The 19-track album is not just a vibe; it’s a victory. —Ronnia Cherry

17. Boogie — Everythings For Sale

On , Boogie accomplishes the rare feat of making an intensely personal album that is simultaneously self-aware and suitably mature enough to avoid veering into the trap of solipsism. A distinctly West Coast album that borrows influences from the Midwest, Boogie brings the specificity of his lyricism to life with pretty production, alliteration-heavy flows, and an effortless knack for melody. All of these come together to create a surprisingly pleasant listening experience, despite the album’s undeniably dense subject matter. —Hershal Pandya

16. Little Brother — May The Lord Watch

That North Carolina duo Little Brother’s exists is a blessing. It was unclear if we’d ever see Little Brother—currently comprised of rappers Phonte and Rapper Big Pooh—on a record together again, but they pulled it off. On their fifth album, they sound like they’re happy to be together again. Phonte and Pooh appear rejuvenated, modernizing The Minstrel Show’saestheticwhile still dropping jewels that rap fans of any age will find relatable. The beats shimmer, and the rhymes are funny and poignant. Let’s be thankful that UBN’s hiatus was only temporary. —Dylan "CineMasai" Green

15. EarthGang — Mirrorland

EarthGang’s Dreamville debut, , doesn’t stop moving. The motion of each song is exuberant and dynamic, a result of multi-flavored carnival production paired with WowGr8 and Olu’s animated storytelling. How the creative West Atlanta duo stretch and morph their voices to match a variety of styles and sounds make for an exhilarating debut album. It’s a Crayola box wrapped in dynamite. Mirrorland explodes from start to finish. —Yoh

14. Rapsody — Eve

Rapsody’s life music has evolved. Where 2017’s saw Rap focusing inward and weaving a gorgeous tapestry of the Black woman’s experience, features Rap looking outward in all directions. With her most enlivened performances to date, Rapsody honors the Black women who came before her, all to the point of creating opportunities for the Black women who will come after her to take up space. As an album, Eve is lively and emboldened. As a mission statement, Eve is admirable. Rapsody’s deep love of history and Blackness make this the most excitable album in her deep catalog. —Donna-Claire Chesman

13. Beyoncé — HOMECOMING: THE LIVE ALBUM

I remember falling in love when I first saw the HOMECOMING: THE LIVE ALBUM during a live screening of Coachella. Beyoncé has always been a great performer, but this album is more than just a performance. HOMECOMING: THE LIVE ALBUM pays homage to the Black artists that came before Beyoncé, it acknowledges how her Blackness has shaped her, and how she has shaped her Blackness. When she decided to share this moment of brilliance with the world, there was one word that came to mind: thankful. HOMECOMING is a replica of Beyoncé’s Coachella performance. It doesn’t just take us back to the moment; it fully placed us in it, as if we were there with her witnessing her at her peak. —Simi Moonlight

12. Danny Brown — uknowhatimsayin¿

Even at its darkest, Danny Brown’s music is bunches of fun. He gets immense joy from rhyming words together over the weirdest beats he can find. His traditionalist methods and gonzo music preferences meet halfway like never before on his fifth studio album The conceptual bombast of previous projects is thrown out the studio windows for thoughtful raps over zany beats. Executive produced by Q-Tip, the project is loose and punchy, chock full of vignettes as suitable for an open-mic standup set as they are for a rap album. At 38 years old, Danny has little left to prove. uknowhatimsayin¿ makes every word count. —Dylan "CineMasai" Green

11. Megan Thee Stallion — Fever

The rise of Megan Thee Stallion is a blessing to witness. With her formal 300 Entertainment debut, the “1501 Queen” establishes herself as one of the most charismatic forthright rappers working. Her energy is explosive. Her writing is bombastic. Her deliveries are bursting with conviction and swagger. Megan Thee Mack is unchained and unstoppable on , a celebration of her Houston roots and flair for spending another man’s coin. Megan is a dominant force in hip-hop, and considering the sheer strength of Fever, she does not seem to be slowing down. —Donna-Claire Chesman

10. Young Thug — So Much Fun

is a safer work than some of Young Thug’s more elastic, head-spinning offerings. Across 18 songs, the long-awaited debut uses shoulder-shaking trap rhythms and ear-candy melodies to deliver his most accessible work since Rich Gang’s 2014 mixtape, Rich Gang: Tha Tour Pt. 1. It’s still Thug, though. He provides humor and hits, thrilling bravado, and infectious style, all while being the original nucleus that inspires many of his contemporaries today. So Much Fun is the commercial oeuvre for an artist who was always a star but never shined in the mainstream. —Yoh

9. FKA twigs — MAGDALENE

Heartbreak can be oddly beautiful. Rarely do people experience the depths of human emotion as fiercely as when they’re cocooned in its all-consuming agony. If this sounds at all like bad teenage poetry, trust me when I say FKA twigs mines this territory much more gracefully on her transcendent sophomore album, MAGDALENE. Listening to her sing tortured lyrics like, “Were you ever sure? No, no, no, not with me” in her painfully pretty falsetto, it’s hard not to luxuriate in her—and, by extension, your—palpable anguish. Musically, the album conveys the same message more viscerally. It envelops you in asphyxiating production, delivering pockets of euphoric catharsis in the form of cinematic instrumental flourishes and twigs’ gorgeous, boundless vocals. —Hershal Pandya

8. MAVI — Let the Sun Talk

MAVI wants us to understand him on his terms. At just 20 years old, the Charlotte, North Carolina native is capable of bending words to his will, a Sorcerer Supreme in the making coming to grips with his Infinity Stone. On his debut album, , MAVI’s words exist on the borders of Black thought, spirituality, and raw honesty; they are puzzles revealing different configurations with every listen. If you know, you know, and if you don’t, MAVI’s technical skill and ear for beats are enough to pull in weary travelers. —Dylan "CineMasai" Green

7. billy woods & Kenny Segal — Hiding Places

billy woods and Kenny Segal are not scared; they are not in hiding. Instead, they are affecting wordsmith and mad scientist banding together to traverse the depths of retread emotions. A record concerned with the past and what it means for an emotional space to become hollow, will challenge and reward you in the same turn. Kenny Segal’s production is quietly cacophonous and cloudy, while woods presents his most direct and open writing to date. The pair belongs together. —Donna-Claire Chesman

6. Denzel Curry — ZUU

Denzel Curry is proof you can always go home. His latest album, ZUU, is a testament to home as the ultimate battery charger. Curry sheds the conceptual bombast of his last album, TA13OO, in favor of a non-stop thrill ride through the streets of his native Carol City, Florida. The sun-drenched comforts and drawbacks of home, along with clanging production from longtime collaborators FnZ, help him paint some of the most vivid images of his career. These are top-down bangers baked in the 98-degree sun. With ZUU, Denzel Curry found freedom in his backyard. —Dylan "CineMasai" Green

5. Little Simz — GREY Area

Little Simz wants you to stop fucking with her heart. She says as much two tracks into , her boldly cathartic third studio album. At 25, Simz is approaching the threshold of adulthood with more questions than answers, armed with bars that cut to the bone. She’s been one of the UK’s best rappers for years, but her songs have never been so focused, the beats—cooked up by longtime producer Inflo—never so varied and explosive. GREY Area is her masterwork, a panoramic view of a future star fighting back a quarter-life crisis. —Dylan "CineMasai" Green

4. Dave — Psychodrama

Plenty of reviews have regarded Dave’s as an album of a generation, a landmark of UK hip-hop, and we have to agree. Dave burrows into the depths of his psyche, and bravely reports his findings in an accessible and banging format. He makes the intimate aggressive and touching all at once. Psychodrama reveals Dave to be a master writer and rapper, an artist’s artist, and an artist to watch for years to come. —Donna-Claire Chesman

3. Freddie Gibbs & Madlib — Bandana

Good rap sequels are hard to come by. Thankfully, Freddie Gibbs and Madlib aren’t your average rapper-producer duo. Their debut album, 2014’s , recontextualized their respective sounds while cross-pollinating with each other’s audiences. This year’s is more holistic in form, its creators in sync for the first time. Their camaraderie strengthens Gibbs’ elastic flows (“Situations”) and storytelling (“Fake Names”) as much as it pushes Madlib to embellish his trademark samples with trap hi-hats (“Half Manne Half Cocaine”) and crisp kick drums (“Gat Damn”). Trust and freedom embolden this latest chapter in the MadGibbs Cinematic Universe. —Dylan "CineMasai" Green

2. Jamila Woods — Legacy! Legacy!

Jamila Woods makes eternal music. Her runs, her inflections, and her writing are all meant to stand the test of time. On Legacy! Legacy!,Jamila performs a time-bending act, bringing her literary heroes back to life and keeping them squarely in our thoughts as she carries their poetics into her classic album. Legacy!’s success is rooted in a fullness of life and self-love. There is so much agony in the world, but there is still so much love to share. Jamila Woods is in the business of spreading love. Plus, the record also doubles as a great reading list. —Donna-Claire Chesman

1. Tyler, the Creator — IGOR

was a new dawn for Tyler, The Creator. A heartbroken and deluxe dawn. A funky and riveting one. IGOR covered the whole spectrum of heartache. From urgency and helplessness to naming, to pining, to grieving, to coming into yourself. Every step of nursing our lost souls was found on IGOR. The operative question of this epic album is: Who do we become when the rug is pulled out from under us, and our hearts break? The answer is multiple, and each thread of reply makes up the fabric of IGOR. We became angry. We become obsessive. We become deranged. We become desperate, at first for the past, and finally, for peace.

We’ve lived with IGOR for seven months. In those seven months, new meanings have continued to reveal themselves as the album gets uninterrupted play. I heard IGOR at a taco spot in Philly. I hear IGOR in my sleep. The ubiquity of its themes makes it an easy record to latch onto, sure. But the sparkle of its static, the grandiosity of its arrangement, and the needling melodies and vocal performances make IGOR a sonic marvel, too. Let’s also not forget this album is a queer triumph.

IGOR is the album of the year because it was the most ambitious and wrenching record of 2019. IGOR is an album you hold tight and play deep into the night and then play again when the sun comes up, and your eyes are crusted. It’s the album you remember during your last fight, and the album you play when you’ve achieved apathy in the face of pain. It’s the album for when you care too much, and for when you sincerely hope they’re happy. IGOR is as spectacular as the heartbreak itself.

In a world committed to making us all feel like tiny performers on tiny stages, dancing for imaginary currency, IGOR expands our universes. Suddenly, our every move feels precious, purposeful. Our feelings become valid; our hopes and dreams become imperative. Who we are is imperative. Tyler may be wearing a pressed suit and wig, but he is unmasked. Thanks to IGOR, we follow suit.—Donna-Claire Chesman

This content was originally published here.

[idontneednofuckinhug]

My top 20 albums of 2019

As 2019 is in its final month, we're not only about to experience the end of the year, but also the end of a decade filled with amazing music, ground-breaking albums and self-made musical geniuses. We've had some fantastic years, such as 2012, 2014 and 2016 for album releases and this year definitely rivals all of those beforementioned with the quality and quantity of records we had. There was such a great quantity of amazing albums this year that I had to change my original plans of a top 15 list and move it up to a top 20 list, just due to the saturation of projects. Before starting off the list, I'd like to give my honourable mentions to some great albums which would've made the list in quite a few other years: Charli XCX - Charli; clipping. - There Existed an Addiction to Blood; Charles Irwin - Singles (308). I'd strongly advise to check these out as well as the ones I'm about to list off and with that said, let's get going!

20. Solange - When I get Home A project showing her versality, with music ranging from smooth jazz and blues-inspired vibes to Gucci Mane and Playboi Carti features, Solange once again showed a fantastic ear for production and how amazing her voice really is, without putting it in your face and demanding your attention. Instead the album is like a long, carefree day in mid-April, with Solange's voice giving you an amazing vocal experience.

19. Billy Woods & Kenny Segal - Hiding Places Ranking much lower than last year, the underground New-York genius of Billy Woods once again showcases his amazing talent for rough and grimy delivery combined with industrial, eerie production. The project is very personal for Billy, as he gets very real about his fears and anxieties and even takes a spin for the existential as the talented lyricist raps about his mortality, creating a very unsettling and uncomfortable listen, nonetheless keeping you entertained for the whole duration of the album.

18. Blood Orange - Angel's Pulse A much shorter project this year than last year's Negro Swan, Devonte released a very raw mixtape, presented as a radio-cut, with sudden transitions and unexpected topic changes. The tape is presented with very groovy production, creating the feeling of a warm summer day, but Blood Orange does keep close to discussing personal topics about his anxieties, insecurities and political worries.

17.Injury Reserve - Self-Titled Definitely not Injury Reserve's first project, but their official studio-album debut, it really lets the odd trio's strengths shine, with its chaotic production, personal bars and focus on making it out of the regular 9-5 life. Full off innovative ideas, such as the song "Rap Song Tutorial" which is true to its name, the album also includes fantastic features such as Rico Nasty, Jpegmafia and Freddie Gibbs, with its main strength being the difficulties of keeping the balance between being a rapper and a regular person.

16. EARTHGANG - Mirrorland The Atlanta duo's debut-album, Mirrorland is very witty and cheerful, capturing the story of Doctur Dot and Johnny Venus's come up in the ATL. Full of quirky and whimsical ideas, the record really does remind listeners of Atlanta's OutKast, with EARTHGANG's very own personality and spin to it, with very playful bars and captivating singing, beats with multi-cultural inspirations, such as on "Tequila" and banging trap production, the album is a fantastic mirror to the duo's potential.

15. Ariana Grande - thank u, next Carried by the freedom and carelessness of Ariana's voice, thank u, next is an album inspired by her romantic experiences through her life, addressing Mac Miller, Pete Davidson and her need for sexual freedom. The project explores the insecurities she has experienced with herself and acts as an assertion of Grande's confidence in herself as a woman, creating a huge emotional range during the 12 tracks.

14. KAYTRANADA - BUBBA A return to form for KAYTRANADA after a 3 year hiatus, this was an amazing funky and playful R&B project, blessed with fantastic features. The record really does just make you want to dance along and move to the groove, with its defining feature being each song's simplicity, letting the right elements to shine - like in 10% with Kali Uchis with the sexiness of her voice. Don't let the simplicity of the sound fool you, as BUBBA is full of complex production and small elements and samples that you might miss on the very first listen.

13. YBN Cordae - The Lost Boy Another studio-album debut, YBN Cordae really shows an amazing knack for sticky bars and storytelling, backed by the fantastic production of of a team overseen by J. Cole and feature assassins such as Pusha-T and Anderson. Paak. Although occassionally a bit too corny, the project paints a fantastic picture of his persona and puts the light on a young talent, emerging in the mainstream.

