#this song is a potential EP contender

[starriniqhts]

HIIU OMG PERFECT TIMING CUZ I WAS READING THEORIES AND OMG. SO !!! TAESAN GAVE OUT A SPOILER IN WEVERSE and ong it sounded familiar. i hit translation and it contained the words "feels good" THIS IS DEF FAMILIAR—WOONHAK MENTIONED IT IN THE CON !! HE SAID SMTH ALONG THE LINE OF "*(INAUDIBLE) IN KOREA, 느낌이 좋다 (neukkim-i johda) which means it feels good" SMTH LIKE THAT AND ACCORDJNG TO A TRANSLATION FRM TWT (ON TAESAN'S COMMENT) "FG" SHOWED UP so maybe JUST MAYBE (by maybe i mean 99%... or 50% im not that confident 😞) THEIR MAIN/ONE OF THE TRACKS MIGHT BE TITLED FEELS GOOD (FG) IT HAS TO BE, RIGHT? RIGHT. PLUS I'VE ALSO SEEN THAT NO GENRE MIGHT HAVE, WELL.. NO GENRE AND SO NO GENRE IS AN EP SO WE MIGHT GET 6-7 SONGS AND EVERY SINGLE ONE OF THOSE MIGHT BE A DIFF GENRE. ANDDDD (another theory i found !!!!) woonhak might potentially be the main charac for this one cuz based on zico's story, it had these emojis: ⛄️🚫🎶 wherein 🚫🎶 means no genre BUT FOR ⛄️ HE (ZICO) WAS HOLDING A WOONAGI KEYCHAIN. I AGREE W THIS? the story was so random too, it's obv a spoiler + he had the bnd no genre in his pc screen like no way that wasnt on purpose 😭 ykw im living for these theories like im so INVESTED (hope to find more, im stuck on this rabbit hole) and the fact that bnd might be spoiling (even just a little) ab this cb too just right under our noses like. THEYRE SO SNEAKY W SOME TOO LIKE IM SEEING ONEDOORS BECOME... crazy observants...? LMAOOO THEYRE OVER ANALYZING EVERYTHING BND POSTS/DOES NOW, JUST IN CASE IT CONTAINS A SPOILER (ngl id do the same cuz this guys can rlly spoil smth and we'll never know till the cb finally happens and someone points it out)

ALSO NO GENRE BEING FOLLOWED BY 19.99 KINDA MAKES SENSE LIKE AFTER HEARTBREAK N STUFF THEY GROW UP, AND BECOME AN EMO BAND yeah..! no, but actually i do kinda see it ‼️ FINALLY THE FOLLOWING DAYS WILL FINALLY HAVE PURPOSE (dropping of teasers + stuff 🙏) CANT WAIT FOR THE AOTY AND ITS BANGER TRACKS TO DROP !!

JI MY MAIN SLAYER OMG 🫶🫶🫶 (you are a godsend like Actually.)

OKOK SO. ain't no way you clocked taesan AND woonhak's spoilers from two different places bc... as we know... YOU ARE RIGHT!!!!! im so impressed like actually you ate with that 🙇‍♀️🙇‍♀️ as soon as i saw the tracklist and the title i got so excited bc you predicted it!!

TRACKLIST. this is an insane lineup. i read an article (idk how accurate this is gonna be...) but somehow all the tracks are connected to love. so we're continuing the theme of conveying messages about life through the relationships we hold/held in the past, which is so interesting 👀 bc 19.99 was like that too for gonna be a rock and nice guy, but none of the other songs are really connected to love - but this one seems to be a bit more. concept with a message?? 👀 if anything, i think it's the reverse of 19.99 - title track is gonna be the least "love" related while the b-sides are gonna be more abt love ????

i do think that somehow (looking at the animations loll) step by step and is that true? are gonna be contenders for the next slgsts!! what are your thoughts for the vibes of each song??

and AYO i didn't know that abt zico's stories 🫢🫢 that could very well be the case... since woonhak was the main character in 19.99, we could be continuing the theme for no genre too!! BUT. i shall also propose the theory that the story meant he was working on the album... and the ⛄ emoji was bc of woonhak's involvement. bc omg. WOONHAK'S CREDITED IN EVERY SONG!!!!!! im SO ecstatic and so so so proud 🥹🥹🥹 woonhak is actually such a good member of production team like... he's going to go places. im calling it rn. (im gonna get emotional.... 😭😭😭)

and LMHOO comeback season is always such a chaotic time 😂😂 everyone's overanalyzing everything... but that's half the fun of it LOL

IT DOES MAKE SENSE!!! we'll continue waiting for more info 🤭🤭 CAN'T WAIT YES!!!

[hjnxx]

I've been trying to guess potential songs based on the disc so far, the aesthetic and lore and what I have so far is virtual angel and birth by artms, I am by ive, armageddon by aespa and maybe a couple of billie/loosemble/kiof/fromis songs

if i’m being so so honest with you, any song could be a possible contender for their music 🫡 the lyrics and the cohesion of the sound for their eps and future albums are the most important thing ! like i always knew i was going to use aespa and purple kiss because their sound is what im trying to emulate, but i honestly surprised myself with dreamcatcher this time ! definitely looking into their music for hjx’s discography i lovedddd shatter for the like. climax? of the ep? if that makes sense lmfao it’s every emotionally driven. love it sm

[rebeccakeyte]

One Week until Release Day!

Safe to say i'm behind my original schedule due to being too much of a perfectionist and spending a really long time mixing each track, and also some scheduling issues with my session drummer. However, I'm hugely improving and developing on my production skills, which was one of my main goals for the project from the start. I am learning how to problem solve faster than ever before, for example surgical EQ to get rid of small, specific frequencies in recordings that I dislike.

if worst comes to worst, I will have to cut up to two songs, (Radio, Are U Stupid and Skylines are contenders, due to feeling the least inspired surrounding them now in later stages). I really hope this isn't the case but I want quality, not quantity! However, I don't want the project to have less than 8 tracks, otherwise it will feel more like an EP, when I really am aiming to release an album.

Radio would be nice to have as an interlude between two tracks, however it's super short and potentially not essential. Although, it could make the album feel more like an album rather than a collection of singles. But these definitely aren't all radio friendly singles, for example Grey and Malachite are both almost 5 minutes long and have big instrumental sections.

I love the song 'Skylines' and it's all written but I still haven't started recording it. 'Are U Stupid' will most likely be cut as I have began to think it's a weak song in general, and I haven't finished the structure or even began writing vocals!!

On the bright side, I'm feeling very confident about Grey, Malachite, White Bridge, Broccoli, Black and Blue, Valid, and Three Weeks. That's seven out of eight. All depends if I have enough time to record Skylines properly! I hope so.

Marketing is slightly non existent right now, I will probably just post the album cover in the upcoming days and announce the release date. I mean I'm still posting on my socials regularly with meaningful content and gig activity, just haven't said I'm dropping an album on the 29th/30th yet, other than teasing some studio clips.

[newmusickarl]

Album & EP Recommendations

Album of the Week: Happier Than Ever by Billie Eilish

A woman who needs no introduction at this point, this week saw pop sensation Billie Eilish finally release her much-anticipated sophomore album, Happier Than Ever.

Now although I enjoyed her breakout debut When We All Fall Asleep, Where Do We Go? I certainly wasn’t as enamoured with it to the extent that some people were, finding it to be impressive but just a tad overhyped. However, with this album the preceding singles had caught my intrigue, with Billie showing early signs of greater artistic maturity. Turns out they were a good indication, as this album sees Billie and producer brother Finneas really coming into their own.

If you’ve heard any Billie Eilish song, you’ll be aware by now that she’s not your typical popstar. Where her peers will max out on glossy production and consistently push their vocals to the limits, Billie typically takes a much more subtle approach. With her brother co-writing these songs and steering the ship as it were, Billie’s music never once becomes overburdened with unnecessary sonic elements across the 16 tracks here. Instead, everything is perfectly understated, ensuring that the moments where the pair do loosen the reigns a bit and go full throttle, they happen with even greater impact.

This is evidenced early on, as the album begins with Billie quietly entering into a one-sided conversation with the listener - catching them up on how she’s Getting Older, “aging well” and offering her current thoughts and feelings surrounding her growing fame. Suddenly out of nowhere, the sound of a dog growling fills the audio for the start of I Didn’t Change My Number and a defiant Billie begins to chime in on the attack. The beat continues drawing shades to a growl in the background, before exploding into a ravey bark for the euphoric instrumental outro.

It’s the perfect one-two combination to start the record and from there the pair continue to control the right balance between restraint and sharp moments of extravagance – be it Finneas working his magic in the studio or Billie letting her voice soar beyond her signature whisper. At times this is even achieved within a single track, such as the gloriously tribal electronic pulse of Oxytocin, which for me draws comparisons to Crystal Castles, offering one of the real high points of this record.

Speaking of high points there are many to choose from here, including bluesy break-up anthem Lost Cause, which sees Billie tear into her undoubtedly regretful ex-boyfriend with playful wit. Single Your Power then offers a different vibe altogether - a stunning, beautifully written ballad where Billie pleads with those holding powerful positions to reflect on the responsibility they have to others. However, it is arguably the title track itself that tops the lot here, beginning as a gentle acoustic number with a vulnerable Billie, before switching up sonically and thematically midway through, erupting into an incredible, soaring rock song in which Billie sings of having no regrets.

It’s an absolute triumph of a song and really an absolute triumph of an album. After having such a successful debut and building such a huge fanbase, the pressure was on Billie and Finneas to deliver big with this record. With Happier Than Ever they have achieved that, successfully showing how they have evolved as songwriters whilst also delivering one of the most accomplished and well-crafted pop records of the year thus far.

Listen to Happier Than Ever here

Animal by LUMP (Laura Marling & Mike Lindsay)

Elsewhere, acclaimed singer-songwriter Laura Marling and Mercury Prize-winning producer Mike Lindsay have teamed up once again for their second collaborative album.

Animal makes for an endlessly enchanting listen, with Lindsay’s array of electronics, guitars and classical instrumentation offering the perfect backdrop for Marling’s angelic, folky vocals. It somehow manages to feel both experimental and expertly moulded, with the sound this creative partnership has forged having a bewitching quality to it that will really put you under its spell.

From the sprinkling synth patterns and big bassline of opener Bloom At Night, the whirring wonderment of Gamma Ray, the twinkling of instrumental Hair On the Pillow to the epic, jazz-infused conclusion of Phantom Limb, this is a really fascinating record that is well worth your time.

Listen to Animal here

American Noir by Creeper

And finally on the Albums & EPs front, Southampton’s goth-rockers Creeper revealed their latest rock opera in the form of this typically theatrical 20-minute listen.

What’s more, they’ve managed to make it work as both a continuation of the story begun on recent album Sex, Death & The Infinite Void for the hardcore fans, as well as an engaging standalone release for those not familiar. From the soaring majesty of Midnight to the flamboyant glam-rock of Ghosts Over Calvary, through to the string-tinged closer Damned & Doomed, all in all this EP makes for a really fun listen.

Listen to American Noir here

Tracks of the Week

In Blur by Deafheaven

Onto the tracks front then this week and post-metal outfit Deafheaven continue to tease their potential Album of the Year contender with their sublime new sound. In Blur carries on in the same vein as the other recent singles, with clean vocals and more melodic guitar textures layering their dreamy shoegaze sound. Culminating in some really scintillating guitar work, anticipation for this one for me is now at a fever pitch.

Listen to In Blur here

Mimi by Big Red Machine feat. Ilsey

Another teaser from Aaron Dessner & Justin Vernon’s next Big Red Machine album also dropped this week, with singer-songwriter Ilsey Juber joining Vernon on lead vocal duties for this wonderful electric folk track.

Listen to Mimi here

Skate by Silk Sonic

Just when it looked like Anderson .Paak and Bruno Mars would never release more than one track under their Silk Sonic guise, they finally dropped their second single Skate this week, which delivers fun nostalgic vibes of 70s R&B and soul.

Listen to Skate here

Blue Heaven by Public Service Broadcasting feat. Andreya Casablanca

Coming off the back of People, Let’s Dance which is still one of my songs of the year thus far, musical historians Public Service Broadcasting team up with Gurr’s Andreya Casablanca for the second teaser from forthcoming album Bright Magic. Completely different to the first release, this one is a brilliant, guitar-driven slice of dreamy indie-pop. Another album I can’t wait to hear!

Listen to Blue Heaven here

PMA by All Time Low feat. Pale Waves

A rousing pop-punk collaboration about Post-Modern Anxiety, All Time Low and Pale Waves make for a match made in heaven on this hugely infectious tune.

Listen to PMA here

Enter Sandman by Weezer

And finally this week, the latest release from Metallica’s Blacklist project is a respectful cover of the classic Enter Sandman by rock legends Weezer. Great vocal performance by Rivers Cuomo on this one.

Listen to Weezer’s Enter Sandman cover here

[fyexo]

191010 SuperM Aim to Conquer America By Staying Korean

A monolithic coliseum, intimidating and gleaming in the sun, materializes in the desert like a mirage. Inside, seven men clad in black and metallics stand tall in its center, facing the thousands gathered to watch them.

The scene that opens South Korean supergroup SuperM’s debut music video, “Jopping,” is an apt metaphor for K-pop’s most buzzed-about new act — donning their armor, the gladiators prepare to take on one of the most intimidating contenders of them all: the U.S. market.

In August, Korean music juggernaut SM Entertainment, in partnership with Capitol Records and its subdivision Caroline, announced that it would debut a new K-pop supergroup featuring the cream of the crop, pulled from some of SM’s most popular active groups. These acts combined (SHINee, EXO, NCT 127, WayV) have sold more than 14 million adjusted albums and garnered nearly four billion views of their music videos. Though SM has experimented with a few supergroups in the past, this announcement was especially mind-blowing to K-pop fans, as it promised to take a cross-section of some of the very best dancers, singers, and rappers in the business — an Olympic-level performance team.

Taemin, 26, is the industry vet, who joined K-pop darling SHINee as its maknae (youngest member) in 2008. Along with a successful career in the group as its charismatic main dancer, he also has made a name for himself through his popular solo work, dramatic and often androgynous looks, and sultry vocals. From EXO — a group so revered they were chosen to perform at the 2018 PyeongChang Olympic Closing Ceremony — is SuperM’s leader Baekhyun, 27, known for his killer sense of humor and soaring tenor. Then there’s Kai, 25, the ballet-trained dancer whose secret weapon is a combination of long, sharp lines and arresting looks.

From subunits of the 21-person umbrella group, NCT, is NCT 127’s bright-faced Canadian rapper Mark, 20, and its 24-year-old charismatic leader and rapper Taeyong. And from the Chinese-language unit WayV is the quadrilingual Thai triple-threat Ten, 23, as well as 6-foot-something, 20-year-old striking Hong Kong-born rapper Lucas.

While the announcement garnered a monsoon of excitement online, it was also met with a hefty dose of skepticism and criticism. Some were upset that the activities of NCT 127, EXO, and WayV would be put on hold, and felt bad for the remaining members. But the most vocal faction seemed to float somewhere in the middle, unsure of what to make of the all-star lineup. One thing was sure: the sheer talent would be next-level. But SuperM was notably announced as group aiming to appeal to an international audience and debut in the U.S. — would that mean stripping it of its K-pop identity to make it palatable to the American mainstream?

That fear was all but quelled with one word: “Jopping.” The lead single off of SuperM’s self-titled seven-track EP is a bombastic, genre-bending dance track that blends English and Korean, and even samples the Avengers theme — apt for the self-proclaimed “Avengers of K-pop.”

K-pop can now can add “Jopping” — a blend of the words “jumping” and “popping” — to its lexicon, joining the ranks of “Boombayah,” “Dumb Litty,” and “kitty-incidence.” Not only is the title very K-pop, but the song is classic SM. In fact, it evokes a specific company-coined sonic style called SMP, or SM Music Performance, which is choreography synced with a mix of rock, R&B, and hip-hop beats.

“It's our debut single and first appearance as SuperM, so we knew that we had to do something that shows off all our best sides — whether it be our style or each of our personas and characters,” the affable Mark tells Refinery29 following SuperM’s debut Los Angeles showcase. “We knew that ‘Jopping’ had a large feeling to it and we knew that only something that big could contain our performances, our raps, our singing, and our dancing.”

It’s a bold move. Many K-pop acts looking to make it in the U.S. have opted to collaborate with big-name Stateside artists, or even release straightforward pop/hip-hop English-language songs that do everything to hide even a trace of a foreign accent. But SuperM deliberately chose to take a risk.

“Now that we’re entering the American market, we could have released a song that suits the American taste better, but that’s not what distinguishes us as a group,” says Kai, a silver Rolling Stones necklace adorning his graceful neck. “We chose ‘Jopping’ because we wanted to show something that hasn’t been done in the States. Also, given that we’ve pulled together all these great members for this kind of performance, we saw a potential in this song to captivate the world and show our identity.”

“It gives us an opportunity to show fans a variety of styles, and prove that we can pull off anything,” adds the purple-haired Taeyong.

Dig deeper into the EP, and the tracks reveal a roadmap that winds even deeper into the group’s Korean identity. Take “I Can’t Stand The Rain,” an immense electro-pop song that opens with echoing traditional Korean drums and whose chorus is cradled by a classic haegeum melody. The synthy R&B B-side “2 Fast” features a classic K-pop tempo change halfway through, slowing down during the bridge before picking up the beat and adding undulating trills of vocal distortion.

“We’re from Asia,” says cotton candy-haired Baekhyun, who's taken quickly to his leadership role. “We wanted to emphasize the harmony between Western and Asian music. That’s why the drums and haegeum are on that Westernized beat [in ‘I Can’t Stand The Rain’]. With ‘2 Fast’, the sudden change within the track is very K-pop because K-pop itself changes all the time. There’s no limitation and it takes on many different forms. This song is just another representation of that, and how we try to differentiate ourselves.”

“I’m honestly constantly learning from these six people how we can best represent SM’s history and show Americans what K-pop is,” says Lucas, who palpably relaxes when he speaks in Chinese, his native language. “I’m learning how, through this music industry, to be a vessel for spreading culture, thought, and happiness.”

And people are certainly noticing. After releasing their EP, SuperM delivered a blowout debut showcase in LA. Hundreds of roaring fans gathered to watch their first performance in Capitol Records’ backlot, which was streamed live around the world on YouTube. The group has since sat on Ellen’s couch, and announced a 10-date North American tour that includes New York City’s Madison Square Garden. It’s a promising beginning for the septet, and something that Mark didn’t think he’d ever see growing up.

“Growing up in Canada and being in the West, nobody really knew about K-pop unless they were Korean,” he says, his expressive eyes growing contemplative. “To see a Korean group like SuperM that’s so powerful, making an impact on America and sharing their energy and story, and to have Amercian fans come and run to us to see our synergy, is something I’d never thought that I’d see, nevertheless be a part of. I always try to remind myself how lucky I am to bridge two cultures together. It’s a cool moment.”

Though the EP is rumored to make a strong debut on the Billboard 200 next week, it seems unlikely that the average American will be "jopping" anytime soon. But it’s not about simply putting out songs that can dominate charts or airwaves right away — if that were the case, we'd be hearing a much more Western-sounding lead single.

It all comes back to an ethos instilled by SM’s founder and K-pop pioneer, Lee Soo Man. “I love what I heard from him yesterday,” says Ten with a quiet confidence. “Be humble, and learn from other people. Don’t put yourself above other people. Then, if you do that, you’ll rise higher without knowing.” It’s about promoting cross-cultural understanding, and hoping to change minds enough for the world to make room for what Korean culture has to offer. “K-pop itself is not just a music genre, but a whole cultural phenomenon,” says Taemin warmly. “It includes fashion, music, and so much more. When other people look at K-pop with a more traditional Western lens, or when people listen to it, it may sound like a combination of all different genres. Although it might sound unfamiliar at first, I think it's in the process of being blended into the mix of U.S. culture. Hopefully, SuperM can also make a contribution.”

source: Natalie Morin @ refinery29

[elixirsoflife]

my current pdx101 picks (ep.8)

another elimination has occurred and while most of my picks are through (thank god for that), a couple of them are out or have dropped in rank 🙃🙃

anyways without further ado, here are the ones i am keeping an eye on. fixed picks are non-negotiable with any combination of the strong contenders. i haven't thought about the logistics of positions (e.g. main dancer); these are just the people i'm drawn to.

fixed picks

1. cho seongyoun, rank 17: all-rounder of the year. hand on my heart, i believe him to be the strongest contender there. does this man have a single weakness or flaw? the answer is no. this episode showed so much of his personality which i'm so glad about bc it's amazing. who knew mnet could do some things right?