12. Ari Lennox - Shea Butter Baby One of the best neo-soul projects in the past few years, Shea Butter Baby really wraps around you with its warmth and nostalgia and brings back fond memories of kicking it back on a couch with your friends. Full of amazing jazz and funk samples, the slow pace and easygoing melodies really put you in a carefree state of mind and create a chilled out vibe.

11. Flying Lotus - FLAMAGRA This might be a difficult album for some, but FlyLo once again shows an amazing talent for creating songs from scratch, with a very psychedelic jazz-funk vibe. Each song telling its own story, with the feeling that each second of the album matters, FLAMAGRA's biggest strength is its spiritual element, giving off an energy that touches your soul, if you grasp deep enough within yourself to feel it.

10. Jpegmafia - All My Heroes are Cornballs Much tamer than last year's Veteran, Jpegmafia's last album has a very experimental R&B feel to it, but that does not mean that it doesn't sound like pure musical chaos. Showing a surprising vocal versatility, Peggy raps, sings and screams, keeping true to his "Fuck PC Culture" bars and nasty punchlines. Each song has a very manic and wild energy to it, with the album sounding like structured anarchy.

9. Free Nationals - Self-Titled A modern take on classic soul and jazz, Anderson. Paak's Free Nationals crafted a very sexy, intensive album, that gives a feel that there's no hurry for anywhere and everything will happen in due course. The sensual record can easily be described as baby-making music and has handpicked seductive features like Kali Uchis, Daniel Caesar and Syd to underline that vibe.

8. Anderson. Paak - Ventura Very much a modern take on a soul record, Anderson. Paak really creates a feel of time-stopping whilst listening to the project's songs. Paak wearing his influences on his sleeve on this one, you can really feel the vibrant melodies and groovy emotions, with the amazing funkiness of Ventura also having a very sensual feel to it, thanks to the thoughtfully picked out features and background vocals.

7. Mereba - The Jungle is the Only Way Out An album that I believe didn't get enough attention, Mereba's latest release is a very conscious R&B project, full of beautiful darkly-toned synths and very slow and jammy folk. The topics range from facing your vices, to the overwhelming emotions of seeing your lover and the self-realization that people's opinion ain't shit. Her voice is absolutely stunning and authentic, with it giving off the feel of her being uncertain and lost with each song.

6. Denzel Curry - ZUU Denzel never misses and this is fact once again - releasing his most dynamic record to date, Zuu goes back to Zel's roots of South Florida. In it he reminisces about his come-up and relationships with his family and friends and the project stays true to its nature with the features being only rappers from the area. Although very party-focused, ZUU has a wide range of songs, with boom-bap, trap, soundcloud rap and even having slower, more introspective jams to it.

5. Rapsody - Eve Eve is a love letter, celebrating the success of the black woman. Rapsody absolutely peaks her musical versatility and rapping potential, crafting an amazing classic hip-hop album, full of creative bars, alluring samples and a very socially engaged range of topics. The record's strengths create a vivid picture of why successful women need to be appreciated and cannot be given enough credit in its impact for the female side of hip-hop culture.

4. slowthai - Nothing Great About Britain A very heavily punk-inspired record, Tyler clashes with the UK's upper class in this project, exploring the difficulties of the everyday life in the UK's working class with cynical and sarcastic bars, full of energetic and grimey production. The topics in the cleverly titled record go into detail about the class bracket gap, widening poverty, political uncertainities and the average briton's arrogance. The album is full of witty jokes and very direct humor and thai does very well to paint the picture of a realistic Great Britain.

3. Freddie Gibbs & Madlib - Bandana Arguably one of the best produced albums of all time, Madlib and Gibbs really pull eachother deep in their worlds and crafted a geniusly produced project. Celebrating black freedom, the record shines on Freddie's talent for grimey and nimble rapping, with him changing cadence again and again, whilst Madlib's gift for erratic production and turning classic jazz and funk songs into off the wall earworms and samples turns this into a spiritual experience.

2. Little Simz - GREY AREA I'm kind of pissed off I put this at number two, just due to how good it is. Simz's coming of age album is a wicked, erratic record full of witty bars, discussion of social themes and goes between grimey, rough production and introspective, jazzy vibes, making for great entertainment. The record is a very open window to her life and the difficulties she's had as a woman and is crafted in such a masterful way, that even if you're not catching the lyrics, you'll feel the album's emotions just by listening to the production.

1. Danny Brown - uknowhatimsayin¿ This project finishes a cycle of Danny for me personally - starting off with his rockstar, crackhead phase with XXX and the consequences of his drug-induced party life in Atrocity Exhibition, his latest project is the maturest face of Danny we've ever seen. Overseen by Q-Tip as an executive producer, uknowhatimsayin¿ is very free-flowing compared to his previous records, topped off with irregular beats and unnerving samples, keeping true to Danny Brown's personality. The project is the culmination of his rap career, as he addresses the need he had to get his life together,get out of the rut he was in and grow up. He uses his cadence and snapiness to make the point of him being grown up, but still being the dude who can do what the fuck he wants.

[930club]

GET FAMILIAR: Weeks of August 5 and August 12, 2019

COMING SOON: half●alive

Release Title: Now, Not Yet (LP)

Release Date: Friday, August 9, 2019

What To Expect: Using their uplifting, quirky electronic music and a must-watch viral video for their song “still feel.”, Los Angeles-based trio half●alive have suddenly found themselves on the brink of superstardom in only a year’s time. Josh Taylor, the former frontman of Long Beach band The Moderates, left his old outfit to form half●alive along with drummer Brett Kramer in 2017, later adding bassist J Tyler Johnson to round out the group. Since the release of “still feel.” in August 2018, the band has experienced a whirlwind of success, racking up millions upon millions of views on Youtube and nearly selling out a 12-date US tour in early 2019. The band has already put out a few EPs and singles, but they are preparing to release their first full-length studio project this Friday with Now, Not Yet. 

The album’s tracklist features a few songs that fans will already be familiar with in “arrow” and “RUNAWAY” as well as their aforementioned viral hit, but the band has previously shown the ability to incorporate funk, pop, and rock elements into all of their records so there’s no telling what the rest of Now, Not Yet will sound like. The latest offering from the band before the album’s drop is “ok ok?” which sees the group slowing things down a bit while adding in a couple of psychedelic harmonies and some good ol’ fashioned electric guitar riffs for good measure. The group has been excitingly innovative when it comes to how they present themselves and their music, and with Taylor at the helm, it seems like almost anything is possible for these three dreamers.

Don’t miss half●alive at 9:30 Club on September 27th - bring your dance shoes and grab your tickets here!

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

LOCAL LEGENDS: IDK

Release Title: ISHEREAL (LP)

Release Date: TBD (August)

What To Expect: PG County’s own IDK has masterminded quite the album release campaign for his upcoming project ISHEREAL, scheduled to drop sometime this month. Starting at the end of 2018, the rapper began posting percentages to his Instagram stories, Twitter feed, and in Facebook posts and claiming that they were in relation to the status of ISHEREAL. Each time the number seemed to inch closer and closer to 100%, but there was no discernable pattern for months and months. Finally on May 19, he tweeted, “HELLO FOLKS. FIRST SONG FROM ISHEREAL DROPS ON MY BIRTHDAY. TELL A FRIEND,” and, just like that, the real fun began. 

Just a few days later, IDK unleashed “Digital,” a biting, abrasive track, unto the world. “Digital” sees the young spitter reflectively delivering bars about his past and how it led him to this point in his career. IDK has always had a penchant for storytelling, and the song doesn’t shy away from getting into the gritty details of his upbringing and the environments he grew up in. Fans, who were already excited by the single, were even more pleasantly surprised when he took to social media again on June 18 to hint at even more big news. The next day, Forbes published the exclusive premier of his new venture, an independent label associated with Warner Music that he would be heading up called CLUE. It was a massive announcement for an artist who has lived in relative obscurity outside the DMV to this point, but IDK wasn’t done making waves just yet. 

On July 8, he filled his fans in on a digital scavenger hunt that would reveal a secret message about the project. Within hours, there were hordes  of fans attempting to crack the code, which ended up reading “ALBUM NEXT MONTH, SINGLE THIS MONTH.” The final step in the rollout was the release of the single “24,” which premiered on Zane Lowe’s Beats1Radio station. “24” follows the short and sweet model of “Digital,” and sees IDK using a boom bap flow and ominous production to create a captivating and slightly disturbing listening experience. ISHEREAL is due this month with many speculating that it will drop sometime over the next two weeks. All I know is that if IDK put this much thought into the rollout, I absolutely cannot wait to see what he has in store for us with this album. Keep your eyes and ears peeled for what could easily be the project of the year.

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

WILD CARD: AUGUST 08

Release Title: Happy Endings EP (EP)

Release Date: Thursday, August 8, 2019

What To Expect: 88RISING is the mass media company at the forefront of bridging Asian culture with hip-hop and modern music. It’s the brainchild of industry vet Sean Miyashiro, who described it as a “hybrid management, record label, video production and marketing company” to Highsnobiety just last week. Featuring a roster full of heavy-hitters such as Rich Brian, Joji and the Higher Brothers, 88RISING has established itself as a group that will turn heads for years to come with their combination of talented artists and business minds. They’ve even curated their own music festival called “Head In The Clouds,” which will have its second run this fall, and while it’s easy to point to Miyashiro’s steady leadership as the driving force behind their commercial success, it’s a little harder to pinpoint why their music resonates with so many fans across the globe. Enter AUGUST 08, the group’s most elusive and seemingly out-of-place member; that is until you hear him sing.

“AUGUST 08 is the pillar of the creative family that is 88RISING. As a songwriter, he’s 88RISING’s secret weapon when it comes to creating hits for Joji, Rich Brian, NIKI, and many more,” said Ones To Watch in mid-2018, going on to say that, “[h]e is the glue to this family that represents music’s ascendant globalism.” The LA-native started out his career under his birth name August Grant according to his Apple Music profile, landing a feature on DJ Khaled’s summer smash “I’m The One” before landing on Rich Brian’s 2018 track “Amen” and subsequently releasing his debut single “Funeral” as AUGUST 08 through 88RISING. Joining the 88RISING team helped kickstart his career, and he’s been steadily racking up co-signs from some of the industry’s biggest names ever since. 

Earlier this year he released the club-rap banger “Simple Pleasures,” which recently scored a remix from DC’s GoldLink in July. It’s a funky, afro-futuristic track that shows an exciting new direction for the young R&B singer. He announced that he would be releasing a project titled Happy Endings EP that is appropriately set to drop this Thursday, August 8. If the EP follows the precedent of “Simple Pleasures,” then we’re in for a high-energy, electro-influenced project that is sure to be the perfect backdrop for a night on the town. That said, things are never how they appear on the surface with the 88RISING crew, so it seems like we’ll have to wait until tomorrow to find out exactly what AUGUST 08 has up his sleeve. Check him out, and make sure to follow the rest of the 88RISING crew as they continue to work their way to the top of the music charts.

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

- Matt Singer

[thebandcampdiaries]

Animaetion - Pain

Animaetion is a talented new artist who strives to create a powerful and original sound, combining elements of modern rap with melodies and hooks most commonly associated with styles like R&B and old-school hip-hop. His most recent studio effort is a groundbreaking new song titled “Pain,” which combines expressive songwriting with lush production aesthetics and a lot of energy.

The artist definitely embraces the “less is more” philosophy here, seamlessly achieving a massive tone, without overdoing it and loading up the song with way too many elements. Since the mix is not overly crowded, the track feels spacious and lush, with plenty of room for the vocal parts to really stick out.

The vocal track has a cool saturated effect to it, giving it a lot of punch and an amazing degree of presence. What’s even more interesting is the fact that the beat has a cool focus on the low end, but it also has a nice piano melody that brings it all together.

The sheer scope of the production will immediately capture your imagination. The music has a larger-than-life feel, almost hitting the speaker in a big cinematic way. These sounds are very evocative and create a strong texture, rather than just focusing on a melodic line to remember. The fact that there are many layers to this release really allow the artist to achieve an extra sense of depth, making for a strong and balanced tone.

This track is definitely going to be your cup of tea if you enjoy the work of performers as diverse as J. Cole, Lil Wayne and Kendrick Lamar. Much like the aforementioned artists, Animaetion has a knack for instinctive songwriting, but he also knows how to really contextualize some good lyrics with a great production, bringing the whole concept to a whole new level.

Find out more about Animaetion, and do not miss out on “Pain”, and other great releases from this performer.

https://music.apple.com/us/album/pain/1472262995?i=1472262997

https://www.nheritancerecords.com/

We also had the chance to ask the artist a few questions: keep reading to learn more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: Being a drummer makes the beat easy, so naturally it comes first. A lot of the time I have to force myself to start with the keys or a synth just so I’m keeping it different.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: Yes, I love being on stage. I’ve always had a knack for being in the spotlight, but the studio is where I’m able to be intimate with the song.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: That’s a tough one. Each song I have creates its own vibe, and the listeners flock to whichever they’re feeling at the time. But if I had to choose one, definitely Pain. I feel that it’s one everyone can relate to because we all know pain.

What does it take to be “innovative” in music?

Answer: I believe you have to study music to be innovative. If you don’t learn what has been done already, you’re going to end up copying it unknowingly and being accused of a biter. It’s one thing to sample or be inspired by, but it’s a whole different beast if you get accused of stealing and plagiarizing

Any upcoming release or tour your way?

Answer: I have an EP dropping in December (my birthday month) also a few singles dropping before that. I’m sitting on so much music, I have to remind myself to give each release its own time to breathe.

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: They can go to my Labels’ site, Nheritancerecords.com, IG, SC & Twitter @real_animaetion. Facebook -Animaetion. Any streaming site, Youtube. Or you can Google me. Just remember the E after the A & Animaetion will be there.

[dustedmagazine]

“1, 2, 3, 4!”: Jennifer Kelly’s 2018 review

Jennifer Kelly is a frantic romantic.

Rock and roll forever, sure, but it’s hard to avoid the fact that the guitar/bass/drum idiom has been pushed way off to the side in the cultural conversation. Mainstream sites list “best rock records” as a weird, subcultural genre, with a slightly bigger audience, perhaps, than best cumbia records or top Hawaiian slack key recordings (but not much). Worse, to come up with a reasonable size list they include all kinds of things that don’t belong. I mean, really, is Mount Eerie rock by any definition?

Rock isn’t dead, but it’s been made to sit in the corner. The only time in 2018 when everybody thought at once about a guitar band was when Pitchfork’s Jeremy Larson dropped his scathing, hilarious review of the Greta Van Fleet. For a moment, we all snickered as one.