2. choi suhwan, rank 29: i legit spent a good chunk of last week agonising over suhwan's potential departure, especially after he was robbed in the position evaluations. at this point, i don't think he'll debut, but i hope he wows enough people in the concept evaluations to get signed by a company ♡

3. kim yohan, rank 3: he's a PD pick, but i can't help but love him anyway. he lightens up every room he's in and is just so charismatic. would not mind him in a rapping position

4. song yuvin, rank 12: made to be main vocalist, like his voice is sooo stable. has great chemistry with other trainees and he makes me laugh in nearly every scene he's in.

5. lee jinhyuk, rank 2: my reaction today when i saw how high he's climbed confirmed it for me that he's one of my fixed picks. that angel edit did him solid and i am loving it. tbh i would prefer him as a lead rapper rather than a main, but as long as he gets to shine, i'm cool with it

strong contenders

6. nam dohyun, rank 7: what a funky little rapper. the genius edit is a bit overdone, but it's true: his rapping ability is amazing for his training period. just imagine what he'd be like once he fully blooms?

7. han seongwoo, rank 9: everyone loves seungwoo and that includes me. was honestly so surprised to find out that he's a rapper, like what?? with those vocals?? wow another all-rounder here to claim everything

8. kim hyunbin, rank 25: my passionate baby. i feel like the only thing he lacks (and literally the only thing) are solid relations with other members in my line up, but i'm not 100% sure of that. if anyone knows more about that, please let me know!

9. lee hangyul, rank 15: i had him as someone i was interested in last week, but he is now a strong contender. i know bc i realised i lowkey rooted for him once i knew who he was and i just love his personality, he seems so nice and humble. i saw the relay cam of his and something about the way he interacted with others sold me. also (and i swear this doesn't affect him being on my list), the boy's visuals are no joke.

12. choi byungchan, rank 16: i love his personality, i think he'd be a riot on variety. i think his vocals deserve a lot more praise than they get too. out of the plan a boys, he's less likely to make it, but i'd love it if he did.

people i'm keeping an eye on

11. kim sihoon, rank 24: i moved him here from 'strong contender' after a bit of deliberation. i still am very much interested in how he fares on the show, but when i compare my interest in him to others, there is a noticeable difference. i think he is someone i'd be interested in regardless of whether he makes the final line up or not. (i've heard rumours of how fans think he might end up in ab6ix as a late member if he doesn't debut in pdx101).

12. kim wooseok, rank 1: again, i've accepted him as part of the final line up and have no problems with it, but i don't particularly stan him. although! i will say we did get a better insight into his personality in this episode and in the karaoke battle. he seems really... snarky in a good way? a little tongue-in-cheek? i really need to check him out in up10tion

13. son dongpyo, rank 11: i feel rlly sympathetic to him for being the only center to fall out of the top 10 and don't think he deserves it. not going to name names, but he is definitely more talented than a lot of the younger trainees in the current top 10 and has the cutesy image they like so i'm not sure why he's not there. now that he's toned down on the forced aegyo a bit, i can appreciate him more.

14. kim kookheon, rank 22: i can't believe i forgot to add him! i'm absolutely obsessed with the believer performance and he is someone who i keep getting drawn to in that. also he just seems like a stand-up guy.

- won hyuk

- lee midam

ep 5 | ep 6 | ep 7

[rkmason]

    ▰▰▰▰▰▰ MNET GLOBAL AUDITIONS, SEASON 5 ˟ EP 4 INTERVIEW ▰▰▰▰▰▰

he swears it must get more difficult to judge each week— because he can see the growth, the passion, the changes everyone is going through. it shines in their performances and sometimes he thinks he’s the one who should be starstruck or bowing like daniel did to him earlier. why should any of them be doing it to him? it’s not something he expects or hopes for— all he can truly hope for is being seen for who he is, for his talent, but hey can’t ask too much especially when mnet is involved right? gotta stay on your toes. speaking of which, he hopes the interviewer is on her toes because surprise surprise, he’s holding out his hand, bowing at the waist, to give her a rose— before anyone asks, hell yeah he would’ve still done it for a guy, probably exaggerated more and kneeled down on one knee but he’s keeping his song choice in mind: hey i don’t wanna go too fast. 

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Q .  what did you think of the results last week?

"i’ll say this every week. we see talent going home, that’s always a shame but it was surprising to see jinyoung go.” he wants to say that he suspects it’s for ratings but there’s some things even he won’t say with his shameless nature. give him some credit, he’s growing up a little. “doesn’t he have it all? he’s got that... it’s called that chic city guy look right? tough city guy? it’s one of those... but he looks like he’s walked off a drama and he can sing. i can’t say that much for myself,” minho jokes. sure, he’s taken singing lessons and he’s definitely improved but he’s no main vocalist, not by a long shot. couldn’t even dream of it. 

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Q .  how was it working with your partner?

"seunghun was great. hey, keep this between us but i wasn’t sure i could get as good a partner as i did last week but him and nakyung? you sure you wanna ask me that because i’ll go on for hours? they’re both talented in different fields and i loved working with them. seunghun and i have different music tastes and styles but put us in the studio together? it’s beautiful. ah, we’re pretty flower boys, didn’t you hear? i hope you interview him too.” it’d be cute if she ended up getting flowers from both of them but if it’s someone else... great way to share the love, right? 

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Q .  thoughts on your performance?

"i think we bloomed on stage, don’t you? ah, spring has come and the flowers are beautiful.” way to sound like a wistful old man, minho. way to go, but he can’t help the cheesy metaphors. “i think we went all out in the way we could best, by bringing out the best in each other and letting each other shine while working together. isn’t that the best way to perform as a duo?” 

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Q .  favorite performances? 

"is anyone surprised if i mention sakura here too? i haven’t heard her speak spanish before so i was shocked! but it was a good stage and she had good chemistry with her partner. he’s very talented too. wow, just so much talent on this season. come on, can’t the judges tell us their secret in figuring out who’s best each week? good thing i didn’t become a critic of anything. i bet i can’t make a diss track. what kind of rapper am i?” he laughs, shaking his head. “wait, i could be a positive rap icon like will smith but his career kinda... it’s good in music, right?” 

“nakyung has a way with music and so does jungeun-ssi. i think they worked really well together and it was great to see a different side of the both of them. both ended up doing parts of songs i wouldn’t have imagined for either of them.” nodding, he recalls the performance with a smile. “i could say it over and over but nakyung has so much potential it’s insane but maybe i’m biased,” minho laughs, more than okay with that aspect of himself. 

“i think there’s a few contenders people think do well every week and consistency is a great thing.” there’s definitely a few he has on his mind. “seeing what everyone comes up with when we’re assigned partners is amazing. imagine what you could do when you choose teams. but that’s the fun part of it all, the guesswork and the worrying. i know that’s contradictory but it’s exciting. working with new people... how can i pick a true favorite when i know everyone is giving their all?” 

there’s more he could say about performances he was shocked by in a different way but when he thinks of what he just said, he can’t say he had any least favorites either. how daring another group decides to be isn’t his decision. in the end, it’s up to the judges and hey mnet doesn’t air every second and he recalls a few edited out moments of shows like uprs season 3 with a soft chuckle. 

then there was the performance that was cut short and he thinks it was a shame but... he’s confused about how you wouldn’t notice and he writes it off as loving the performance too much to notice. caught up in the moment. in the end, aren’t they all? 

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Q .  anyone you think should come back?   

“it’s unfair of me to say everyone, right? mga season 5 coming at you until 2020, then i could really make the joke about my old number right? but i think i’ll say jinyoung will come back... if he doesn’t, i wouldn’t be surprised if he’s scouted soon. don’t you think he could’ve been a pretty flower boy with me and seunghun? he suits the image, so do a few other contestants.” he almost asks if that’s next. group battles or by gender even like the finale of season 4 but he stops himself, decides to hold onto it for now. “if we’re saying out of all the contestants so far... i’ve got a few friends i wish i could see on stage again,” minho chuckles with a soft smile. “we’re all at the mercy of the judges though, right?” 

PROFILE / SKILLS / AUDITION / EPISODE 1 / EPISODE 2 / EPISODE 3 ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ EP. 4: PERFORMANCE / INTERVIEW

[keyofjetwolf]

As requested, here’s my quick notes on each of THE GIFTENING finalists. Mostly (theoretically, but it IS me) just “haven’t seen this”, “saw this and loved/didn’t like this”, stuff like that. I’ll try not to get into too much while still being honest, as I don’t want to impact the voting more than necessary.

Under the cut for those who’d rather not!

ANIME

A Place Further Than The Universe: Never heard of it, I know literally nothing beyond it’s an anime, and has a lot of words in the title.

Aggretsuko: Never seen it, though I know the main character is a VERY angry red panda.

Azumanga Daioh: I have absolutely no idea what this is about, though I’m pretty sure it’s just part of this general anime milieu that is a fact of life on my Tumblr dash. Maybe it involves a two-toned fanged bear? I DUNNO

Card Captor Sakura: I did this for THE GIFTENING 2016, and really didn’t care for it much.

Full Metal Alchemist: Brotherhood: I did this for THE GIFTENING last year and really enjoyed it.

Gekkan Shoujo Nozaki-kun: All I know of this is that it’s been a strong contender in THE GIFTENING every single year.

Magic Knight Rayearth: I watched all of this waaaaay way back in the day. I remember Umi. I think the other two were Fuu and Hikaru? I wanted to punch the marshmallow bunny thing in the face.

Ouran High School Host Club: Hubby watched this and liked it. I think it’s the Kiss Kiss Fall In Love thing from the memes and there’s something about vase smashing, leading me to assume the main character is Link from the Zelda games.

Princess Tutu: I first did this for THE GIFTENING 2016 and have since had it voted in occasionally on my Patreon. I really like it.

Revolutionary Girl Utena: Has appeared in the past two GIFTENINGS, and has also been voted in on my Patreon from time to time. It’s crackerballs and delightful.

Sweetness and Lightning: A wildcard in last year’s GIFTENING and a surprise joy. I’ve seen no more since.

NON-ANIME

Batman: The Animated Series: I’ve seen the odd one or two episodes and thought they were pretty good.

Gargoyles: I watched the first four or five when Doc streamed them. I wasn’t super impressed.

Gravity Falls: Consistently voted as my Patreon liveblog and I’m super into it.

Over the Garden Wall: I liveblogged the first few eps for my Patreon, then watched the rest on my own and enjoyed it.

She-Ra and the Princesses of Power: I’ve seen the whole series and love it.

Teen Titans (2003): The Titans is one of my favourite DC books and while I haven’t watched the whole series, I did enjoy it when it was airing (and I could catch it).

X-Men Evolution: The X-Men is my all-time favourite superhero team, and Evolution is one of my favourite incarnations of them.

LIVE ACTION

A Series of Unfortunate Events: I’ve read (or, rather, Holligay’s read to me on road trips) the first four or five books. I’ve seen a song from one of the episodes. I know Mr. Trick plays Mr. Poe and that’s cool.

Brooklyn Nine-Nine: I watched the first couple episodes for last year’s GIFTENING, and while I enjoyed it, I found liveblogging it difficult.

Buffy the Vampire Slayer: One of my life’s major fandoms. Things got difficult for me (THANKS JOSS), but if it’s voted through, it won’t be a problem.

Galavant: #jet wolf watches galavant

Golden Girls: Loved it when I was little, did a complete rewatch a couple years ago and found it mostly holds up.

Great British Bake-Off: Fun show, love to watch it, dead to me without Mary, Mel, and Sue.

Leverage: I watched the first few episodes a bunch of years ago and liked it but probably got distracted by something shiny and never went back. I know Tumblr fucking loves it.

Orphan Black: Only just started watching courtesy of @skylineofspace​ but really like what I’ve seen so far.

Pushing Daisies: Heard of it, never watched, don’t think I even know the premise. Something about undoing death?

The Good Place: Part of last year’s THE GIFTENING and a rare sitcom that works for liveblogging. I’ve since seen all of S2. I absolutely cannot with the romantic turn for Eleanor and Chidi and it’s about sucked all interest out of me for S3, about which I am deeply bitter.

Twilight Zone:��Often brilliant, many episodes I’ve not seen/don’t remember.

Xena: DOES ANYONE LOVE XENA AS MUCH AS ME I DUNNO I DOUBT IT (sorry that was lacking in every drop of chill but come on)

MOVIES

Black Panther: Saw it, thought it was great.

Clue: One of my favourite movies when I was little and I still kind of love it.

Coraline: Never saw it, never read the book.

Kiki’s Delivery Service: Haven’t seen it, and should note I’ve not really enjoyed the previous Miyazaki movies I’ve streamed.

Legally Blonde: Haven’t seen it

Madoka Rebellion: Haven’t seen it, have not heard kind things said of it on the Tumbles.

Moana: Didn’t see it, and something being Disney doesn’t automatically carry any particular emotions for me.

Ocean’s Eight: Haven’t seen it but wanted to.

Spider-Man: Into the Spiderverse: I haven’t seen it, though Mike and Jill did and loved it. If this wins, please note that I will not pirate the movie for streaming, so it’ll be, like, me going to the movie theater and then chatting about it afterward or something.

The Last Unicorn: I did this last year for THE GIFTENING. I didn’t like the movie much, but the stream was a ton of fun.

The Mummy: Saw this for the first time last week, I think it was, and enjoyed it.

The Princess Bride: Don’t like it. Really really don’t like it. I’ve watched this multiple times to try and figure out what I’m missing. I still have no answers.

Thor: Ragnarok: Saw it, thought it was marvelous.

Wonder Woman: Did this for last year’s GIFTENING and thought it was okay. I’ve since seen it again and enjoyed it more the second time.

I’m not sure games or miscellaneous needs any thoughts from me, but if you think they’d be helpful, just say and I’ll do my best. Speaking of helpful, I hope you found this worthwhile too! Next year, I’ll see about doing something similar to this maybe around the second heat, when we’ve managed to cut down the nomination lists significantly, but before getting right near the end.

Also, next year for movies, I think I’ll automatically trim out anything that hasn’t yet been released on DVD or streaming, just eliminate that potential conflict before it even starts.

You guys still have over two whole days to cast your votes SO GET TO IT

Anime

Non-Anime

Live Action

Movies

Games

Miscellaneous

[starryeosang]

hehe!! obviously, your taste is just as amazing!! i'm lucky i get to be an anon for you ;; and aww you must've been really emotional!! since it's a meaningful comeback for you as well! i stanned them during debut era, hehe,but it took me quite a while to learn their names and fully stan, since i was busy with many other groups! i fully fell into the atiny life in the early days of say my name era, though! and i literally have so so much to say about pristin and their potential..i hate pledis -🐇

i don't know if we can really count bol4 as a girl group since they're a duo of artists more than actual idols but.. i love them so!! AND I CAN'T WAIT FOR CHUNGHA'S COMEBACK EITHER i'm so ready!! i'm curious to hear what she'll show us this time 💞 (since i never listen to teasers because i don't like spoiling myself the music) and that sounds like a nice lazy day 💕 i'm glad you got to relax like that! my day was nice too! i went to eat cake with my aunt at this really good place!! - 🐇

i listened through the playlist and i love it!! first of all i already knew don't need your love & highway to heaven, both of which i absolutely adore!! they also inspire me to write a lot,, though i still need to get to the actual writing process ksjfosdn then of course UTOPIA IS SO GOOD as expected from ateez,, it was a strong contender for my favourite song from the album! i didn't get around to listen to red velvet's new album & jaehwan's debut album yet, though! so (...) - 🐇

it was really nice to hear these really good songs, i'm more motivated to finally listen through them now!! parade was really nice, and i really loved blow me!! i'm glad jaehwan didn't decide to go for a full ballad album, and went for versatility instead!! now, our summer is my favourite song from txt's debut album, but i didn't hear the acoustic version until now... it's really beautiful, i was taken aback by it, i usually don't enjoy remixes/arranges that much!! though you can't (...) - 🐇

you can't go wrong with an acoustic version, right. i really liked it, its vibe is different from the original, but it's still a very nostalgic end-of-summer-memories kind of song... AND FINALLY hold on me is so amazing... you might just have introduced me to my new favourite song, maybe.. i really loved it that much.. i'll definitely download it onto my phone! and oh my gosh i'm sorry, i didn't realise i was ranting so much,, sorry!! ;; - 🐇

-------------------

Okay, I want to apologise again for not being able to answer these earlier, but I do feel much better now so I’ll definitely reply to everything promptly ^^ also do not worry about ranting, i love love love reading it and answering! (My awfully late response may not indicate that on this occasion, but I swear there’s absolutely nothing to apologise for) 

Yes, it did feel quite significant in my heart hehe i’m glad they’re receiving success! i can’t lie, it literally took me 3 hours to learn their names and faces, but it helps there was a good amount of content and help (again credit to @wangtaeil​ for that!)  

omggggg bol4 are so awesome, of the songs I’ve heard I have enjoyed them so much! I don’t want to spoil too much for you, but it look and sounds like a bad-arse concept for Chungha, she’s so versatile and just downright amazing!

CAKEEEE CAKE CAKE CAKE, which flavour was it? That day sounded nice for you too, I’m glad to hear you enoyed it  ^-^

 oooooooo what kind of stuff do you write? (only if you’re comfortable talking about it of course <3) 

What was your favourite song from ATEEZ’s third EP?

Me toooo, Jaehwan’s mini had so much variety, I enjoyed it way more than I expected!! 

Our Summer was my favourite song too and you are correct! Can never go wrong with an acoustic version, people who heard it at the showcases are so lucky, it’s super duper lovely~ WOW WE SHARE THE SAME VIEWS, remixes sort of feel like a waste of  a track imo when they add it to an album, one would rather hear a new song than a remix... (looking at blackpink’s Dx4 remix) 

AAAAAAAAAAAAAAAAAAAAAAAA I’M SO HAPPY TO HEAR JUST HOW MUCH YOU ENJOYED HOLD ON ME. When you have a chance, you should watch the performance of it, the dance reminds of signature Infinite performances T^T the Dream Concert made me particularly emotional the support of inspirits in the crowd, his little smiles throughout the performance and Woohyun’s soulful voice just transports me away (whoops now i am ranting, sorry!!)

[makeyourownmyth]

Favorite Heard in 2018.

Same caveats, but even fewer.

There really weren’t any songs that everyone loved that I thought badly enough of to list as antis here. I will say that the Drake-ification of rap has had even worse effects that we thought it would, with mumblerap dominating everything. And there’s some notable absences on the lists, but those are definitely purposeful. 

Honorable Mentions:

Troye Sivan - Blue Neighbourhood. Bloom was OK, but it took me to Blue Neighbourhood, which I had somehow missed. He’s amazing, I’m in love.

Black Panther Soundtrack. The Kendrick influence and brand is strong, but it’s really the more outlier-y style songs (like “Redemption”) that make this album as good as it is.

Alex Lahey - I Love You Like A Brother. This album actually came out last year, and it should have been on my list then and it wasn’t and I’ve spent a year embarrassed by that fact.

Billie Eilish - She didn’t actually release a new album this year, but all the singles were great and she’s a phenomenal talent.

Travis Scott - Astroworld. If this list would have been completed the month Astroworld came out, it might have been #1. But it lacks the sticking power to make something part of the truly good list. But he definitely made me a believer after spending time being at least partway a hater.

The Internet - Hive Mind. This album is good with a side of weirdness. Earl’s album is weird with (maybe?) a slice of goodness. And yet his album is ending up on a bunch of best of lists and Syd’s band isn’t. That’s wack. This one’s the winner if we’re comparing the two. But we don’t even need to do that. This one stands up all on its own.

Meek Mill - Championships. From the banging intro to the collab with Drake to “What’s Free” with Jay and Ross, this one goes hard. It’s a great Meek Mill album. You know exactly what you’re getting.

Pusha T - Daytona. Better than all the other rap albums on this list, almost made the real list. He’s so good at what he does, and “If You Know You Know” is one of the best openers of all time.

Tierra Whack - Whack World. If you haven’t heard this album, you should be ashamed. It’s only 15 minutes. Go listen! Then appreciate it and listen to it again. It’s great. She’s gonna do amazing things. 