Big rock was terrible in 2018. It almost always is. Yet there’s something disingenuous about the genre of year-end write-ups that laser in on the absolute worst and most bloated of rock bands to make a point about the art-form as a whole. Sure, Imagine Dragons suck. Yes, “Africa” is a soul-destroyingly awful song no matter who sings it. No, I’m not wading into the whole 1975 thing. Who has time? Who has the heart for it?  

Because this year, against a tide of commercially viable horse shit, against a backdrop of monolithic indifference, rock bands of all configurations, from all countries (but really especially Australia), continued to make great punk and rock records. And, I, for whatever reason, heard more of them than usual, and it made me happy. And maybe that’s the secret to being happy in music, in any year…find your niche, listen to the best in it, forget about what the mega-corporations are trying to sell.

Also see it live. My big highlight this year was seeing the Scientists in October (with Negative Approach, too!), but it was a pretty great 12 months for live music. It started with a fantastic show comprised of Mike Donovan, the Long Hots, J. Mascis and his Stooges cover band and Purling Hiss (with J on board for one song) at the Root Cellar, a venue I’d never heard of before that show, and that ended up putting on a string of great events. I saw Marisa Anderson, Paul Metzger, Speedy Ortiz, Howling Rain, Trad Gras Och Stenar with Endless Boogie, that Scientists show and Gary Higgins at the Root Cellar this year, and I missed a lot of shows I would have liked to see. Other great shows happened outside the Root Cellar – The Thing in the Spring in Peterborough with William Parker, Bonnie Prince Billy and others, Amy Rigby and Wreckless Eric at the Parlour Room, Messthetics at the Flywheel. Western Massachusetts has been in a commercial chokehold for years, with one organization controlling most of the venues, but there were a lot of options this year.

So, here’s to the drummers with their sticks in the air, counting off the four. Here’s to the guitar player wrecking his knees jumping up and down as he/she furiously slashes away. Here’s to the sweat and muck and black humor of $10 shows with four bands on them, two of them still in high school. And here’s to the people (me at least and possibly you) who like these things. Eddie Argos of Art Brut, who used to top these lists and now merits a footnote, spoke for this tiny, beleaguered sub-cult when he urged “Wham! Bang! Pow! Let’s rock out.”

Indeed. Let’s.

Amy Rigby—The Old Guys (Southern Domestic)

The Old Guys by Amy Rigby

Let’s just set aside the fact that the first and best song on this album is an imagined email exchange between Philip Roth and Bob Dylan on the eve of the Nobel ceremony or that Rigby namechecks three of my favorite ever TV characters in “New Sheriff.” Let’s forget, too, how rare it is for a woman of roughly my age to be making her own music and controlling her own destiny even now in 2018. No, let’s focus on the songs which are sharp, smart and full of hooks, the clean, romantic chime of Rigby’s electric 12-string, the viscous pleasure of the arrangements. This is the very best kind of rock record, one that doesn’t attempt to remake the genre but somehow makes it bigger, brighter and more necessary. The songs sounded great, live, too, with the great Wreckless Eric in tow, and the two of them bickering like old married couples do, and Rigby glowing with triumph by the end of the show.

 Shopping—The Official Body (Fat Cat)

The Official Body by Shopping

Bubbly in a hard way, strict and minimal in a manner requires body movement, this album arrived early and stayed on my go-to list all year. For Dusted, I wrote, “You could bounce a quarter off the bass lines in this third Shopping full-length. They’re pulled hard and tight against minimalist syncopated drums, the leaning, waiting, anticipating space between the thwacks as important a character as the beats themselves. The London-based trio harks back to the funky, stripped down post-punk of bands like ESG and Delta 5, with hints of the boy-girl bubble and pop of the B-52s and Pylon.

 Salad Boys—This Is Glue (Trouble in Mind)

This Is Glue by Salad Boys

Always weak for NZ lo-fi and equally a fan of the early R.E.M., so of course I fell for this buzzy daydream of a record. “Psych Slasher” bursts with immoderate, glorious joy in the chorus, then cuts back to uncertainty in the verse, the ideal blend of rambunctious rock and wistful pop. “Exaltation” is a gentler sort of classic, just as radiant but moodier, its murmur-y vocals disappearing into cloud banks of fuzzed guitar tone. The whole record sits on the knife edge of rock and indie pop, leaning one way and the other, but never falling over.

 Patois Counselors—Proper Release (Ever/Never)

Proper Release by Patois Counselors

I went all in for “So Many Digits” in my Dusted review this year, but the two great punk songs on Proper Release are “The Modern Station” and, especially, “Target Not a Comrade.” This latter song chugs and lurches on guitar and bass, trembles with wheedly keyboards and crests in a massive, hummable refrain. It’s a catchy, twitchy punk tune that’ll hit you in the part of your brain where you keep Wire and the Buzzcocks, hooky as hell in a weird, distorted way.

 Bodega—Endless Scroll (What’s Your Rupture)

Endless Scroll by BODEGA

Flipping the gender cliché, Bodega is an all-woman band with a male singer. Its tight, nervy, jangles wrap around themes of internet-age dislocation and movie references. Smart, sarcastic, ironic, sharp, Bodega bristles with what you want from a garage punk band but reveals a surprisingly soft heart uncovered round about “Charlie,” a wistful song about a boy who died too soon.

 Bardo Pond—Volume 8 (Three-Lobed)

Volume 8 by Bardo Pond

The eighth in a series of improvised albums, this year’s Bardo Pond record towers and surges with monumental heaviness. I wrote at Dusted that, “The sound, vast and muscularly monolithic as ever, seems more like a demon summoned periodically from a ring of fire, than the product of any sort of linear development.”

 Meg Baird and Mary Lattimore—Ghost Forests (Three Lobed)

Ghost Forests by Meg Baird and Mary Lattimore

This year’s most beautiful album, Ghost Forests undergirds lyric folk melodies and angelic pizzicato harp plucks with roiling, violent darkness. My Dusted review observed “The best and most interesting [tracks] juxtapose the muted violence of electric guitar with a harp’s serenity. A guitar howls from a distance throughout “In Cedars,” pushing a simmering turbulence up under sun-dappled lattices of harp picking. Later “Painter of Tygers” does the same trick of joining muscle to fairy dust, the electric guitar raging from far away, while harp and voice spread delicate magic over the tumult.”

 Seun Kuti & Egypt 80—Black Times (Strut)

Black Times by Seun Kuti & Egypt 80

Fela Kuti’s youngest son inherited his dad’s fierce political commitment, his rhythmically unstoppable Afrobeat style and a few of his band members, but this wonderful album is more alive and present than a tribute. “Struggle Sounds, “ with its hard-bounce of a beat, its blurting sax, its ecstatic backing chorus, its swagger of horns and fever-dreamed keyboards dances through history right up to the modern day. “Last Revolutionary” enumerates past African heroes and connects them to the now. I wrote, “Kuti extends his father’s legacy, its tight rhythmic interplay, its fervent political engagement, its relentless exhilarating uplift, while bringing it a bit further into the present.”

Ovlov—Tru (Exploding in Sound)

TRU by Ovlov

I first noticed Ovlov at the Thing in the Spring Festival, on an eclectic Thursday night in a book store, where the sweet surge of guitar sound felt solid enough to body surf on. Later, for Dusted, I said of Tru that “Ovlov churns a monumental fuzz, a wave of surging, undulating, feedback-altered sound …. You can almost poke it with your finger, this onslaught is so palpable. It stirs your hair like an oncoming breeze.”

Speedy Ortiz—Twerp Verse (Carpark) 

Twerp Verse by Speedy Ortiz

There’s something so bendy and unpredictable about Sadie Dupuis tunes. They hare off in unexpected ways. They stop and start. They interpose weird little intervals of pop and noise. They refuse to behave, and end up exactly as they should be, though never what you’d expect. Twerp Verse takes more pop turns than other Speedy joints, but in the tipsiest, most eccentric way, with acerbic asides in the lyrics that catch like fishhooks and stay with you. “Speedy Ortiz offers a serrated sort of pop pleasure, full of rhythmic complexity and gender confrontation,” I observed in my Dusted review.

 Had enough rock? Me neither

Here are some more punk rock and garage records that I couldn’t squeeze into the top ten overall, mostly in the order that I thought of them, but Constant Mongrel and Richard Papiercuts are pretty great and that’s probably why I thought of them first.

Constant Mongrel—Living in Excellence (La Vida Es Un Mus)

Richard Papiercuts— Twisting the Night (Ever/Never)

GOGGs—Prestrike Sweep (In the Red)

Hank Wood & the Hammerheads—S-T (Toxic State)

Obnox—Bang Messiah (Smog Veil)

Zerodent—Landscapes of Merriment (Alien Snatch!)

Sleaford Mods—Stick in a Five and Go (Domino)

Ethers—S-T (Trouble in Mind)

IDLES—Joy as an Act of Resistance (Partisan)

Bad Sports—Constant Stimulation (Dirtnap)

Lithics—Mating Surfaces (Kill Rock Stars)

Art Brut—Wham! Bang! Pow! (Alcopop)

 Whoa, slow down!

Also a shout to the musicians who made more than one really excellent album this year. Ty Segall made five, I think, but I didn’t love all of them as much as Freedom Goblin and Prestrike Sweep.

Obnox—Sonido del Templo/Bang Messiah (Astral Spirits)/(Smog Veil)

Mount Eerie—Now Only/(After) (Elverum & Sons)

Ty Segall—Freedom Goblin (Drag City)/GOGGs—Prestrike Sweep (In the Red)

Ryley Walker—Deafman Glance/The Lillywhite Sessions (Dead Oceans)

  Nevertheless, they persisted

And finally, hats off to the bands and artists that have been going forever and continued this year to produce great music.

Kinski—Accustomed to Your Face (Kill Rock Stars)

Low—Double Negative (Sub Pop)

Loma—S-T (Sub Pop) (Shearwater’s Jonathan Meiburg plus Cross Record)

Oneida—Romance (Joyful Noise)

Wreckless Eric—Construction Time and Demolition (Southern Domestic)

Messthetics—S-T (Discord) (The great Fugazi rhythm section plus a young guitar ripper—one of the best live shows of the year for me.)

Charnel Ground—S-T (12XU) (This is Kid Millions from Oneida, Chris Brokaw and James McNew from Yo La Tengo, and as you’d expect, it’s really good.)

[creativemorningsvancouver]

Join us for next months speaker as we’re thrilled to invite Chris Corrigan to our virtual stage.

Register now.

Chris Corrigan is a principal partner of Harvest Moon Consultants, specializing in participatory process, international facilitation, and strategic thinking in support of organizations and communities tackling complex challenges. 

Corrigan’s formal bio includes info about decades of experience working with governments, not for profits, indigenous communities, and social enterprises, creative dialogue-based tools and processes informed by complexity theory to help leaders and teams make decisions in uncertain contexts.

But mostly Chris Corrigan is just a person who would like to share a pesto recipe with you:

Take a bunch of basil, destem it, place it into a mortar with a few pinches of coarse salt and a couple of peeled garlic cloves and begin grinding it into a paste.

When the leaves are all broken down, add some pine nuts and gently pour in a really good olive oil until the paste has the consistency you’re looking for.

Add a pinch of chilli flakes for a subtle feeling of heat.

That’s the secret. Purists will object, but I’m telling you, give it a try.

How do you define creativity and apply it in your life and career?

Making things I guess. It’s certainly what I have done from a very small age, made drawings, and songs and poems and games and all kinds of things. These days I make conversations and community and I try to make a difference by doing things that have never been done before. It is all creative.

Where do you find your best creative inspiration or energy?

In a few places: the early morning, or being with others. I am an improviser at heart and so I work with offers all around me and when I am creating with others I feel like I’m always at my best.

What’s one piece of creative advice or a tip you wish you’d known as a young person?

Pay more attention to what you have just done. Try to remember the feelings of sweetness and despair instead of just moving on to the next thing. There are so many experiences I’ve forgotten about because they seemed so fleeting at the time, and now I wish I could remember who was there with me and what we actually did.

Who (living or dead) would you most enjoy hearing speak at CreativeMornings? 

Have you ever had any children speak? Would you dare turn the mic over to a 12 year old child? A twelve year old girl ready to kick ass and take names would be an amazing thing to see.

What’s the craziest thing you’ve ever done?

Quit a full time government job with a baby at home to become a consultant.

What did you learn from your most memorable creative failure?

Usually no one gets hurt.What are you reading these days? Shifu, You’ll Do Anything for a Laugh by Mo Yan, What The Mystics Know by Richard Rohr, Trickster Drift, Eden Robinson

What fact about you would surprise people?

I am a practicing contemplative Christian.

How does your life and career compare to what you envisioned for your future when you were a sixth grader?

At no point did I ever play on the blue line for the Toronto Maple Leafs, so nothing has really worked out. I also didn’t start a band with Brian May and Freddy Mercury.

How would you describe what you do in a single sentence to a stranger?

I help people work together to figure out what to do when they are stuck so that we can make the world a more just place.

What’s the most recent thing you learned (big or small)?

How to move between an Eb melodic minor and an Bb major scale in the same position so as to find some compact soloing lines on A Child is Born.

If you could open a door and go anywhere where would that be?

Right now, it would probably be to the Grey Bruce Highlands in southern Ontario to visit my family.

What keeps you awake at night?

Barred owls on the hunt beneath a full moon and a Pineapple Express lashing the front of my house.

What myths about creativity would you like to set straight?

There are no myths about creativity. It’s all true. Even the myths. Especially the myths.

Who has been the biggest influence on your life? What lessons did that person teach you?

My partner Caitlin. She continually teaches me how to not lose my shit and succumb to anxiety and fear. And every day she reminds me that I am loved.

What are you proudest of in your life?

My two kids, who are young adults now and making their way in a weird world. They love each other and my heart bursts through my chest every time I think about them.

If you could do anything now, what would you do?

End patriarchy, capitalism, and settler-colonialism and watch SOOOO many of my friends fulfill their potential and make the world a better place.

Where was the last place you travelled?

Last air travel was in February 2020 and was a three point tour to Ontario, Columbus Ohio, and Minneapolis, to teach the Art of Hosting and complexity skills to doctors in Ohio and social change activists in the Twin Cities. And to drink whisky with my dad for his birthday.

What music are you listening to these days?*

Lots of jazz standards played on guitar and especially diving into the work of Reg Schwager.

What was the best surprise you’ve experienced so far in life?

Realizing in an instant that I am unconditionally loved.

Where is your favourite place to escape?

There are a few places on Bowen Island, where I live, that are absolutely precious to me.