Jeff Tweedy - Warm. I’ve been thinking about Jeff Tweedy and Wilco a lot this year, maybe because I read the book Learning How to Die. And I know this isn’t a Wilco album, so I know it’s apples to oranges. But I can’t shake this thought, regardless. I’m not sure there’s another band we have whose “universally acclaimed ‘best’ album” is almost certainly NOT their “best” album? I mean, post-YHF Wilco is super different. They stopped trying to be that band, but between Sky Blue Sky and A Ghost is Born and now this solo record, I’m pretty sure those albums (and this one, which I know isn’t a Wilco album) are actually better? It’s just really, really, really good. 

boygenius - boygenius. The best thing about this EP is that all the songs are solid and some are lifetime best material. The worst thing is that we’ll probably never get this collaboration again. 

Beach House - 7. Shockingly good after their odd turns on the last couple. I’m not ready to have complete faith in them just yet, but I’m glad they’re coming back around. 

Snail Mail - Lush. Solidly good, almost to great territory. Soccer Mommy got all the love, but I think this album is actually better? 

Charli XCX - Pop 2. It’s good. She deserves more credit than she gets, and she already gets a lot. 

Soccer Mommy - Clean. Not as good as the near-universal critical acclaim, but still a very strong album.

Cat Power - Wanderer. That cover of “Stay” is incredible all on its own, but the album really holds up on its own merits too. I can’t believe she’s still making music this good. 

Chvrches - Love is Dead. It took me a couple listens to actually think it was good, but it is. It’s a side step from their last 2, which I don’t love, but I’m happy they’re doing what they want to do. 

Buddy - Harlon & Alondra. Remember when he was next up and had an awesome voice? It seemed like his potential was gonna go untapped, but this album shows it’s not dead yet. It’s not quite Best material, but it was unfairly slept on. 

Best Songs:

"Backpack” - Alex Lahey. Same comment as her album. I know this came out last year. But I’ve spent a year being embarrassed by forgetting it, and she deserves a spot. 

"Thank U, Next” - Ariana Grande. Sweetener wasn’t bad, but this was way better. It took Mac dying, her concert tragedy, and breaking up with Pete to get the best Ariana we’ve ever had. 

“DJs Gotta Dance More” - A Trak. This is the type of song that I could listen to non-stop for the rest of my life and be perfectly content. 

“Missing U” - Robyn. She’s a queen. What do we expect? It’s solid gold. 

Dirty Computer Quartet - From the start of “Screwed” until the end of “Make Me Feel” Janelle Monae has my heart for all time. It doesn’t get much better. 

9. “Nice For What” - Drake. He’s fine. The best thing about this song is the Lauryn Hill. But it’s catchy as hell.

8. “Apeshit” - The Carters. It’s been a long time since my jaw dropped on a consistent basis listening to Jay. I’m happy it’s happening more, and even more with his wife outrapping him.

7. “Havana” - Camila Cabello. Earworm.

6. “Lemonade” - NERD. The Vampire King returns, recruits Rihanna to rap, and it sounds so good.

5. “Shallow” - Lady Gaga. I honestly haven’t even seen the movie yet, but this song is almost perfectly crafted. It sounds like it could have come out of any classic era. It does exactly what it aims to do. 

4. “Look Alive” - Blocboy JB. I don’t really even want to talk about how good this song is. It bugs me how good it is. 

3. “I Like It” - Cardi B. The album wasn’t bad, but she literally could have released just this song, and it probably would have sold just as many copies as the album did. The perfect song for driving during summer with your windows down. 

2. “The Story of Adidon” - Pusha T. My favorite song of the year. It taught the kids about real rap beef. From the cover art to the line about 40, it was shocking. Did he go too far? Yes. Do I think he shouldn’t have? No. Too bad the kids all ignored it and still rock with the Canadian. 

1. “Girls Like You” - Maroon 5. The most perfect pop song of the year. It sounds like it was cooked up in a magical song laboratory, and I don’t mind that at all. 

Best Albums:

7. Kacey Musgraves - Golden Hour. This album goooooeeeesssss in. She sings about all the typical things you’d expect from a country album, and then changes directions, too. 

6. Mac Miller - Swimming. We can’t ignore the fact that his death almost certainly affected the placement of this album. But even if he was still with us, Mac was progressing and growing, just like he has with every single album, and this would have been a serious contender. I still can’t listen to it without crying.  

5. The Carters - Love is Everything. Continuing the trend of old people being able to rap and do it well is an important reason this album gets to be this high. Also, it puts on fitting cap on the Lemonade/4:44/Love Trilogy. 

4. YG - Still Dangerous. It’s crazy how shit falls off when you don’t have a press-baiting single like “FDT” but YG is still making crazy good music. This album is not as good as the last 2, but it’s still super important to have an older perspective out there, representing for Cali G Funk in 2018. 

3. Vince Staples - FM! I will never forget where I was when I heard this album for the first time, and that’s an increasingly rare thing. In a time when there’s plenty of weirdo kids who are really good rappers, with the amount of praise that Vince gets, it’s still a possibility that he’s UNDERrated. He’s a voice we need, and this album is a perfect little piece that he created to share that voice. Everything he’s done has been great, and this is no exception. 

2. Janelle Monae - Dirty Computer. Give me all Janelle everything. This album could easily have been #1. Every part of it feels purposefully thought out and well executed. The video version was great, the singles are all bangers, the lyrics are necessary, and the themes are pushing all the right buttons. 

1. Camp Cope - How to Socialise & Make Friends. I knew from the moment that I listened to this album that it was going to be my #1 in December. The fact that I’m still writing that in December, when the album dropped in March, is a testament to its staying power. From “The Opener” to the very last track, there’s not a moment of let up. These kids are super promising, and they have already done something phenomenal. I cannot wait to see what comes next for them. 

[twilight-adamo]

As Dreams Are Made On: The Mixtape - Liner Notes

Hello everyone! I am currently in the process of gathering my thoughts on Brave New World and trying to get the next installment of These Our Actors (which will focus on Rosalie) just right, in addition to trying to find my thread on Out of the Blue and other non-Twilight projects. This has been complicated by the fact that I’ve been fighting a couple rather nasty nose and throat bugs of late, and so this weekend I’m doing my best to relax and recover.

In the meantime, I thought I’d start offering up my notes on the Spotify playlist I posted a while ago and why I chose the songs I did. For anyone who didn’t see the link, here it is:

https://open.spotify.com/user/12153099402/playlist/5IYjYDbcM6qvQ2hgGnOCGF?si=orkjWU50SjKm7xbPSF_r5w

Since many of my choices do relate directly to specific plot points, there are potential spoilers ahead, so I’m putting this behind a cut. I won’t get through every song in this post, but I’ll add additional notes in subsequent posts as time allows.

As I think I mentioned before, I find playlists to be a very useful tool in my writing. It’s possible to spend too much time tinkering with playlists, of course, so I try not to do it in place of writing or outlining - this is just something I work on when I’m occupied with non-writing tasks that allow for a certain amount of downtime. Each song tends to relate to a plot point or an emotion I’m trying to evoke in a certain part of the story, and the sequence generally follows my outline of the plot, though I’ll sometimes put the playlist on shuffle if I’m feeling stuck and want to try and shake things up, and I sometimes end up adding, removing, or resorting various songs as my understanding of the plot evolves. Since As Dreams Are Made On is done, the current version of the mixtape - all 49 songs - is now pretty much in its final form, but when I’m working on a story, the associated playlist is very much a living document and subject to change.

Music has always been a hugely important part of my life, thanks in large part to my mother, who was an influence on much of my creative output. I tend to think of myself as a visual and verbal person first and foremost, but music has the power to set my mood, to reawaken old memories, to align my thoughts, and to soothe my emotional turmoil. My personal tastes are fairly eclectic - my mother favored country, and I’m still fond of the genre, but I also listen to a lot of pop, classical pieces, musical theatre, folk music, movie scores, and so on. Spotify has been kind of a godsend when it comes to building playlists, though there are unfortunately a few pieces which should be on the mixtape but aren’t simply because they’re unavailable on Spotify. I’ll try to make a note of those missing pieces in the appropriate sections.

Right, well, without further ado, let’s get to the songs.

Pieces and Pieces - The Rough and Tumble This song’s sort of a thesis statement for the whole story, in a way. The refrain, in particular, speaks to me of where I was going: Nothing is lost when it’s been found again / Everything’s found where it was lost. Cass/Bella (or CB, as I refer to her, when I’m not simply calling her Bella) has seemingly lost a great deal, but she comes to gain a great deal as well, and to recover things she thought lost to her forever. The line “I will make you mine again, pieces by pieces” also speaks to me of the story’s dramatic climax, where the nature of CB’s relationship with Alice becomes clearer.

Where Is My Mind? - Pixies Here’s where we’re getting into the actual sequence of events. This one might be a little bit of a cliché, but it reflects CB’s confusion when she wakes in the world of Twilight. It’s also just generally one of my favorite songs.

Turning Page - Sleeping At Last This is the first of many pieces pulled directly from the soundtrack of the Twilight films, and the first song that centers a character other than CB, as it reflects Alice getting hit by the mating bond full-force. It’s a lovely piece, but I think there’s an undercurrent of anxiety and some slightly ominous elements that suit Alice’s mood well. Love at first sight sounds like a pleasant prospect, but it’s also a frightening one, and neither Alice nor CB would have chosen it, given the chance to choose.

Iowa (Traveling, Pt. 3) - Dar Williams Another of my favorite songs. I listened to a lot of Dar Williams in college, and listen to her fairly often still, but I keep coming back to this one in particular. As a lifelong New Englander, famed for what my great-grandmother called ‘the Yankee reserve’ (which means we don’t tend to wear our emotions on our sleeves and generally we keep to ourselves), these lyrics in particular speak to me:

But way back where I come from We never mean to bother We don’t like to make our passions other people’s concern And we walk in the world of safe people And at night we walk into our houses and burn

So, to me, this song speaks of CB’s struggle with her own emotions as her life in Forks begins and she grapples with the mating bond and all it implies. And it also speaks to her background as a lifelong Bostonian, who doesn’t like to be a bother but nevertheless finds herself in a whole new social context and a position where she needs to reach out to others to survive.

Heads Will Roll - Yeah Yeah Yeahs This is Rosalie’s introduction to the story. I don’t really know why, it just seems to suit her, somehow.

Bela Lugosi’s Dead - CHVRCHES It may be physically impossible for me to write about vampires WITHOUT using this song. I just felt like I had to fit it in somewhere, and the first meeting with the rest of the Cullens (sans Carlisle and Esme, of course) seemed like a good spot.

Looking for a Place to Shine - Deidre Thornell Hear the Bells - Naomi Scott I’ll be honest, I don’t have a lot of compelling reasons for these two. They just seemed to fit the sort of transitional period between the first meeting with the Cullens and Leah’s introduction a little later on.

Red Eyes and Tears - Black Rebel Motorcycle Club Leah’s introduction to the story. Again, it just seemed to suit her.

New For You - Reeve Carney We’re back to Alice with this one. It sort of reflects her own emotional turmoil in dealing with the mating bond and having to accept that CB doesn’t necessarily reciprocate all her feelings just yet.

Fearless - Taylor Swift Well, this one actually comes up in the story, so you can pretty much guess where it fits in. Again, though, it’s one of my favorite songs, and speaks to the joy that I think love should carry with it, and the idea that love should drive us forward and make us better. It’s been a serious contender for the first dance at my hypothetical wedding for a long time (though “A Thousand Years” by Christina Perri may be beating it out now).

The Mercy of the Fallen - Dar Williams More Dar Williams! This one...I don’t know. Somehow, it speaks to me of love and acceptance, of individuals who are all burdened and broken in their own ways reaching out and comforting one another. And that, in turn, makes me think of CB’s first visit to the Cullen house: her first real conversation with Rosalie, her introduction to Carlisle and Esme, all of that. This is where she really starts to build bridges, I think, and where she and some of the others begin to open up to one another.

Bella’s Lullaby - Carter Burwell, Dan Redfeld and Elizabeth Hedman This is of course one of my favorite pieces from the Twilight movie score, and includes a leitmotif that comes up more than once in both the films and in my playlist. I couldn’t find the original version from the score itself on Spotify, but this cover works. Of course Edward plays it on the piano at this point in the story, reading it out of CB’s thoughts, and I think she adopts it in a sense as a sort of personal theme. Every time I listen to it, it makes me think of soaring pine trees and crisp, cold air, and I find the melody very soothing.

Missing Piece: Star by Star - Cassandra Lease and Melissa Carubia Someday I’m actually going to get together with the friend who helped me with the arrangement on this one and record it. It probably won’t go up on Spotify, but I’ll likely post it somewhere. This is the song I wrote for my mother’s memorial service; the lyrics are of course reprinted in the story in their entirety. This is probably one of the most personal elements of the story, the point where I really started to spill my guts across the page. I obviously backed off a little from my own life once I introduced Callie to the story, but there’s still a lot of my soul buried in the text; sometimes, I think, too much.

Bella’s Lullaby (Extended Mix) - The Twilight Orchestra I’m not really sure why this shares the name Bella’s Lullaby when it doesn’t seem to have much to do with the shorter piece, but whatever. This is just a lovely piece that sets the mood for Alice and CB on the rooftop and the events that follow.

Possibility - Lykke Li Similarly, this is more of a ‘setting the mood’ song. I don’t think the lyrics quite fit, in their entirety, but this basically represents CB awakening to the possibility of forming a real attachment to Alice, despite her qualms.

Shake It Off - Taylor Swift Another (highly anachronistic) Taylor Swift song that shows up in the story itself. I can be an extremely basic white girl at times.

Bad Reputation - Avril Lavigne The Joan Jett version isn’t on Spotify! I don’t know what to tell you! This cover’s pretty good, though. Another Leah song, and something I imagine might be playing in the dive where CB introduces Leah to fried pickles.

Nothing to Lose - Minusworld My friend Melissa’s band! Get their EP, Giant Blazing Sword, wherever you buy digital music! Listen to them on Spotify and Bandcamp! Anyway, I think this is the track playing during Leah and CB’s encounter with the scary assholes in the alley, and when Emmett and the others get their big damn hero moment.

In Place Of Someone You Love - Carter Burwell, Dan Redfeld and Elizabeth Hedman We’re skipping ahead a bit here. This piece comes after the shopping scene and CB’s attempt to analyze Rosalie’s abilities, when she’s in the dream of the burning house, trying to save her memories.

The Forgotten - Green Day This piece represents CB’s emotions after she wakes from her brief coma, as she struggles with losing her memories and burning away parts of the world she left behind.

Black Is The Colour - Cara Dillon And this piece represents CB’s acceptance of her feelings toward Alice, her confession of love despite her reservations. It took me a while to find a cover I liked, as I very much wanted to use a version that had a woman singing about another woman, for obvious reasons.

Okay, I think that’s pretty much all I can handle for now. More to come soon!

[dylanreviewsthings]

grandson's Unique Sound Shines In "a modern tragedy, vol. 1"

If there's any newcomers on the block you need to watch out for, it's grandson. The Los Angeles-native is the latest contender in a new wave of genre-less artists, and he's definitely one of the most noteworthy. grandson's unique sound shines in a modern tragedy, vol. 1, his debut EP that packs a big punch.

Perhaps what's most enthralling about grandson is his seemingly lethargic calls for rebellion. There's a certain attitude to his voice that has both a sense of decadence while also caught in a wondrous state. Opening track and single 'Blood // Water' captures this perfectly, his ghastly timbre introducing the track with dark metaphors ("We'll never get free / Lamb to the slaughter... The price of your greed is your son and your daughter") before the big hook comes in with a loud, unique drop introduced by a shrill cry of "when there's blood in the water." The huge drive of 'Stick Up' follows, his guitarist Boonn now taking a more central roll as the rebellious track is led by a thick riff.

The EP only continues to go off the beaten path as it progresses. 'Despicable' is a much more daunting track, the gentle guitar intro leading into a massive drop later on that's both evil and punchy. grandson dives straight in to the heavy in '6:00,' the riffs taking full control as grandson hauntingly chimes "I saw the body drop on the 6 o'clock." Closing track 'Overdose' ties things together perfectly, every aspect of the song pairing wonderfully with grandson's ghastly vibe, from the synths to the message to the drops. If there's one thing you can say about grandson, it's that he knows how to capture a vibe.

grandson's unique sound shines in a modern tragedy, vol. 1, his debut EP that shows that he's able to capture a very unique sound in a genreless generation. It's a powerful EP that not only shows the potential in grandson, but also creates a lot of excitement for whatever he has in store next.

Favorite Tracks: Overdose, Stick Up, Despicable

Least Favorite Track: Blood // Water

Rating: 94 / 100

Stream or buy a modern tragedy, vol. 1 on Apple Music, and follow our 2018 Playlist on Spotify:

[objectivesubjectivity]

I’m at 99 contenders for my “Top 100 Albums of All Time” list.

A large part of this entire journey was to attempt to delve into my subjectivity and question why I like what I like and, potentially, in a broader sense, start to gain a better understanding of what makes a *great* album. 

But equally as interesting are those albums that just aren’t *great* enough. This past week, I listened to two albums which are truly excellent but didn’t quite make the cut.

Iron and Wine - The Shepherd’s Dog

When I first heard Iron and Wine, I was admittedly dulled out of my senses. I would frequently rant about their dullness and question why anyone in their right mind could stand it. So much so that I remember a friend asking to quote my vitriol for an article he was writing on the band (something about drinking jim beam while listening to sam beam, I couldn’t find the article online). 

I have since replaced “dulled” with “lulled” and found great appreciation for  “The Creek Drank the Cradle” and “Our Endless Numbered Days.”

But then a different friend of mine handed me a copy of the “Woman King EP,” and told me to give them another shot. And, I’ll admit, I was impressed. Here was some potential for life and energy and passion. So, with that in mind, I gave “The Shepherd’s Dog” a chance. And it paid off. 

Here was the fullness I had been missing. There was even a rhythm section! And with it came a groove that played masterfully off of Beam’s silky voice and accompanying harmonies.

To this day, it’s an album I turn to at a party or when with company or on a road trip. It possesses the unique quality of being both supremely palatable and musically complex; it appeals to both the active and the passive listener. 

So, for g-d’s sake, why leave it off the contender list? 

One reason might be due to its universality. There is nothing abrasive, nothing off-putting, nothing controversial in these 12 tracks. Even the scattered vulgarities are so well couched that a discerning ear might easily miss them on a first listen. I find that I tend to lean toward the less than perfect, the flawed, the discordant. Individuality can be built by defending unpopular opinions and the unpopular opinion in this case might be passing it by. This is not to say that I rejoice in making choices others find cringeworthy, but I do believe that there is joy in having an opinion that is uniquely yours. 

Another reason is that I tend to lean toward albums that feel like the artist is pushing their own boundaries. In this case, the boundaries pushed are adding some instruments and not sounding like they’ve recorded the entire thing in their basement. So maybe I just don’t find the push all that impressive.

Lastly, maybe I’ve just heard it too many times. As I said before, it’s an album I frequently turn to. When I was working at coffeeshops, many of its tracks would be on my work playlist. I’ve probably listened to “Pagan Angel and a Borrowed Car,” nearly 100 times. And the fact that, unlike “Graceland” or “August and Everything After” or “I Am The Movie,” its repeatability feels even remotely negative seems like reason enough.

Atmosphere - Seven’s Travels

I stumbled upon Atmosphere on a Epitaph Records compilation. 

My knowledge of hip-hop at that time was fairly limited. I was a big fan of Beastie Boys. I owned De La’s “Three Feet High and Rising,” and Tribe’s “Low End Theory” but didn’t really get them. I had “The Slim Shady LP,” but that was because I first heard him on alternative radio. I thought Limp Bizkit was cool.

Tough times, I know.

But I was big into punk. And this was when Epitaph was killing it. Not only did their roster include classics like Bad Religion, Pennywise, and Rancid, but they began to push the limits of the genre, signing acts like Motion City Soundtrack and The Weakerthans and The Special Goodness. 

And then there was this licensing deal that brought Rhymesayers to Epitaph. 

And I discovered Sage Francis and Eyedea & Abilities and The Coup and Danger Doom. 

And I discovered Atmosphere. 

I knew there was something special about Seven’s Travels when Slug gave a shout out to “emo kids with too many feelings” in the intro to “Always Coming Back Home to You.” The album was rife with Ant’s slick beats and Slug’s impassioned rhymes. Slug was Drake while Drake was still on Degrassi. And I ate that shit up.