What was the best advice you were ever given?

If you talk to people about what they know about, they will always tell you the truth. I heard that from Utah Phillips at the Vancouver Folk Festival in 1997 and it fundamentally changed my facilitation practice.

What books made a difference in your life and why?

Not just books? There are many creative artifacts that have been influential in my life. The Tao te Ching was super influential. A painting by Carl Beam called “Columbus Chronicles”, John Coltrane’s “A Love Supreme,” Irish whistle player Mary Bergin’s album “Feadóga Stain,” the midfield prowess of Glenn Hoddle, Nathanial Mackey’s Bedouhin Hornbook. The Facilitator’s Guide to Participatory Decision Making by Sam Kaner. News of the World by Queen. Between the Breaks by Stan Rogers. Leadership and the New Science by Meg Wheatley. The Rez Sisters by Thomson Highway. The Sacrifice by Andrei Tarkovsky. Tsawalk by Umeek. The tifo and creative support of the Vancouver Southsiders and the Swanguardians. Listening for the Heartbeat of God by J. Phillip Newell, Anam Cara by John O'Donohue, Loving What Is by Byron Katie, the leadership artistry of Khelsilem. Each of these, among many others, have ushered my over various thresholds in my life. They are all creative works, some are creative re-imaginings of spirituality, process work, and ways of living.

What practises, rituals, or habits contribute to your creative work?

It’s a combination of the openness and rest that is offered by my meditation practice and the rigour of playing scales on the guitar or forcing myself to write despite my mind’s resistance to being “productive” when I’m feeling dry.

When you get stuck creatively, what is the first thing you do to get unstuck?

Go for a walk.

If you had fifteen extra minutes each day, what would you do with them?

Lie on my back, close my eyes and listen to three pieces of very good music.

What has been one of your biggest Aha! moments in life?

The first time I witnessed a meeting held in Open Space, with 400 people in a room in Whistler in 1995. It completely transformed my facilitation and leadership practice, knowing that a group of people can self-organize action around issues that they care about. I’ve never looked back.

What object would you put in a time capsule that best represents who you are today?

My music library.

What is the one movie or book every creative must see/read? 

You should read a book or seek out the traditional teachings of your place, of where you live, of the traditional territory you inhabit. Those aren’t always written down, but I feel that it is so important to know your place because if you create things that run counter to the place you are living you can perpetuate patterns of harm. Understand who you are, where you are and why you are there.

🎵 This month’s live musical guest is jazz & R&B guitarist, bandleader, and teacher (Teun Schut)[https://www.teunschut.ca].🎶

Originally from Holland, Schut has been playing guitar for five decades, studying and playing jazz, blues, and rock in bands and ensembles. Having toured around the world, Tuen settled in Bowen Island, where he continues to teach, play, and perform.

You don’t want to miss this! Register now.

[1962dude420-blog]

Today we remember the passing of George Jones who Died: April 26, 2013 at Vanderbilt University Medical Center in Nashville, Tennessee

George Glenn Jones (September 12, 1931 – April 26, 2013) was an American musician, singer, and songwriter. He achieved international fame for his long list of hit records, including his best-known song "He Stopped Loving Her Today", as well as his distinctive voice and phrasing. For the last two decades of his life, Jones was frequently referred to as the greatest living country singer. Country music scholar Bill Malone writes, "For the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarcely avoid becoming similarly involved." Waylon Jennings expressed a similar opinion in his song "It's Alright": "If we all could sound like we wanted to, we'd all sound like George Jones." The shape of his nose and facial features earned Jones the nickname "The Possum".

Born in Texas, Jones first heard country music when he was seven, and was given a guitar at the age of nine. He married his first wife, Dorothy Bonvillion, in 1950, and was divorced in 1951. He served in the United States Marine Corps and was discharged in 1953. He married Shirley Ann Corley in 1954. In 1959, Jones recorded "White Lightning", written by J. P. Richardson, which launched his career as a singer. His second marriage ended in divorce in 1968; he married fellow country music singer Tammy Wynette a year later. Years of alcoholism compromised his health and led to his missing many performances, earning him the nickname "No Show Jones". After his divorce from Wynette in 1975, Jones married his fourth wife, Nancy Sepulvado, in 1983 and became sober for good in 1999.

George Jones has been called "The Rolls Royce Of Country Music" and had more than 160 chart singles to his name from 1955 until his death in 2013. Johnny Cash once said, "When people ask me who my favorite country singer is, I say, 'You mean besides George Jones?'"

In 1990, Jones released his last proper studio album on Epic, You Oughta Be Here With Me. Although the album featured several stirring performances, including the lead single "Hell Stays Open All Night Long" and the Roger Miller-penned title song, the single did poorly and Jones made the switch to MCA, ending his relationship with Sherrill and what was now Sony Music after 19 years. His first album with MCA, And Along Came Jones, was released in 1991, and backed by MCA's powerful promotion team and producer Kyle Lehning (who had produced a string of hit albums for Randy Travis), the album sold better than his previous one had. However, two singles, "You Couldn't Get The Picture" and "She Loved A Lot In Her Time" (a tribute to Jones' mother Clara), did not crack the top 30 on the charts, as Jones lost favor with country radio, as the format was altered radically during the early 1990s. His last album to have significant radio airplay was 1992's Walls Can Fall, which featured the novelty song "Finally Friday" and "I Don't Need Your Rockin' Chair", a testament to his continued vivaciousness in old age. Despite the lack of radio airplay, Jones continued to record and tour throughout the 1990s and was inducted into the Country Music Hall of Fame by Randy Travis in 1992.

In 1996, Jones released his autobiography I Lived To Tell It All with Tom Carter, and the irony of his long career was not lost on him, with the singer writing in its preface, "I also know that a lot of my show-business peers are going to be angry after reading this book. So many have worked so hard to maintain their careers. I never took my career seriously, and yet it's flourishing." He also pulled no punches about his disappointment in the direction country music had taken, devoting a full chapter to the changes in the country music scene of the 1990s that had him removed from radio playlists in favor of a younger generation of pop-influenced country stars. (Jones had long been a critic of country pop, and along with Wynette and Jean Shepard, he was one of the major backers of the Association of Country Entertainers, a guild promoting traditional country sounds that was founded in 1974; Jones's divorce from Wynette was a factor in the association's collapse.) Despite his absence from the country charts during this time, latter-day country superstars such as Garth Brooks, Randy Travis, Alan Jackson, and many others often paid tribute to Jones, while expressing their love and respect for his legacy as a true country legend who paved the way for their own success. On February 17, 1998, The Nashville Network premiered a group of television specials called The George Jones Show, with Jones as host. The program featured informal chats with Jones holding court with country's biggest stars old and new, and of course, music. Guests included Loretta Lynn, Trace Adkins, Johnny Paycheck, Lorrie Morgan, Merle Haggard, Billy Ray Cyrus, Tim McGraw, Faith Hill, Charley Pride, Bobby Bare, Patty Loveless, and Waylon Jennings, among others.

While Jones remained committed to "pure country", he worked with the top producers and musicians of the day and the quality of his work remained high. Some of his significant performances include "I Must Have Done Something Bad", "Wild Irish Rose", "Billy B. Bad" (a sarcastic jab at country music establishment trendsetters), "A Thousand Times A Day", "When The Last Curtain Falls", and the novelty "High-Tech Redneck". Jones' most popular song in his later years was "Choices", the first single from his 1999 studio album Cold Hard Truth. A video was also made for the song, and Jones won another Grammy for Best Male Country Vocal Performance. The song was at the center of controversy when the Country Music Association invited Jones to perform it on the awards show, but required that he perform an abridged version. Jones refused and did not attend the show. Alan Jackson was disappointed with the association's decision, and halfway through his own performance during the show, he signaled to his band and played part of Jones' song in protest.

On March 6, 1999, Jones was involved in an accident when he crashed his sport utility vehicle near his home. He was taken to the Vanderbilt University Medical Center, where he was released two weeks later. In May of that year, Jones pleaded guilty to drunk-driving charges related to the accident. The crash was a significant turning point, as he explained to Billboard in 2006: "when I had that wreck, I made up my mind, it put the fear of God in me. No more smoking, no more drinking. I didn't have to have no help, I made up my mind to quit. I don't crave it." After the accident, Jones went on to release The Gospel Collection in 2003, for which Billy Sherrill came out of retirement to produce. He appeared at a televised Johnny Cash Memorial Concert in Jonesboro, Arkansas, in 2003, singing "Big River" with Willie Nelson and Kris Kristofferson.

In 2008, Jones received the Kennedy Center Honor along with Pete Townshend and Roger Daltrey of The Who, Barbra Streisand, Morgan Freeman, and Twyla Tharp. President George W. Bush disclosed that he had many of Jones' songs on his iPod. Jones also served as judge in 2008 for the 8th annual Independent Music Awards to support independent artists' careers. and Rolling Stone named him number 43 in their 100 Greatest Singers of All Time issue. An album titled Hits I Missed and One I Didn't, in which he covered hits he had passed on, as well as a remake of his own "He Stopped Loving Her Today", would be released as his final studio album. In 2012, Jones received the Grammy Lifetime Achievement award.

On March 29, 2012, Jones was taken to the hospital with an upper respiratory infection. Months later, on May 21, Jones was hospitalized again for his infection and was released five days later. On August 14, 2012, Jones announced his farewell tour, the Grand Tour, with scheduled stops at 60 cities. His final concert was held in Knoxville at the Knoxville Civic Coliseum on April 6, 2013.

Jones was scheduled to perform his final concert at the Bridgestone Arena on November 22, 2013. However, on April 18, 2013, Jones was taken to VUMC for a slight fever and irregular blood pressure. His concerts in Alabama and Salem were postponed as a result. Following six days in intensive care at VUMC, Jones died on April 26, 2013, at age 81. Former First Lady Laura Bush was among those eulogizing Jones at his funeral on May 2, 2013. Other speakers were Tennessee Governor Bill Haslam, former Arkansas Governor Mike Huckabee, news personality Bob Schieffer, and country singers Barbara Mandrell and Kenny Chesney. Alan Jackson, Kid Rock, Ronnie Milsap, Randy Travis, Vince Gill, Patty Loveless, Travis Tritt, the Oak Ridge Boys, Charlie Daniels, Wynonna, and Brad Paisley provided musical tributes. The service was broadcast live on CMT, GAC, RFD-TV, The Nashville Network and FamilyNet as well as Nashville stations. SiriusXM and WSM 650AM, home of the Grand Ole Opry, broadcast the event on the radio. The family requested that contributions be made to the Grand Ole Opry Trust Fund or to the Country Music Hall of Fame and Museum.

Jones was buried in Woodlawn Cemetery in Nashville. His death made headlines all over the world; many country stations (as well as a few of other formats, such as oldies/classic hits) abandoned or modified their playlists and played his songs throughout the day. The week after Jones's death, "He Stopped Loving Her Today" re-entered the hot country songs at number 21.

[deadcactuswalking]

REVIEWING THE CHARTS: 27/03/2021 (Justin Bieber’s ‘Justice’, Griff, Lil Tjay/Polo G/Fivio Foreign)

You might think that since I can take time out of my schedule to ramble about charts every week, that I have a lot of time on my hands and this may or may not be true but even I do not have enough time or energy to listen to – or even care about – new releases from both Justin Bieber and Lana Del Rey. So, of course, they make the most impact on the chart this week, even if said impact is still pretty muted. Our #1 is, for a second week, “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted, and welcome back to REVIEWING THE CHARTS.

Rundown

It may not make any sense to you that “Anyone” by Justin Bieber has dropped out of the UK Top 75 – which I cover – on the week of the album’s release, but UK chart rules stipulate that only the three best-performing songs from an artist can chart at any time, which is pretty stupid all things considered but I’m not complaining since it gives me less of a workload... or more, I don’t know. With more album tracks from Justin, I’m sure they would cancel at least some of the other, lower new entries out. This isn’t the Hot 100, however, this is the UK Singles Chart, and hence we follow their rules, which means that we also have the notable drop-outs of “Bluuwuu” by Digga D, “Regardless” by RAYE and Rudimental, “Love Not War (The Tampa Beat)” by Jason Derulo and Nuka, “Afterglow” by Ed Sheeran, “Prisoner” by Miley Cyrus featuring Dua Lipa, and finally, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV. It seems like this week in particular is pushing out old hits to make way for the new, and that’s a great thing as far as I’m concerned.

In terms of notable fallers, there are a few as expected from having a lot of action at the top, as we have “Get Out My Head” by Shane Codd at #20, “Bringing it Back” by Digga D and AJ Tracey at #41, “Money Talks” by Fredo and Dave at #45, “Best Friend” by Saweetie featuring Doja Cat at #46, “telepatía” by Kali Uchis at #47, “You’re Mines Still” by Yung Bleu featuring Drake on the remix at #57, “Addicted” to Jorja Smith at #61 off of the debut, “DAYWALKER!” by Machine Gun Kelly featuring CORPSE not disappearing fast enough at #63, “Anxious” by AJ Tracey at #65, “34+35” by Ariana Grande at #71, “Good Days” by SZA at #72, “Heat” by Paul Woodford and Digga D at #74 and finally, “Toxic” by Digga D at #75. That’s before we take into account our album impacts from the last few weeks, as well, as for Central Cee, “Commitment Issues” is at #11, “6 for 6” is at #26 and “Day in the Life” is at #56. As for Drake, “What’s Next” is at #32, “Lemon Pepper Freestyle” featuring Rick Ross is at #33 and “Wants and Needs” featuring Lil Baby is at #44.

So, what’s filling in the cracks? Well, our one returning entry is the title track, “Chemtrails Over the Country Club”, from Lana Del Rey’s newest record back at #62. “Tulsa Jesus Freak” did actually chart below the top 75, so this and the debut for “White Dress” later on is all we’ll see from Lana this week. In terms of our notable gains, well, there’s not much to speak of other than the surge for Majestic’s remix of “Rasputin” by Boney M. up to #49 off of the debut, other than “Didn’t Know” by Tom Zanetti at #48, “Medicine” by James Arthur at #43, “Ferrari Horse” by D-Block Europe and RAYE at #30 and the expected album boost for “Hold On” by Justin Bieber up to #10. With all that said, we won’t be hearing from Justin for a while as we get onto our new arrivals for this week, so let’s start from the bottom.

NEW ARRIVALS

#68 – “Track Star” – Mooski

Produced by Woodpecker

Okay, so this is a song from last year from complete nobody rapper Mooski that got big in the US on TikTok a couple months ago so, no surprise, we get it sometime later. Well, at least this Mooski guy seems to at least want to tell a story here, as the song doesn’t stray far away from the topic of a woman with commitment issues who doesn’t stay with him when times get hard. For what it’s worth, content-wise, at least it’s a narrative, even if lyrics like, “Leave a trail of heartbreak and heartache like, it’s cool” sound closer to emo-rap whining than he probably intended. Not that it needed a narrative, because barely any songs can actually affectively tell them, but there’s got to be sometimes to distract from this squeaky, strained vocal loop and all of the janky melodies surrounding it, not to mention the downright awful 808s and percussion that reminds me more of the Afroswing we got on the charts back in 2018 than any trap-rap. Mooski himself is a complete non-presence, especially when he starts stuttering on the bridge, to the point where I can’t distinguish whether it’s totally embarrassing or subtly endearing. Either way, I can’t see myself listening to this like... ever outside of the context of this episode, especially considering how undeservedly long it is for a song like this.

#66 – “Beautiful Mistakes” – Maroon 5 featuring Megan Thee Stallion

Produced by Andrew Goldstein and blackbear

Adam Levine recently said that he misses the “bands” in pop music – you know, people who play all of their instruments and stuff like that. Then he continued to release a song under the name of his band where he swaps out more than half of his band with blackbear and Megan Thee Stallion. Of course. Well, you can tell it’s written by blackbear since Adam Levine directly imitates his staccato, monotonous flow in the first verse and the generally very awkward writing throughout... which is fine, I guess, because at least Levine isn’t stretching himself out into his falsetto much here, and Megan on auto-pilot can still carry her verse off of charisma alone, and her singing in the bridge sounds better than it ever has, so I’m not going to complain about her part here. The main issue in this song, I feel, is just lack of detail. The song’s about the lengths Adam and Megan would go for their significant others but I feel like only Megan attempts to describe what’s going on in these relationships as Adam plays word association with the concept. Adam, you can time-travel back to the Kara’s Flowers era any time now. Pop-punk is making a comeback, and I know you’d hate to not be a part of that, especially if you’re longing for new bands in pop music.

#59 – “Know You” – wewaintwraiths

Produced by Oath

I mean, I suppose I’ve heard worse names than “wewantwraiths” although after he buys a new car with the check his label gives him for the chart success of this song, he might want to change it. Maybe “nowwegotawraith”. That’s besides the point, though, as just as you’d expect, we have another week and hence another UK drill track that leaves little to no impact. This guy actually kind of makes himself out like a British Mooski, with his longing, Auto-Tuned flow that I don’t think he even tried to make sound good, especially considering how janky and unstructured the whole thing is. This drill beat is pretty worthless too, as whilst I don’t mind the mesh of vocal samples and the 808 slides, I cannot stand how this is mixed so that the hi-hats are louder than Mr. Wraiths himself. I don’t mind the content, to be honest, as it depicts him finding a girl and the eventual breakup in a lot of detail. By the end, he’s harmonising with the background vocals and there are a couple of cool synth riffs, but it’s way too little, too late to start caring about detail, especially if for the majority of the song, the percussion and vocals sound this bad.

#58 – “Dimension” – JAE5 featuring Skepta and Rema

Produced by JAE5

If you know JAE5, you probably know him for his production as for years, he has been blending genres for some of the most interesting and best British rap, most notably in how he fuses drill, R&B and Afrobeats as J Hus’ primary beat-maker. He also produced songs for Dave, Shakka and Burna Boy, which got him a Grammy win, as well as “Options” by NSG, one of the biggest ever British rap songs and still one of the most infectious. Now he’s embarking on a solo career less like a DJ Khaled and more like a Metro Boomin, bringing along legendary British rapper Skepta along for the ride, as well as an appearance from Nigerian singer Rema, whose wonderful nasal tone really stands out alongside all of the synth ambiance in this production, as well as the stuttering hi-hats and those gorgeous falsetto vocal samples. Skepta sounds pretty checked-out over a beat probably too smooth for him, which shifts over to some staccato piano, as well as some intricacies in this production that sound great, especially the jazzier touches that accentuate the already great groove with some Latin-flavoured guitar and strings. Oh, yeah and the subtle brass on Rema’s verse is excellent, even if Rema isn’t saying much of anything – in fact, content-wise is probably the only place where this song kind of flounders, as Skeppy zig-zags from socially conscious lyrics about Pan-Africanism and the plight that many Africans on and outside of the continent in day to day life, to “Girls sellin’ the coochie for Gucci”. Ah, well, ultimately, the song sounds incredible and I really should check out more of Rema’s stuff if it’s at this same level of detail. I’m pretty excited for that JAE5 album now, whenever that’s coming.

#51 – “White Dress” – Lana Del Rey

Produced by Lana Del Rey and Jack Antonoff

And from Afropop to the whitest singer currently charting this side of Taylor Swift, here’s what I suppose is the next single push from that Lana Del Rey that I practically avoided entirely. I understand that a lot of people are loving this but frankly, I’ve never been a fan so I’ve given up trying. If Norman Fricking Rockwell! couldn’t convert me, I don’t think her subsequent releases will, in fact, I can place a bet that listening to this whole album will make her music sour on me even more. Well, this song is about... being disillusioned with the music industry and public fame. I see. The implications that come with that aside, I have no reason to care about Lana once again breathily cooing over an ambiance that refuses to effectively create an atmosphere that really clicks with the nostalgia tone Lana’s lyrics take here, instead just meandering through this snooze of piano-based blend, only elevating itself through clashing percussion that ends up fading itself out of view way too quickly. Also, shouting out Kings of Leon feels both completely in character and unintentionally hilarious. At least as far as I’m aware, neither they nor the White Stripes, also name-dropped in the song, are blatantly racist on social media... I hope, at least.

#40 – “Headshot” – Lil Tjay, Polo G and Fivio Foreign

Produced by Bordeaux, Non Native, TnTXD, Tahj Money, Dmac and 101 Slide

So this really needs six producers, huh? For a song that’s barely two minutes? Okay, well, after the success of “Calling My Phone”, it only makes sense that Lil Tjay will follow up an R&B crooner with a harder rap cut, and here it is, and it kicks a lot of ass – or at least as much ass that can be kicked with the nasal, unconvincing tones all of these guys have. The main loop of the intimidating strings here, accentuated by that staccato piano melody, is the perfect backing for a hard-hitting trap beat that I almost wish had some more bombast outside of its badly-mastered 808 bass. That said, Polo G kills it regardless, with some of the most energy he’s ever given and the most lyrical detail out of any of the guys on the song, as his fast-paced flow is genuinely menacing... and now I understand why the song needs six producers, because as smoothly as possible, that cacophonous Pop Smoke-esque gunshot percussion comes in and it soon becomes an intense New York drill track more befitting for Fivio Foreign’s verse, who may not have any of the lyrical dexterity but he fills in the blanks with his ad-libs and still carrying the drill beat pretty well, before Lil Tjay comes in as intense as he ever has on a beat that reverts to the trap knock again, very smoothly. I do find it pretty odd that of all people here, Fivio has the longest verse, but I guess his verse is more of a bridge to act as a gap between two overwhelmingly gun-fire verses, both of which have content that can pretty much be summed up as gunplay and flexing, but with some of the bluntest, most deathly lyrics I’ve heard in rap, especially when Lil Tjay just pretty explicitly says he kills anyone he even dares to disrespect them. I’m now thinking I should delete the episode where I gave “Calling My Phone” Worst of the Week. Speaking of that song, this song is so much better it’s almost confusing. Maybe this high-energy gangsta-rap stuff is somehow a more convincing lane for an auto-crooner like Lil Tjay than alternative R&B.

#39 – “Black Hole” – Griff

Produced by LOSTBOY

Again, in stark contrast, Disney pop. Okay, maybe calling it Disney pop is misleading but the main reason Griff is succeeding now is that Disney Christmas advert, which gave her “Love is a Compass”, her first charting song – and a pretty bad one at that. This single, released this January, is a lot more upbeat than that drone of a ballad and hence fits Griff’s limited vocal capabilities a lot better, as she does a good Selena Gomez impression – almost good enough to forget that she’s now whispering over reggaeton so Griff will basically be her replacement in the UK – over some pretty indie-pop that decides to produce itself out of common sense... if that makes sense. The quirky strings and bass start the song before the percussion comes in and it makes sense as it rises pretty regularly, until this one dissonant, chamber-echo bassline comes in and morphs the entire song, only for it to disappear for the first chorus, but given how anti-climactic that first chorus is, there’s no build-up that makes that cathartic, at all... before it comes back in just to disturb the peace for the second chorus and verse. Not that the song’s mixed badly, particularly, I mean, “DAYWALKER!” had a similar discrepancy last week and did it much worse. In fact, I think this production being so awkward makes the song a lot more endearing as it just represent that “black hole” in the content that’s being left where Griff’s heart used to be – because, of course. I wish that chorus made a lot more of an impact though because as is, it feels very much lacking in stakes, both sonically and lyrically, especially since the song doesn’t really go into any detail about how she tries to fill the gap, which I think would be a lot more interesting. As is, I mean, it’s listenable but I don’t know for how long before this becomes grating. Regardless, it’s looking to become a hit so we’ll see how this goes. Maybe mindless bubblegum-indie-pop is what the nation needs right now. Who knows?

#24 – “As I Am” – Justin Bieber featuring Khalid

Produced by Skrillex, Ido Zmishiany, Josh Gudwin and The Monsters & Strangerz

Now we here. These two tracks that debuted are basically the most I’m hearing from this Justice record past the singles, so I was kind of hoping the tracks with Skrillex and Lil Uzi Vert would chart out of morbid curiosity, but it’s seemingly the more R&B-adjacent cuts that are debuting the highest, as Bieber teams up with Khalid for a piano ballad, as Bieber talk-sings over some overly processed instrumental that pretty much goes off the rails as soon as the guitars come in and suddenly, it’s not so much of a ballad as much as it is a janky EDM track. In fact, everything about this is janky, from the non-build-up that leads to a really ugly, almost future bass-like drop that’s just kind of funny in how those distorted synths career in the mix like accordions. Then Khalid comes in pretending to be British as always, and despite his worst efforts, he can’t really harmonise with someone as digitally processed as Bieber when he’s a genuinely soulful and damn good singer. At some point, Bieber just goes insane in the bridge and Khalid’s there to bring him back down to Earth, doing so by forcefully stripping the future bass away and rescuing themselves both back to the safety of a clipping piano instrumental. Yeah, this is ridiculously bad – almost in the way that it makes me want to hear the rest of the album – but I wouldn’t go as far to say it’s so bad it’s good, mostly because I’m pretty aware it’s a fluke in an album that’s otherwise pretty boring, at least going by the singles. Of course, speak of the Devil...

#3 – “Peaches” – Justin Bieber featuring Daniel Caesar and Giveon

Produced by Shndo and HARV

Finally, electroclash legend Peaches released her comeback single and it debuted at #3 on the UK Singles Chart – or, in reality, Justin Bieber’s milquetoast R&B imitation with two genuinely pretty good alternative R&B singers Justin coasts off of the skill and talent of, debuts at #3 because we’ve got nothing else to do as a country but sit, complain and stream sea shanties. I watched the video for this when it came out, again mostly out of morbid curiosity, and it’s kind of a comedic gem as Justin’s clearly the only one trying (because he doesn’t understand the concept of smooth, low-key R&B), making him feel so out of place when stuck between Caesar and Giveon. It’s like Hailey Bieber knew Justin was going to be lonely on his birthday so she paid the coolest kids in school to humour him for a couple minutes. In fact, that’s pretty much the song as they all croon pretty effortlessly over a smooth, pretty organic drum groove as well as this subtle synth blend... except Justin Bieber, of course, who tries his best to be a presence on a track where he’s literally supposed to be in the background. Thankfully, that’s not necessarily a complaint as this is Bieber’s best vocal performance in years, maybe ever, even if he’s immediately outshined by Caesar harmonising pretty excellently with his own multi-tracking, channelling the kind of neo-soul that people like Tyler, The Creator and Kali Uchis were making together half a decade ago. Giveon is here, also, but I’m not sure if he fits as well as synth-funk as he does on the moodier stuff. I know for damn sure that Sampha wouldn’t feature on a Bieber track, even if this is the most respectable Bieber’s been in forever. Admittedly, by the final chorus, it’s absolutely infectious – even if the lyrics are beyond stupid. The verses are about intimacy with their respective significant others, written in the most inoffensive, lovey-dovey way possible, but the chorus is about getting peaches from Georgia, weed from California, and bringing them alongside your wife to Canada to see the Northern Lights. Sure. If that final synth solo in the outro proves anything, it’s that this song should be great and just kind of falls flat due to lack of focus. That’s not to say the song isn’t good though, because I’ll be singing that chorus quietly to myself without realising it for the next week or so. Good job, Bieber.

Conclusion

Best of the Week is actually going to Justin Bieber for “Peaches” featuring Daniel Caesar and Giveon, if only to balance out the fact that he also gets Worst of the Week for “As I Am” featuring Khalid, what a trainwreck. Honourable Mention in that case pretty easily goes to “Headshot” by Lil Tjay, Polo G and Fivio Foreign, but even in a mixed bag week like this, Dishonourable Mention is kind of tough. There’s not a lot to outright dislike here, but I’ll give it to Mooski’s “Track Star” by default. With that said, here’s our top 10:

I can’t really make much prediction for next week other than the drowning out of all of this, although I can see “Peaches” absolutely having some legs. I can safely say Taylor Swift and Demi Lovato will end up here but I’m not as 100% on songs from 24kGoldn or Rod Wave’s albums landing. If the United Kingdom, currently collapsing under our feet, decides to make AJR’s new album chart, I say the Prime Minister gives permission for Scotland to leave while it’s still safe. Thanks for reading and I’ll see you next week.

[felicityb-reviews]

Seventeen “Director’s Cut” Special Album Review

So like...

Who else saw it coming?!?!?

Hello loves!! My name is Jace (aka Felicity B), and welcome to my first album review!! And of fucking course, it's on Seventeen's repackage (sorry, Special Album™) - Director's Cut!! Anyone who knows me knows that I'm complete and total Svt trash (I might have cried watching Thank You for the first time), so I am *very* excited to be doing Seventeen for my first ever album review.

I might have had plans to do a Teen.Age review as my first post on Felicity B Reviews. No one can prove that, but it might have been a thing!!

1. Thinkin' About You

Thinkin' About You is Classic Svt™, kids.

You can expect three different types of tracks to be present on most (if not all) Seventeen albums

Gay up Straight up, balls to the wall Funk that has a ridiculous ass routine and looks amazing performed live (Boom Boom, Very Nice, Clap).