So why the disrespect this time around?

I’m married now. I have, at the least, a semblance of a career. I help pay a mortgage. I’m not worried about relationships or getting my life together or battling with my vices. I’m worried about my cholesterol and when I’m going to do the laundry and if I’m saving enough money for the future. Like Slug, I am also trying to find a balance but its between being responsible and having enough time to do shit like write these blogs.  

Whatever I can enjoy about the album exists purely in nostalgia. And nostalgia can be a beast. I would be lying if I said I didn’t start bopping my head to the aforementioned “Trying to Find a Balance,” or gutteral-screaming along to “Bird Sings Why the Cage I Know,” or giving an approving smile to the LifterPuller reference in “Reflections.” But nostalgia can only go so far. And it damn well shouldn’t be a reason to give an album a top 100 contender slot. 

What I listened to last week:

Top 100 contenders in bold.

CIV - Set Your Goals

Sufjan Stevens - Seven Swans

Atmosphere - Seven’s Travels

The Cure - Seventeen Seconds

Goldfrapp - Seventh Tree

Severed - Severed

Ben Kweller - Sha Sha

Dashboard Confessional- The Shade of Poison Trees: I love the fact that the songs on this album that sound the most like his early material are political rants; almost as if his heart is no longer broken by girls but by our government. 

Ted Leo & The Pharmacists - Shake the Sheets

Refused - The Shape of Punk to Come: A Chimerical Bombation in 12 Bursts

Slow Gherkin - Shed Some Skin

Iron & Wine - The Shepherd’s Dog

Every Avenue - Shh, Just Go With It

Chumbawamba - Shhh

Constantines - Shine A Light

Eels - Shootenanny!

Filter - Short Bus

Show Off - Show Off (PPP #60)

Smashing Pumpkins - Siamese Dream

Mumford & Sons - Sigh No More

Ace of Base - The Sign

When Walls Are Built - The Silence Party

Bloc Party - Silent Alarm

Outsmarting Simon - silent sober and sound

Okkervil River - The Silver Gymnasium

Knapsack - Silver Sweepstakes

AFI - Sing the Sorrow

Total albums listened to: 1,493

[theseventhhex]

Kelly Moran Interview

Kelly Moran

Photo by Timothy Saccenti

Composer, producer, keyboardist and multi-instrumentalist Kelly Moran made an early name for herself in New York collaborating with dance performance and composing for long-term John Cage collaborator Margaret Leng Tan. It was with the 2017 album Bloodroot that Kelly Moran began to reach wider attention. Now, on her Warp Records debut ‘Ultraviolet’ she continues to interpret these wealth of inspirations into a sound all her own and pulls off a nearly impossible feat: the annihilation of experimental music’s imposing, esoteric, über-academic status quo in the name of pure, unbridled intuition, of human joy. ‘Ultraviolet’ plays to a wide, arresting array of stylistic influences: dazzling inflections of jazz and dream pop, classical composition and black metal, darkness and light, encapsulated in a single, mystifying LP… We talk to the delightful Kelly Moran about overcoming anxiety, running daily and her beloved cat Wendy…

TSH: How valuable is it between projects for you to turn your brain off and reset with a new approach towards your music?

Kelly: I think it’s good for anyone who’s in a creative discipline to examine what their process is every couple of years. It’s key to revisit how you approach doing things just so you don’t get stuck in a rut and continue to make the same thing, which is a problem that I’ve had for years. I always had the same approach to everything and I felt like I wasn’t growing as an artist. However, when writing new music lately I’ve been finding that the methods I used for ‘Ultraviolet’ are not really working for me right now. I feel like I need to constantly defamiliarise myself with my musical habits and set to default again. It’s good to step outside of your comfort zone and see where it takes you.

TSH: Tell us more about your latest EP entitled ‘Origin’...

Kelly: With the exception of one track, all of the pieces on ‘Origin’ came before ‘Ultraviolet’, hence the name. This EP predates ‘Ultraviolet’ and almost all the songs are the actual demos that I improvised, recorded and had been working with. The versions of ‘Autowave’ and ‘Water Music’ that you hear on ‘Origin’ are the actual versions of those songs.

TSH: Is your music impacted much at all by the current affairs in America?

Kelly: Well, living in America, our politics have been shit for a long time. We had a bit of a break with Obama but things have been bad since Trump took office. People thought great art would arise out of the political turmoil with Trump in power, but it didn’t. I find that politics in general is distracting and overwhelming for me. I need to separate from the current political state - not in a way that I don’t know what’s going on - but I have to knowingly detach in a way because if I don’t, it can be really difficult to even exist because of how shit and terrible it can be out here. For me, when I pursue art and music, it’s mainly an escapism from the dregs of reality.

TSH: Does being immersed in music help you to overcome your anxiety and stress hurdles?

Kelly: At times, yes. A lot of my anxiety in the past was about performing or not reaching my potential and maybe not working hard enough, but I feel like I’m in a good place with all these factors now. I feel very confident as a composer and with my musical abilities. It is funny though because I suddenly have a much bigger platform after being signed to Warp. I do feel more exposed to the world in many ways than I wasn’t before. I am now dealing with new anxieties that I have to contend with...

TSH: What sort of issues have you been facing?

Kelly: Well, now that I’m a little more known I’ll get a lot more weird messages from people online. For example, during the recent Warp 30 announcement I got so many random DMs and rude Twitter messages. Also, sometimes if I read the YouTube comments for my music videos people say stuff like ‘Is this what Warp has become? It’s going so downhill.’ It’s weird because people never used to reach out to me to say random things like that but in the past year it’s happening more regularly. I’m dealing with these little new problems now.

TSH: It must still be so rewarding that individuals connect with the way that you communicate your music...

Kelly: Yeah, it’s a double edged sword I guess. It is nice when people connect to my music - it really is great. I mean I try to be an accessible person on social media. I try to be very open and speak with people directly when people tweet at me or send me messages, but sometimes I do feel very emotionally drained by it. There are messages I don’t want to have to respond to, in addition to the mean messages. The thing about the internet is you can get a thousand nice comments and one bad comment, but you’re gonna focus on the bad one, haha! I’ll have to just develop a thicker skin.

TSH: What do you recall about fleshing out the excellent track entitled ‘Helix’?

Kelly: Like all of the pieces on the album this one started out with improvisation. The original piece I created of ‘Helix’ was very exploratory because I had figured out how to play piano in a more percussive way where I was alternating between my hands. This discovery of me playing the instrument in this new way led to a very minimalist pattern that drives this song. The improvisation has similar patterns to what you hear on the original version and I ended up transcribing it trying to be as accurate as possible .When I recorded it I listened back to it and streamlined it a little bit. To me, figuring out the underlying chord progressions that I was implying in addition to figuring out a bass progression really gave this piece direction and drive - it was so crucial.

TSH: Did you select ‘Radiant’ as the album closer quite early on?

Kelly: I kind of knew it would be the closer because I like ending albums on a gentle note. I like for the last song to be the most simple and like its saying goodnight to people - sort of like sending them off with something delicate. ‘Ultraviolet’ was already an intense record and not many of the tracks are relaxed so I wanted to give the listener a break as the record was ending. It’s funny because the original of this track was more busy and hectic; it had more piano arpeggios and additional melodies.

TSH: How important is running to your daily life?

Kelly: It’s very beneficial. I’m one of those people that really strives off having a structured schedule. Unfortunately for me I picked a career that really does not enable this whatsoever, ha! For me, running is the one way that I can have this sort of consistency to my schedule. I strive for this factor, especially when I go on tour. I always bring my workout clothes and it’s an added bonus if I stay at a hotel with a gym. I just think the endorphin rush you get from running and also having a ritual a day helps me to get in the right mental space.

TSH: Are you still listening to a lot of hip-hop when you run?

Kelly: Haha! I haven’t actually been listening to much hip-hop whilst running recently. I’ve been listening to Aleksi Perälä, who is on Aphex Twin’s record label, as well as K-pop and even some Miley Cyrus from the Black Mirror soundtrack.

TSH: Is it hard to leave your cat Wendy behind when you go on tour?

Kelly: It really is! It’s definitely one of the most challenging parts for me because I’m very attached to her and she’s my little daughter. Unfortunately, I have a high maintenance cat who doesn’t like many people - she only likes me. So I feel really guilty when I leave for my travels as I think she’s not getting the right attention. She’ll stay with my mom and she’s been warming up to people but she’s not a friendly cat at all. I’ve had her for 5 years and only been travelling for the last year or so, therefore she must be wondering what’s going on. I never used to leave my apartment and now I’m out of the country every month. I guess I have to earn that money if Wendy’s gonna keep eating those fancy feasts!

TSH: Being a huge figure skating fan, how proud were you to witness the great Yuzuru Hanyu win Olympic gold on your birthday?

Kelly: Yes, he won his second Olympic medal on my birthday. I remember watching him win and being like ‘Holy fuck! This is absolutely incredible’. It’s funny because for my birthday party the next day I had a bunch of friends over and we were drinking and listening to the new Oneothrix Point Never record whilst also watching recaps of the figure skating.

TSH: What factors do you mostly consider exploring when it comes to collaboration?

Kelly: Well, there are so many artists that I look up to and respect that I would sell my right arm to collaborate with someday. When I first got signed to Warp the first thing I thought was if I ever have an opportunity to collaborate with someone else from the label that would be so cool. I basically worship everyone on this label. The kinds of collaboration that are important for me is to work with people that I’ve looked up to and who are respected. I’m also really interested in working with people who are just completely different from me and can push me outside of my comfort zone. For my next record I want to have a few collaborators from totally different genres to enable interesting results.

TSH: What matters most with your musical endeavours as you look ahead?

Kelly: I think my biggest drive is to keep improving and to keep surpassing myself. I always try to hold myself to what my own standard is. My goal is for my next album to be even better than what I’ve put out before - I want to push myself to reach new places musically. A lot of people describe me as a pianist who does prepared piano but in the actual timeline of my musical activity prepared piano actually occupies a very small part of that timeline. It’s really only been 3 years in my entire career that I’ve worked with prepared piano. There’s this part of me that wants to show people that I can do a lot more than that. As a pianist I feel really free because there are so many ways that I can translate what I do to other genres, it would be very easy for me to do techno, hip-hop or even black metal. I feel that my biggest strength is my malleability as a performer and as a composer, so I just want to show people that I have many different sides as an artist and not just one thing as people know me as now.