A soft Radio Ballad type song that would make the perfect intro track at a concert (Beautiful, Without You).

An acoustic(-sque) ballad that makes your heart go pitter patter (Smile Flower, Campfire).

I told y'all I was complete and total Svt Trash.

Thinkin' About You is a Funky Disco Pop number that combines the first and second Svt archetypes (tropes, if you will), and I fuckin' love it. In fact, I'm pretty sure there's no way I could ever *not* like this type song from any group, much less Seventeen. There's just something so Right™ about Seventeen doing high energy, pure pop numbers. Most boy bands outchea are trynna act like they're all badass and what not (not that Seventeen isn't), but Seventeen know what the fans want.

I know I said above that these type of songs would be perfect for opening a concert, but I actually think Thinkin' About You would be great to close out one?!?! Or for an ~encore~ stage. It's interesting that they chose Thinkin' About to open the repackage (*ahem* Special Album), because there's an element of finality to it. It does its job well enough, but it'd be interesting to hear how it'd sound if they had placed this at the end.

2. Thank You *title*

The ugly tears I bawled watching the video for the first time, y'all...

Firstly, whomstever leaked the original draft of my Teen.Age review??!? Yeah, ya mama's a heaux. I (very jokingly) complained about Clap not having enough Jisoo, and only did they come out with that ~remix~ of Clap that's literally WonSoo looking hot to a trap beat, but Thank You has an explosion of Jisoo.

It's too much.

Thank You is an EDM track that I'd usually expect from Performance Unit. And that's not shade, cause I fucking love Thank You. But sis, y'all could put ha next to Dance of the 13th Month and HIGHLIGHT, and it'd be a trilogy of slayery.

I don't actually recommend doing that unless your edge control is blessed by God, cause you will look a hot ass mess afterwards.

The best way to describe my thoughts on Thank You is "When will your faves?". All of my feelings on this song boil down to that question. Jisoo told us to be ready, but once the teasers hit, I had accepted my fate. My edges will never be the same, just like consequences. I will never stan another like I do Seventeen. How could I when they deliver such high quality, forward thinking songs that are still true to their brand of public friendly pop bops like Thank You??!?!?!

Dramatics aside, Thank You is just a really nice, really healing type of song. This song feels like renewed hope in a jar. Thank You doesn't make me feel like I can conquer the world, it makes me feel like I can live for another day. It makes me feel like I haven't struggled and fought in vain. And as someone who has had many a depressive episode that's left her feeling like complete and total trash, that feeling is not to underestimated.

3. Run To You

Sis, tell me how Seventeen delivered a J-Pop style track, while also making the song sound distinctly theirs?!?!?! I'm very sure if another group performed this, it'd still have that patented Svt feel to it.

Legends only.

Let's get the obvious out of the way - Run To You sounds like an anime theme song. A very nice anime theme song, but an anime theme song nonetheless. I'm a little confused as to why they'd include a song like this on a Korean album, because this style is very hit or miss when done in Korea. My thoughts on Run To You tie very heavily into how I feel about Director's Cut as a whole, but I'll get into those later.

Run To You has a grit to it's severely dulled by the mixing and mastering process, and it makes me wanna hear it live. This is exacerbated by the Svt's very clean, very pop style mixing, but to be fair, it is a complaint I've had about pretty much every Korean rock song with high production values.

I really would not mind if Seventeen ever decided to do a punk/pop sub-unit. Yes, I do realize Run To You isn't punk/pop, but that could easily be fixed. Seventeen gave us MCR inspired aesthetics with the Teen.Age teasers, and I was A Fan™. And several of the members play instruments (I'm having war flashbacks to their KBS Song Festival stage). It wouldn't be hard for them to pull off. It'd be a super cool foil to their power pop/Boys Just Wanna Have Fun™ group concept.

PLEDIS!! MAKE IT HAPPEN!!

4. Falling For U (Jeonghan and Jisoo)

In case anyone is interested, I prefer to use Jisoo's Korean name over his American one (even though he uses that as a stage name), because Joshua is my deadname. And it's really uncomfortable to call one of your biases a name that has the potential to make you extremely dysphoric.

Moving on.

Falling For U is Svt archetype number three. And even though I have love for every song on Director's Cut, Falling For U is my clear favorite. Outside of featuring 2/3 of my Svt biases (I am a gay trash can, leave me be), it's an Acoustic Coffee Shop RnB Midtempo.

And y'all know how much my gay ass loves those.

It's missing the RnB overtones you typically hear in this type of song, but it's still pretty rad.

Falling For U is another really nice, really healing song. She sounds like springtime dates with bae. Like you're in that Honeymoon phase and you just wanna be all gross and sappy all the time. Falling For U also gives me the feel of a couple that's been in love for a while now. Everything feels easy in that moment, because you're just so in love. It's a nice feeling.

I frequently talk about how K-Pop fans need to unplug every once in a while because they be sippin' the Kool Aid a lil bit too much, but sometimes, I just wanna listen to a cute love song by a cute boy (or cute boys #GayTrashCan).

And speaking of cute things by cute boys, HanSoo's cute rap during the bridge. Sis, my heart exploded with feels. Jisoo has such a nice lower range (you wouldn't know it by how high his vocal parts are, but he's got a lil oomph to his voice for a lyric tenor) and Jeonghan has rasp for D A Y S.

I wanted it to be longer, you guys.

Overall And Final Thoughts

Director's Cut does what a repackage/special album is supposed to do - extend the life of an previously released album cycle with a new look and some new music. I liked that three/four of the songs featured here are group tracks as opposed to unit ones; Teen.Age was a great showcase of Seventeen as individuals, but it felt more like a singles collection than an album because of it. The tracklisting was a hot mess that exacerbated the problem, but the root was how varied the sound of the album was. Adding in the group tracks definitely helps make the album feel more cohesive.

I mean, there's the task of actually integrating the tracks into the body of the album, but that's the beauty of the Digital Revolution.

At the same time, I almost wish they'd waited to release these songs?!!

I've heard that Seventeen are planning a Japanese debut soon, so why not save these songs for that album. Most groups release a remake of a Korean song as a debut single in Japan, but Seventeen could have released Run To You. If there's a few thing sI've learned about successful Japanese campaigns for K-Pop groups are, it's that groups a) need to be proficient (at the very least) in the language and b) you gotta tailor your sound to the market. And what do ya know, Run To You would have Perfect™.

Idk, I'm very happy with this comeback because it breathed new life into an already amazing album, but at the same time, I think Seventeen's first release in 2018 should not have been a repackage. Especially one with a tracklisting this poorly thought out. Seventeen's albums have always had iffy tracklistings, but Director's Cut takes the cake, sis.

It doesn't take away from the quality of the music, but it makes you wonder where their management's priorities lies.

[theday]

tagged by @ikyh and @younghyuuns ill be doing both sets !! :D thank you both for tagging me!! this got long so yall dont hav 2 read <3

ru?? rushee’s set!! me: wow ru does not sound like rushee at all ? djsjdhhjd im dumb but i realize now

i. do u believe in astrology? whats ur sign and do u line up with the features usually attributed to it?

fucc... i guess i do ;-0...... and yeah i think?????? like they say capricorns are cold bitches and funny nd im like ya thats me... but they also say we’re hard workers and im like uh.. dont know abt that karen !

ii. what’s ur favorite pair of socks?

bbbbbbb..... socks huh...... i guess my ankle ones? there are also socks that have actual designs on them and those r usually thicker.. keep my feets safe! most of them have pkmn designs bc.. yeah... love the poke mans

iii. what’s a food that reminds you of a specific moment/memory?

i could think of anythiing and get reminded of one situation if that makes sense.. but i thought of pineapple..pizza... anyway the memory isnt anythngn special its just me staring at my delicious hawaiian pizza..... at my favourite pizza place.... love that shit

iv. what’s the longest you’ve gone without sleeping?

i dont have the actual hours but the latest ive stayed up.. like willingly would be until 2am

v. how has ur taste in music changed throughout ur life?

went from 1d to 5so/s + other bands to utaite.... they cover vocaloid songs ig i never kno how2 explain what utaites r then 2 kpop.. but i still listen 2 bands + kpop and utaites.... so nothing much has changed ive just gone broader.. wider... expanded my tastes... 

vi. who’s ur fashion icon?

oh definitely kim wonpil

vii. what’s the dumbest thing you’ve ever done without realizing?

i breathe dumbass particles.. i cant think of one bc my brain probably blocked off all access to my horrifying past but ive been thinking abt how i used 2 send the boy i used 2 like 1d songs....................... 12 y/o old me rly thought. he’d listen.... 12 y/o me thought spamming him was a good idea glad ive learnt from that! 

viii. what’s something you want to brag about?

my grades but it didnt get me into psychology so nvm ! its still good though i didnt expect to get an A1 (hghest grade) for combined humanities since ive had a B my whole life without it i wouldnt be able to move on education wise lmao so thank god for that thanks cambridge thanks bell curve sunbaenim 

ix. when you imagine urself being happy in the future, where exactly are you (like the location!)?

oh definitely an apartment somewhere where its always windy and the curtains are always Moving and the sun just Shines in the room but its not that hot either its just full of warmth and yeah thats the dream maybe also walks in the park without having 2 worry abt sweating my pits out u kno! tldr anywhere but here

x. what’s something you’ve always wanted to own?

let me Think.... i dont need a lot/?? but id love hm.............. i want stability but realistically i want all the hh pcs from the code albums. 

xi. how’ve you been lately?

good good! i finished my *** fic and its. im proud of it though i know its not that good nd i can do better but its done ! and hm i could be going to see mx but asking my mum is stressing me out speaking of her she wont stop Coughing and she refuses to see the doctor ;-/ love those sleepless nights ! other than that i just want 2 get out and feel the sun ???/ wanna get out of this house yea but i need to be.. shady with my money i cant get a job because school is starting in a month and im going overseas again sometime next month so ! no ones gonna hire someone who can only work for 2 weeks at most dhzjhhs shouldve worked when i had the time dumbasses only

ok now falen

1. what’s been on your mind??

hm redacted feeling towards my mum but i cant say them bc itd be insensitive 

2. what are you looking forward to? 

mx? possibly but also finishing my enrolment papers

3. story time!: how and when did you get into day6!!!!!

fuck...... listen up LADS. 

ive told the same story like 10 times but im never gonna get tired of saying this shit bc i love miss boxy so much nd she deserves the appreciation anywy she introduced me 2 day6 after i saw this one (1) picture of brian in minion glasses and instantly i knew in that Fucking moment thatd id die for him. so i asked for the name of my murderer and was introduced to day6 whom frankly id never heard of b4 bdjhjh she sent me all their mvs and i still remember the night . i remember walking out of this japanese restaurant, twitter open, chat wiht boxy there and i was like.. interesting ill go listen when im home so i Did! and my mind was blown away bitch? i honest 2 god expected them to be a boy group,,, dancing and shit yknow? i didnt know k bands existed ! so as a previous 5/sos stan i was like wow. this??? this shit is 10/10 a fucking BANGER thats what i felt listening 2 i smile and just going :O over the fucking instruments so idk if how can i say was the last or second song but Damn. .. it made me scream thanks mister j** he rly dragged me by the collar of my shirt and threw me face first into Heaven so i watched everything i asked my friend for video recommendations and after boxy sent me a page with their face and names i was like this jae kid is 182 cm? wow gotta stan now im stupid and stupid for glasses and tall people so ! it happened bithc,, ugh i lov eday6 so much i remember binge watchng all their vlives after the july after party live (that being the first vlive i watched Ever in my entire life and i laghed so hard despite not understanding a damn thing) please id giv my heart and soul2 day6 im so happy with the way ive progressed as a myday :^( 

bonus when i first started stanning it was 26th june and shortly after i made a stan acc teasers were being dropped but i didnt kno why ppl were freaking out i remmeber seeing jae’s teaser nd going ? ok? its just a pic damn ;-/ and then eveeryone was like: dowoon! choker! me: wdhs? what

4. ????do you have any allergies????

did u think of jae and no i used to be allergic 2 dairy products but thats disappeared

5. a fond memory???

bowling with friends and im just a disaster of a friend im always so loud with them and i thank god everyday that they handle my energy ? i would cheer for them even if they got a gutter or whatever and when they got a strike id go clap like crazy i love my friends i also went i have the power of god and anime on my side before flinging the ball and theyd laugh despite not knowing what vine that was from i love my friends... psg if ur out there yall are the best x i miss hanigng out with them as a trio.. three of us :( 

6. do you paint your nails?? if so, what are your fave colors to use?? if not, why??  

thats so.. tiresome.......... dont u have 2 wait for it 2 dry and shit ? my mums always worried abt ruining the colour or some sht nd im like !!! okY!!!!!!! tldr its a pain in the ass

7. what are your favorite colors?? what are your fave colors to wear??

i like hte colour of the sky... all the colours........ yeah love that bithc and lately ive been wearing a lot of black shirts finally went out of my embarrassing colourful phase ! 

8. what languages would you like to learn?? for what reason(s)??

japanese nd korean jp because i listen to a lot of things in japanese and korean for the same reason but my priority would be jp even tho id love to communicate with my faves i just... yeah although im not exactly making an effort 2 learn bc im lazy but if i Could.... itd be those two

9. when you get stickers, do you use them or do you keep them??

DHDGFHDHDGDSJHJSJAKSSJHFHS THIS FEELS LIKE A CALL OUT???? i keep them......... 

10. are there any groups that you might get into/want to get into?

hm... well theres knk ive learnt their names and im finally able to put name 2 face so thats nice svt too if htey didnt have such large numbers... thats all for now i think?? i love evry girl group though i love gIRLS... 

11. how are you???

idk im constantly just fine?? not the im sad but im fine kind of fine im literally just neutral half the time wjhddshs wild 

both of your questions were really unique and i loved answering them thank you so much for tagging me and if youve read until the end thank you i hope you have a good day!

[jeffsalbumoftheweek]

The Bitter Roots Waning Days Interview

As it happens, my would be band, The Bitter Roots will be releasing our 5th Album, Waning Days, on October 27th.  Whenever I put out a new album I like to blog a few words for those lucky few that may have the time or inclination to read more about what went into making the album.  Despite what some folks may believe, it does not take 3 minutes to record and produce a 3 minute song.  An album usually takes me a few years to write and record.  Art is the labor of love.  So if you might indulge me...

This time around, instead of aimlessly ambling on of my own account, I thought it would be fun to do an interview.  With all the fake news floating around out there, who better to trust, who better to conduct this important interview, than my old friend Yale Kaul.   All star drummer, fellow Missoulian, Go Griz, former moderator of the most excellent pre-social media blog Yalestar, and also a frequent contributor to the former Missoula music scene, fanzine, Shat Upon.  So take it away it Yale, give me your best shot.  Order Up.

Y: Congratulations on the new album. What is this, your fourth or fifth one with this band?

J: Thank you.  Yes, this is the 5th full length TBRs record in 10 years now.  I really like to stay busy writing new songs.  I love to make and record new music, and so does Ben.

Y: Where's that on the cover? It looks like Central Washington perhaps? 

J: You have a keen eye.  That photo was taken looking due north off the I-90 overpass at the Templins exit just east of Ritzville.  I took it through the windshield with a cell phone.  I was driving back to Seattle by myself shortly after the death of my Mother in Law as it so happened.  I think the image captures the state of our crumbling and adrift former American Empire rather nicely.

Y: Is our crumbling empire a theme of the album overall?

J: You know, at first it was, because the album started to come together around the tracks Informed Consent, I am Nobody and Cuddly cats.  We had been jamming those out live quite a bit before they went to tape.  They are all pretty dark on subject matter lyrically, heavy rock sounds, and you have to remember this album was recorded in the 1st 6 months after the disastrous election.  But as we added more tunes to the album I think it went more from the Dark to the Light. 

Y: About that baritone guitar: is this the first time you've used one on an album?

J: It is.  For the uninitiated a regular guitar has a 25 1/2" long neck and is generally in standard tuning of EADGBE. The Baritone has a considerably longer neck, mine is 28 5/8" and is tuned to CFA#D#GC.  The main driver for it is to create more space in the mix for my vocal range, which tends to have more contention with standard tuning.  Also tuning down 2 full steps from E to C allows me to appear to have a larger upper vocal range, it is easier to hit the high notes when you tune down.  Led Zep did that for that last big reunion show to make it easier for Robert Plant to sing some of their tunes.  As you age, there is no escape for it, your vocal register tunes lower.

Y: Yeah, your voice definitely sounds lower, especially on the first song. So do you guys play live as a two-piece, i.e. bassless? If so, I'd imagine the baritone guitar can fill in a lot of the lower frequencies?

J: We have played out as a duo quite a bit, but not in 6 years, because we had bass players.  I have played the baritone out as a trio and it sounds rad.  For the Duo live, the best rig we came up with is an Acoustic brand 100 watt head, a mesa 4x12 slant cab, using just my acoustic guitars which are a '78 Guild F50 and a '87 Guild JF-55. Those are big concert grand guitars, it can be hard to manage the feedback live, but we dialed it in a few times to good crowd effect.  Neither us much prefer the duo live, there is something about needing that separate low end to really lock with the drum kit, we prefer it with 3 pieces and 2 voices.  I also have a lot of harmonies I need someone to sing with me for the full intended effect in the live setting.

Y: The recording itself sounds very pro! You guys did the whole thing in your home studio right?

J: Thank you.  We do the tracking in my studio which is 24 track tape, it is a good sized studio, it takes up the entire basement of my house.  It has separate rooms for guitars and drums as well as a control room.  Then we take the tape and the machine to Studio Litho where we dump it to pro tools and mix it down from 24 tracks to stereo 2 track using Litho's gorgeous vintage API console.  We do no digital editing or correcting, nor do we use any auto tuning.  We master the mix as well at a separate room that is now called Resonant here in Seattle, where final volume level and EQ adjustments are made on the stereo mix down.  The advantage to tracking at my place is that we can do it as many times as we like because we are not on the clock, under pressure, spending money to use another room.

Y: So when we were younger men, back in the Burnin' 80s™, I knew you were big into Hendrix, Bad Brains, Soundgarden. Obviously your music palate has developed over the years. What's turning your crank these days?

J: Excellent Punk Rock Talk question right there.  I try to check out newer stuff as much as I can.  There is a rock band from Scotland, Biffy Clyro, they sell out arenas in Europe in minutes, they are very very talented, and fun to see live too.  There is a band from Bend OR called Larry and his Flask.  They are the craziest punk bluegrass rag time rockabilly thing.  The Rev Horton Heat are big fans of those guys too, we saw Larry open for both The Rev and Fishbone, so that is saying something right there, they do fish style durges too, its super cool.  But with streaming, I have been able to delve deeply into catalogs of one artist or another.  We could not dream of such access as kids when records were 7 bucks, that was a lot of money back then.  Renting at Rudy's was what 2 bucks?  With streaming I can listen to for instance lately in chronological order as I prefer, the entire back catalogs of Steely Dan, Tom Petty, David Bowie, B-52s, REM.  All the Fat Wreck chords bands Strung out and Lagwagon, those are great bands.  Stiff little Fingers, Smiths, System of A Down, Audioslave, Rage and others.

Y: Also, Ben: he and I went to high school together, although I never knew him back then (he's 3 years ahead). Where's he coming from musically? Is his use of the traditional drum grip any indication? [I may have that wrong, but I thought I recalled him using that grip in early Silkworm shows... And is he involved much in the song smithing?

J: Ben has super eclectic tastes in music.  He loves the Rock, loves to play Rock, also a huge Soundgarden fan, Tool, Stone Temple Pilots etc... But he also listens to a lot of classical and plays a lot of classical music on the piano as well, J.S Bach is his favorite, he also follows all the session drummer dudes and he goes to the clinics and demos they do in music stores when they come around Seatown, guys like JoJo Mayer for instance.  He switches his grips depending on his mood or the song, he also switches at will, left and right handed orientation to the snare and hi hat, sometimes in mid tune, he is that good.  In albums past I have gotten some fine keyboard parts and bass parts from him as well, but for this record I did all the music and words and then as always we collaborate on the drum parts, the tempo and the final arrangements.

Y: So the album is called Waning Days, which immediately reminded me of the book "Dark Age Ahead," Jane Jacobs' last book before she died, where she goes deep on five areas where the west (but mostly the US) is pretty much clusterfucking itself into oblivion (culture-wise, financial, higher education, climate, etc). The book is just over 10 years old and it's looking more and more like she was spot-on. HOWEVER: it must be noted that aside from the album title and cover photo, there's not a real pessimistic outlook in the songs, or at least not that I could detect. So I ask you: am I missing some overarching theme of cultural and institutional decline among the songs?

J: Perhaps.  Track 1 Informed Consent is a song about sexual assault and in particular the demise of Bill Cosby, and Trump pussy grabbing, so there is that.  Track 2 I am nobody is about how as you age and your youthful self aggrandized importance in society wanes, as you just become another average Joe going to the mall and getting loaded too often, the lament of many as you grind into middle age and realize, yup, this is it, this is living, this is all there is.  Whatever you make it or can afford to make it.  Track 4 Cuddly Cats is a direct statement against the music business and the music business in the internet age, where music itself has become window dressing after thought for other commercial ventures, where kitties get more attention than actual artists trying to convey a meaningful message, where fake and sexy imagery is all that matters, trying to sell you stupid crap you don't need anyway.  Those messages are there in the lyrics, however subtle.  So there is some darkness but on the whole the message of the record is counter.  Yeah we are in some Waning Days, but there is hope and light, all is not lost.

Y: You've been at this a long time. Inasmuch as you're able to say, what are some of the lessons you've learned about navigating the music industry, especially now as a man in his 40s with a job and family and so forth? Obviously until about the 2000s people still made a living playing music, but now that number is vanishingly small, and those people make most of their money playing live shows and slinging merch. But at least nowadays it's easier than ever to at least get your stuff out there, right? So what's a person to do?

J: I have never had a record deal, never had a manager or an agent, and although I have played a ton of shows and used to promote out of town shows even in Missoula back in the day, recorded now 11 albums, I never felt like I was part of the music industry.  I have never made any real money from music. I think of myself the same way I am pretty sure most of my good friends think of me too as just an artist and a huge music fan, a recording artist. 

There is no budget in the music industry anymore.  Floyd, our Mix and Master friend of many years now, he is one of 2 guys left in Seattle makes a living just recording people as a hired engineer on a project.   There is no investment in new talent anymore.  Way way back for instance, Journey put out 3 records before they got Steve Perry and then became huge.  Today no record company would give you budget for 3 records in the hopes you hit on the 4th one, no way.  You would be surprised how little playing live pays these days as well, even for artists with hits in their back catalogs.  There are only a few corporations that control nearly every live venue of any size in the entire country who book pre-paid package tours at venue capacities of 250 all the way to 40,000 people.  These companies take a lions share of the revenue, especially in the smaller rooms.  It is corporate parasitic control of the medium and the media, fuck them all.

Despite the relative ease of self publishing these days, It may surprise you that It is not really easier to 'get your stuff out there' anymore because of the complete information overload now, music is just 1s and 0s just like all other commodified information, entertainment and or otherwise.  It is just not worth much anymore because there is just too damn much of it out there, new and back catalog alike. A small needle in a million haystacks.  You can have the #1 record in America buy selling a mere 50k copies in a week.  To contrast, when Nevermind came out in the weeks to follow they were selling 100K an hour, dig it.

So the thing to do is just to be your creative self and do it because you love to do it, because it is a part of you, and be glad you don't have the pressures of an industry telling you what you should sound like.  If you don't get famous in your 20s, chances are, you are not going to get famous playing rock music, so just don't worry about it, don't quit, keep playing, keep creating.  As Tolkein said in the beginning there was light, and there was music.  We are of light and music.  There will always be new songs to write and share.

Y: Well yeah, by  'get your stuff out there' I meant anyone can put their entire creative output somewhere where 3+ billion people could potentially get it, and with very little upfront capital outlay, but then of course it's effectively commodified. And whether anyone ends up giving a shit... that's another matter of course. It's a paradox of unforseen consequences.  

J: Totally.

Y: Well hell, I don't have any other specific questions other than the usual "what's next for the Bitter Roots?" So what's next for the Bitter Roots? Any other hard-fought wisdom you'd like to impart to other independent artists, or to the world in general?

J: What is next for us is more songs and more recording.  We have already started in on a new set, probably take a few years to put out.  No shows planned at this time, maybe in the future, who knows.  I don't have any profound words of wisdom other than, as an independent artist trust your own judgement and don't worry too much about external validation, cause these days the state of shit is as hollow as Facebook.  Stay positive, Trump's days are numbered and we the good, the meek, the thoughtful, the artistic and domestic alike will rise again and steer us all toward a more equitable future in the fashion of MLK and Obama.

[showingthroughtome]

spit fire - chapter eighteen

You said I'm steady playin’, you steady playin’ too

But then she listened to J. Cole’s album. The entire day was spent with her feeling slightly hung over but even more in love with the lyrics of the fellow North Carolinian. By 2 in the morning, she was buzzing with the words of Deja Vu in her bones. She had to talk about it with someone and could only think of one person that she wanted to discuss it with. So, ignoring any time zone discrepancies, she returned Harry’s phone call.

read below - catch up here

In December, Noa turned 21 and J. Cole released a new album. One of those things was something Noa had been patiently waiting on for her whole life and the other was something she should've been.

On December 27th, right as the clock hit midnight, Molly knocked on the door of the guest bedroom and came in with her younger sister - chocolate cupcakes and a tiny flask wrapped in newspaper comics in hand. It warmed Noa to the core to be remembered in that way. Not for years has she celebrated her birthday at midnight nor has she gotten a present so skillfully wrapped. She blamed it entirely on the thirteen-year-old girl she had met two weeks prior and not on her best friend of nearly three years. Still, they smiled as they ate the cupcakes and talked about the plans the older girls had for the following day.

Molly left just thirty minutes later and left Noa alone to rest so she'd be ready for all the alcohol they'd start consuming at breakfast - mimosa made by Molly’s mother were simply the best. And in the morning, Noa learned that waffles made by her dad were even better.

Farrah surprised Noa halfway through the breakfast, popping up behind her and shoving a bottle of coconut rum in her hands. The bottle was consumed that night easily, causing Noa to fall asleep in that guest bed with Farrah curled up beside her after mere moments of laying under the sheets.

She was so out of it that she hadn't even heard her phone ring the four times Harry tried to get a hold of her.

---

4 Your Eyez Only came out on December 28th. J. Cole dropped it out of nowhere, almost as if he planned it for Noa’s 21st. Waking up that morning, she had so many texts from various people screaming at her about it that she almost missed Harry's name on her screen. All it told her was that he called her a few times - maybe to tell her about the album, not remembering it was her birthday at all.

She considered responding but didn't have a clue what she'd say to him. She imagined her first interaction with Harry since their last phone call many times and quite frankly, she expected it to be at a basketball game weeks from then. She kind of hated the idea, but nevertheless, she felt safe in it. She felt like her heart couldn't be hurt if she held off on talking to him for as long as possible.

But then she listened to J. Coles album. The entire day was spent with her feeling slightly hung over but even more in love with the lyrics of the fellow North Carolinian. By 2 in the morning, she was buzzing with the words of Deja Vu in her bones. She had to talk about it with someone and could only think of one person that she wanted to discuss it with. So, ignoring any time zone discrepancies, she returned Harry’s phone call.

Harry,

Noa, it's like 7am. What's up?

Have you heard the album?

Yeah, course. You kind of brainwashed me into loving him.

Excuse me. Not brainwash, showing you the light.

Fine, you showed me the light and now I have a whole new album to be mind blown over.

Right? I don't think I've done a single thing other than listen to it. I'm pretty sure I haven't even eaten today.

What the fuck, Cherry? Go eat!

It doesn't seem important when songs like Deja Vu exist.

Ya know, I particularly liked that one too.

Bet you did.

Struck a chord, really.

Yeah.

The phone line grew quiet as both thought over the meaning of those words, of the words J. Cole rapped that told about loving a girl from afar even though she already had a guy.

Well, I just wanted to make sure you heard it.

I have indeed.

So then….

Nothing else on Harry's part.

I have to sleep now. ‘Night, Harry.

Morning, Noa.

---

Noa didn't talk to him during winter break after that. That entire phone call was a product of excitement combined with sleep deprivation. Noa woke up the next morning feeling so dumb for even calling him - because she knew she was hoping in the very back of her mind that he would remember her birthday, that'd he say something that kept her from feeling so lost from him, but he didn't say anything remotely close to it.

She wasn't mad at him for it or anything, she was just mad at herself for thinking that he thought about her like that after weeks of no contact.

Now, winter break is over and she's back on campus. The dorms opened the day before and Noa had her first shift back in the diner for the semester - something she has scheduled for three days a week so she wouldn't be so broke.

The fact that she doesn't have any money doesn't stop her and the girls from going to the mall. Noa is an amazing window shopper after all. She can easily stare through the glass into a store, see an article of clothing she'd love to try on, and then simply walk past it, no second thoughts held.

It only makes sense that she runs into Harry in the food court - somehow, he is intertwined in everything she does. When her thoughts aren't on him, he appears.

The girls spot him first, standing by the pretzel stand as Niall and Harry sit at a table, eating Chinese food and talking about whatever they talk about.

“You going to talk to him?” Molly lifts an eyebrow while grabbing her salt free pretzel, casual and disinterested as if she isn't all but drowning in desire for them to reconcile.

Farrah has no problem acting out her emotions, “You definitely should.” Her eyes are pleading and her lip almost pouts.

It took a few days but eventually Noa told both of them all about what Harry said to her, how she forgave him because she knew he did a shitty thing but even more so, because she knew him. She told the girls how she had to say no to him since her lungs were constricting with the want to say yes but her heart was aching with what would happen if he somehow got away from her again.

Molly understood without any argument, though she did voice her opinion - if you want him, get him. Farrah tried to grasp the concept of fear and uncertainty but ultimately she sighed out a long, “What the hell? You guys are so it for each other. You guys made up so how are you not having sex right now?! Damn!”

Noa hesitates in the mall. She looks around and surveys the area, checking for any other familiar faces. Then, she lets her eyes fall back on him. “You think?”

Grazing her teeth over her bottom lip, she contemplates if it'd be weird to walk over to him and if she did what she would even say. She can't determine a reason why she should even do it in the first place.

“Yes, girl.” Farrah rolls her eyes and shoves her shoulder. “Be friendly. You're friends, right?”

“Um, not really.” They've never really been friends. They were either bickering or pushing each other against walls, half naked, pulling for more than they could grasp. The remnants of those feeling hit her hard as she watches his strong jaw move tightly with every bite. “Plus, I don't have anything to say to him.”

“Fine then. Let's go.” Molly loops a hand through Noa's arm and begins to walk with her in the opposite direction. “No use in staring at him like a creep.”

The way Molly says it is totally a joke, getting Noa to laugh but Farrah to nod in agreement, “Yeah, it was getting animalistic.”

“What? Really?” Noa looks behind her, wondering if she was staring hard enough for him to notice again. Turns out she wasn't, but that final glance back catches Niall's attention. He points her way, casting Harry's gaze towards her as she slows down with the girls. In an awkward situation of not wanting to actually go up to him but not wanting to be rude, she throws out a stunted wave and smiles as he returns it. He gives a grin of his own, one that trips up Noa that much more. Noa wants to stare at it for a while - like that day she woke up before him and found him smiling in his sleep, dreaming up something good. This time though, she can't.

She turns around once the exchange is long enough to be considered friendly. And grunts, “Fuck. I hate this small ass town.”

---

It's almost exactly a month since the last time that Harry and Noa talk before they do it again. They have another class together - Kinesiology 240 - on Tuesday/Thursdays. As usual, she is in the room early that first day, watching as everyone waddles their way through the early morning. Molly pops in at 9:20 and sat down right next to her. Cara arrives 3 minutes later, sitting right in front of her. And even though the seat to Noa's left is empty, when Harry walks in two minutes prior to the start of class, he sits as close as possible to the teacher - furthest from her as possible.

Noa thinks he doesn't even notice she is there until the teacher makes them go around and say one interesting thing about themselves.

“Hello, my name is Molly and I once broke my arm after I tripped over a banana peel.”

“I'm Cara. I have seven brothers and one sister. We stick together.”

“Hi. I'm Noa. My interesting fact is that I have read every Junie B. Jones book out there, even the ones that were published like, only four years ago.”

An interesting fact was the thing Noa hated the most about the first day of class but once she figures out a good one to tell, she doesn't mind it. She doesn't even like Junie B. that much. Sure, she enjoys the stories but after realizing at fifteen that she had read 22 of them, she had to read all of them. It was an embarrassing but fulfilling day when she went in the store at 17 and came out with the final book of the series, if not a little bit sad.

She never told that little tidbit to Harry and tries not to notice his airy chuckle, though, she did assume he would get a kick out of it.

After class, while everyone is ruffling the syllabus into their bags and rushing out of the door, Noa stands around and discusses lunch plans with the girls. Cara and Molly both have a class coming up but they'll be free by noon to grab something with the cheerleader who only takes two classes a day.

“Hey.” Harry approaches from the front of Noa, slowly and with caution.

Noa smiles a simple, “Hello.”

And like they had practiced it, Molly and Cara begin backing away and splitting up to leave from doors at opposite ends of the room, barely greeting Harry.

He watches them with amusement written all over his face, and when it's just him and Noa, he jokes, “Wow, do I know how to clear a room or what?”

She can't help but giggle at the circumstances at which the two cheerleaders left. “Nah, they just have classes.” She reassures him even though she thought she probably should've let me soak in self-doubt for a few seconds.

“Yeah, me too. I should get going but I have enough time to say hi. How are things going with you?”

“They're good. Had a good break with Molly's family.” Speaking in monotone, Noa shrugs. “Christmas was whatever but New Year's was fun.”

“You were 21 by then.” He sticks an elbow out to catch her side lightly, raising his eyebrows and showing off those dimples she hasn't seen in person for weeks and weeks and weeks.

Him remembering her birthday would've made her trip up on its own but paired with the sight of him, the warmth of his presence that is lighter than it's been in months, has her biting her jaw and mumbling, “Yeah.”

She begins to head for the door, slow enough so Harry can walk beside her and their conversation doesn't have to end.

“Happy birthday by the way.” He nudges her again - with the palm of his hand lightly pressing at her shoulder where her thrift store leather jacket covers her skin. “I don't know if you saw but I called.”

She tries her hardest to remain unaffected even though she can almost feel him through all of those layers. Still, she can't help that her body moves the tiniest bit away from him, like it is protecting her from his touch.

Blinking several times, she recalls the morning after her birthday. “Oh yeah, I was pretty drunk that night so I woke up the next morning with a hangover you wouldn't believe and didn't even want to look at my phone…”

“But J. just had to release that album, huh?”

“Such an asshole for that.”

They get to the door of the classroom and he stops, getting her to turn around and look at him as his jaw drops, “Yeah right! It’s good enough that it got you to call me.”

“It’s fucking brilliant, okay?” She would've called anyone if she knew they'd have understood - it just so happened that Harry was that person. She doesn't like the look he's giving her now - a cheeky one that reminds her of ones he'd shine at her last semester. She's rolling her eyes and changing the subject quickly as she continues her journey. “How was your break?”

Noa can't see his face at this point because she's walking ahead of him, but if she could she knows she'd see a suppressed grin.

“Good.” He starts, then rethinks. “Well, mum was like how she always is. I don't think I went a day without her asking if I made time to practice but yeah, like, she wasn't too bad this break.”

That gets a genuine smile out of her. No matter what happens between them, she’d want anyone to have good time with their family. Maybe it's due to the fact that she's never really had that or maybe because she's less cold hearted than she thinks she is, but she beams, “That's so good, Harry. I'm happy for you.”

“Thanks.” Harry exhales as Noa slips a look his way. “How was your mum?”

“Um, I don't know. Still haven't spoken to her.” She walks out of the door that Harry opens for her and into the cold winter day. There hasn't been any snow this season yet but she really thinks it has to happen soon. For the sake of the damned polar bears, the earth needs to chill the fuck down.

Harry looks confused, a little shocked, then questioning, “Not since that one time?”

“I tried but couldn't bring myself to.” Noa admits to Harry in complete honesty, not even second guessing why when the next words roll off her tongue. “I saw her at the bus stop and she didn't look great. Then when I tried to go home for break, I saw her laughing it up in the living room and physically was unable to open the front door.”

Somewhere in retelling that small story, she feels her features turn sad. It is like a tangible thing that can physically be pulled out of her whenever she lets her mind wonder there. Harry has to see it even though she does try to cover it with a tight-lipped smile.

“I'm sorry, Noa.” He's shaking his head - reminiscent of a disappointed parent from an hour-long TV drama.

“Nah, it's okay.” She tells herself more than she tells the boy walking next to her. “I mean, I haven't heard a thing from her or about her in six weeks but if I don't think about it, she's fine.”

“Noa…”

She feels his hand again on her, this time a few fingers grasping onto her upper arm to slow her and get her making eye contact with him. Like a ton of bricks, she realizes she's acting like she used to with Harry. She's acting as if they haven't spent weeks without seeing each other and months without being real with one another. She has no clue why. She just fell into it out of nowhere, as if it is an undeniable habit.

It causes her to be flushed with embarrassment as she checks her surroundings - just to come back to reality and see that they're in front of the athletic learning department and not in his warm bedroom.

“Actually,” She shakes her head and clears her throat. “You've got to get to class and I have a bowl waiting for me in my backpack.”

“Noa.” Harry, confusion on his face once again, repeats as she starts walking backwards away from him.

“See ya around, man.” She smiles and waves and turns towards her dorm, ruffling through her backpack to find her one hitter with slightly shaken hands.

---

Speak of the devil and he shall appear... or whatever.

Noa is getting out of cheer practice for the night and her phone is ringing in her pocket but her hands are too full for her to even attempt to grab it. She's got her gym bag and backpack on and a couple of towels and a radio in her hands. It's not until she gets back in her room that she can pull her phone out and check who tried to contact her.

She hasn't looked at her phone in hours but the only notification on her screen is a single call from her mom accompanied by a voicemail. It catches her off guard since her mom is never one to leave those - but really, she's never one to call to begin with.

Noa thinks about ignoring it for a minute, maybe even deleting it before she listens to it. Then she remembers how secretly worried she's been and how grateful she is to know her mom is still alive. She swipes the voicemail left and holds the phone to her ear, listening intently as her mom's raspy voice sounds,

“Hey, Noa, sweetie. I was just callin to say hello and that I miss ya. I don't know where ya been but ya need to come on home and see this new TV I got with some money I won at bingo. I been real good since we last spoke. I know it's hard for you to believe but I have been. Swear it, sweetheart. I been wantin’ to call ya so when that boy stopped by today, it was clear to me that I had to. A young girl needs her mommy. So, come on now, visit me. I love you, baby girl.”

That boy?

Noa slams her phone down on her desk.

What boy?

There is only one that would do something like this - simply because there is only one boy that she talks to that would even know to go to her mom and of course, they had a conversation about her earlier in the day.

Noa lunges for the door, leaving her phone behind, speeding through the hall and running off the energy anger like that gives her.

---

“Fuck you!” Noa pushes on Harry's chest as hard as she can as soon as he exits the stadium, not moving him an inch. She's been pacing outside of the door for at least twenty minutes, building up that rage if nothing else. A thought to storm into practice crossed her mind but wasn't entertained for more than a few seconds when she remembered how much of a hard ass the coach was.

Harry's face was one of pure shock, not knowing what hit him as his friends continued on without him, leaving him to whatever he got himself into. Noa goes to push him again but he catches her by the shoulders this time and holds her back. “What the hell? Noa, chill!”

“Fuck you for butting into my life!” She shakes her shoulders so he’ll let go and backs away without losing any of that sharpness in her tone.

It comes back to him then - what he did to piss her off so much that she came to him with this much aggression. He grunts and advances for her, probably to comfort her, but now she doesn't want to be any closer to him than necessary to yell.

“How dare you go to her? You know that's none of your business.” She points an accusing finger at him, harsh like you would with a dog that's done something wrong.

“Oh get off it, Cherry!” Suddenly, he's the one sounding mad and aggravated and all together over her shit. His voice grows in volume until he's at her level. “You told me all about your mum, looking so sad and in need of a little help. How could I not do something?”

“It's not your place!” Barking back, she squeezes both her hands tightly.

“You made it that way!” He's dropping his gym bag off his shoulder and rolling his eyes at her. “You got into my fucking head and made it where I had to go make sure she was okay for you. You think I wanted to skip a class on the first day of the semester? I had to do ten extra laps in practice because of it.”

“I didn't ask you to.”

“You know, you don't really have to ask? When people care for each other, they usually do things to make sure the other is okay.” He laughs, but not in a friendly way - not in a way that Noa recognizes as the Harry she grew to care too much for. It's one of those superior kinds of laughs that people give you when they think they know more than you.

Noa takes a few steps towards him just so she can really get in his face when she repeats herself, “Fuck you. You’re such an asshole, you know that?”

Harry takes a moment to look her up and down, both of their chests rising and falling due to the yelling. Slowly, a calm smirk slinks across his lips. “I’m really not.”

Hate consumes her then - pure hatred for the cocky basketball player. She always knew he was this way and feels so dumb for ever spending six weeks thinking she was in love with him. All that emotion, all that betrayal manifests in a slight tinge of brimming at her eyes. Not due to sadness but just an effect of her anger, she holds back her tears and warns with everything in her, “Stay the hell away from me and my family. Don’t talk to me ever again.”

“Noa.” He's shaking his head and opening his mouth to say some bullshit thing, surely. Though, she can't allow that so she continues.

“One last time, fuck off.” She's backing away from him for the second time that day, except this time it's not because she was getting too comfortable again, it's because she’s never felt so much distrust in her life - not even when he kissed Nina. He yells her name a few more times but she barely hears it over the racing anger of her heart.

The entire walk back, she replays everything he said, every condescending word thrown her way. And she's just so confused. She thought they weren't ready for each other but now she's wondering if they ever would be? How could he ever think she'd want him to go to her mother? That's one thing she never wanted Harry to see and now he's gone and ruined that. He's broken that barrier without even letting her have a say.

Sarah Cherry was never meant to meet Harry Styles. Sarah wasn't meant to know how nice Noa was making her way on her own - she didn't get to have parts of Noa's life. And Harry wasn't ever supposed to see just how screwed up her mother is.

It's getting dark and Noa is staring up at her dorm where she knows she should go. She decides against it and finds herself on the steps of the library, feeling really sorry for herself about the boundaries Harry crossed. Instead of calling someone to cheer her up, she sits there for hours and swears to herself that she's truly and completely done with the guy.

Authors note: 

first i wanna say that i know j cole is mentioned heavily in this but the song lyrics are chance the rapper but listen, his lyrics are being saved for the next couple chapters.... the good ones.... the ones that get me in my feelings.... like seriously, go listen to deja vu right now!!! 

anyways, i hope you guys like this and i hope you let me know what you think! we are so close to the end. i have like two more chapters to write and then an epilogue. so 19, 20, and an epilogue!?!?!? wtf howd that happen! 19 should be out in like two weeks or so. hold me to it or i might forget. finals are in like three weeks so it would be longer. idk. i love you all though and i really do hope this story is turning out alright. TELL ME WHAT YOU THINK OF HARRY! is he the wrong one this time or maybe he was really just trying to help?? (im leaning towards the latter) ok! bye!!!