Kelly Moran - “In Parallel”

Kelly Moran - “Water Music”

Ultraviolet

[elixirsoflife]

my current pdx101 picks (episode 6)

so i think i'm gonna do this weekly to track how my opinions change bc i am really Going Through It atm with this show ffs i hate it why did i get invested in these boys. this post is going to be longer than last week's since i'm going to elaborate a bit on some of the picks ✌🏽

fixed picks

1. cho seongyoun: i... think he might've become my one pick? or a v strong contender for it anyways. funny story actually, i began watching pdx101 for seongyoun since i'd recently discovered his solo music under woodz (check it out if you haven't! he's great), but having 101 boys stare me in the face made me quickly lose track of him until bam. boy reminded me why i shouldn't have forgotten about him in the first place. he truly has it all: vocals, rap skills (did you see him in 'yes or no'?), dance, producing, songwriting, great personality. honestly if he doesn't debut, what even is this show.

2. choi suhwan: my original/possibly-still one pick. i just... really love suhwan okay. he's sweet, has a beautiful voice, gets along with other trainees well, can dance and deserves to freaking debut, damn it. i don't understand how he's been rejected from auditions that many times when he's honestly such an all-rounder. if my boy doesn't rise in rankings, i will riot 🤬🤬 he's currently on the verge of elimination at #28 (down 4 from last week ://) so i'm praying knetz vote for him

other strong contenders (not listed in order)

3. song yuvin: main vocal material all the way. his voice is not only beautiful and light but so stable and strong. he can dance and his moments offstage make me smile. also i love his friendship with suhwan (are they ever not holding each other?) so think they would be great in the same group 😘

4. kim yohan: yohan doesn't have the technical ability of many others but he's honestly so attractive regardless. i don't even mean that in a physical sense, though he does have visuals - it's the fact that his personality is so charming and sweet and he does have the stage presence to pull off being an idol. i do think he would bring something invaluable to the final lineup. he just has such a warm and quirky personality that i can't help but like him. also! though he might not be as strong a singer/rapper as others on the list, he really does have the potential to be really good and picks things up fairly quickly. with more dedicated training, he'll shape up great.

5. wonhyuk: he's caught my eye ever since the e entertainment boys' audition. honestly i would be glad with either of them debuting (or both) but wonhyuk catches my attention a liiittle bit more so i put him on here. i think he deserves to be ranked a whole lot higher than he currently is; his voice has such an interesting colour to it and he's a good dancer too!

6. kim wooseok: i'll be honest, wooseok doesn't immediately command my attention but i think that a list without him is incomplete. yes, he is a visual and that is a part of kpop, but he has good stage presence and vocals too. we all remember the love shot performance, don't we? i think his talent is undeniable and he seems like a fixed member of the lineup. tbh i'm not complaining

7. kim hyunbin: i feel like this boy is passion personified. we saw it in the group evals and it's something i admire. he has a real can-do attitude and i rate it highly. i also admire a good rapper so that's a plus. ngl i was surprised to see him choose a vocal song in the position evaluations but he did well! boy has a decent voice ♡

8. kim sihoon: there was a bit of a weird edit this episode with sihoon and wonjin. i did think that sihoon seemed a bit petulant so i don't think i'd necessarily put him in a leader position, but i think he can bring a lot to the table. not only is he a good performer but he can choreograph and compose. another all-rounder.

9. han seongwoo: if you've come away from this episode not loving this man, you need to rewatch it. honestly such a lovely soul and great on the stage too. he really did deserve that no.1 💕 i think that the way other trainees receive him is really telling too which means he will bring the team together really well. even when he feels pressured as the leader, he keeps his head and stays cool.

10. nam dohyun: cute kid, really good rapper especially considering how short his training period has been. i think he would make a decent lead rapper to seongyoun's main. the guy is the definition of raw potential, i feel.

others i am keeping an eye on

11. choi byungchan: i loved him in the girls girls girls performance bc that stage was literally made for him. i think he has a great personality as well. the only reason i haven't put him as a 'strong contender' is bc i want to see his performance in the position evaluations too (at which point he'll probably become one lbr)

12. lee hangyul: i really liked him this week. i feel like i've mentioned personality a fair bit this post lmao but he seems like he has a good one and he makes me laugh! he talks about having a more masculine image, but tbh that's what i prefer. strong image, strong dancer. i just need to look more into him

13. lee midam: another all-rounder! i see a lot of intl support for midam and tbh i can see why. i feel like the main reason he isn't a strong contender is bc mnet doesn't really give him much screentime unless he's in a bigger group; part of this is probably bc he seems like an introvert, but tbh i dig it. he did the vocal rearrangement for twit apparently - so again: very talented. i'm honestly confused as to why he doesn't rank higher, especially with his visuals (since *cough* that seems to be v important for many knetz)

14. lee jinhyuk: i need to see him perform to solidify my impression of him but so far, he seems helpful and leader-like, plus pretty talented. i just haven't been paying him much active attention so need to do that to get a clearer picture.

others who could debut who i'd be okay with in the final lineup (but don't necessarily stan)

15. son dongpyo: feel like he can do both a youthful and more mature concept. talented dancer.

16. ham wonjin: i actually really liked him in earlier episodes. i don't hate him now or anything, i'm just noticing other trainees more. he's talented regardless 👍🏾

so yes that's my very long post on who i'm keeping an eye on for now. we'll see how things turn out next week (with a shorter post probs lmao)

ep. 5 picks

[pvpxrswvg]

Top 25 Albums of 2018

Two and a half years and over a hundred albums later I have finally completed my top albums of 2018 list. It was an interesting exercise doing this list two and a half years later, as the method of completing this list felt completely different to 2017 and 2016. In those years the lists practically made themselves, as I was limited to what I had been listening to at the time. A lot of which hasn’t held up. 

In a weird way it feels like those lists had a lot more personality. While I can look back with some degree of confusion at artists like 2 Chainz making my top 25, I can at least associate those albums with the memory of listening to them at the time. With this list it felt like I was forced to be biased towards albums that received critical acclaim or that are still relevant today. So in some ways this is a more objective take on a top 25 albums list.

This list will be the same format as always, which is 25-11 in alphabetical order and then the final 10 counted down.

21 Savage - I Am > I Was

While not my personal favorite, I Am > I Was is undeniably 21 Savage’s biggest and most successful album to date. While this album has a lot of the same drawbacks as a lot of major label rap albums (i.e being bloated and lacking a lot of the artist’s personality) this album was still a step forward from Issa Album and contained some great tracks such as a lot, monster and 4L. It’s also getting to the point where almost anything 21 Savage released would be in my top 25.

Baby Keem - The Sound of Bad Habit

I’ve noted several times on this blog how I’m a huge fan of Cardo, who might have the best beats over the past 5-10 years out of any producer. Cardo’s style of dark trap beats with noticeable west-coast influences makes this a great release and Baby Keem’s youthful energetic rapping is the perfect match for this sound. This album also has some serious highlights such as Check Please, Extra and Baby Keem.

Benny the Butcher - Tana Talk 3

Out of the millions of rap artists doing a vintage East Coast sound, Benny the Butcher might be the best. He has a great ear for vintage hardcore east coast beats and he sits over them so well with his calm menacing flow. While this isn’t my favorite sound, it’s honestly hard to imagine it being done any better than it is on this album.

Brockhampton - iridescence

This might have been the most disappointing album of all time. After having the top 3 of my 2017 list all be Brockhampton albums, I was excited as anything for this album. I remember staying up to listen to it at midnight, listening to it straight away and then just being sad. Almost immediately I had stopped liking what was probably my favorite artist at the time. Listening to this album two and a half years later and it’s not that bad honestly. The only part I really can’t get behind is that every single Joba verse is pure cringe. If you had replaced every Ameer verse on the Saturation trilogy with Joba’s autistic screeching those albums would probably be just as bad. Still I’m a huge fan of anything Kevin Abstract does and tracks like Weight, Something About Him and San Marcos hold up really well.

Curren$y, Freddie Gibbs & The Alchemist - Fetti

Freddie Gibbs - Freddie

I’m going to review these albums together, as their inclusion here comes down to one thing: I am a huge fan of Freddie Gibbs and even his mediocre releases are enjoyable enough to make my top 25. These two would actually be my two least favorite releases that he has put out over the past seven years, but they still have their highlights. In particular, I loved hearing Freddie rap over Kenny Beats production on Death Row, even if the 03 Greedo feature ruins the song.

Kryptonyte - Kyrptonyte

This album is basically a love letter to both mid 90s Memphis and DJ Screw era Houston, which means that I was always going to love this album. While the rapping can be forgettable at times, the production is always on point (the standout beat would be Ride with Jade) and the hooks are usually memorable and fun. A bit amateurish overall, but still a very enjoyable release.

Maxo Kream - Punken

This album was a more serious step forward for Maxo, who went from rapping about wide bodied cars on The Persona Tape to rapping about his upbringing and family. It was more of a critical success, but personally I saw it as a step back in quality. Due to the consistent themes on Punken the production and rapping isn’t as varied compared to his previous work and that can make the album feel a bit monotonous at time. Still I love Maxo and Work is a genuine song of the year contender.

Mike - War in My Pen

Mike’s style of lo-fi lethargic rapping is so effortlessly dope on this release and the overall flow of this album makes it such an easy listen. It reminds me a lot of the Earl Sweatshirt album from this year, only a touch more amateurish and without the memorable standouts.

Migos - Culture II

This album was a very late addition to this list, but I felt like it would have been disingenuous to not include it. Looking back at Culture II on this list will give me the same feeling that I get when I look back at some of the other terrible albums that I have included in previous years. I’ll probably never listen to this album in full ever again, but I remember listening to this a ton on release and it easily would have been one of my most listened to rap releases of 2018. Tracks like Gang Gang and Narcos are still dope as ever.

Nickelus F - Stuck

Ever since Trick Dice released in 2015 I’ve been a huge fan of Nickelus F. I absolutely loved that album and if I ever get around to doing a 2015 list it would easily feature in the top 5. While I don’t think without Lil Ugly Mane production Nickelus F will ever reach those heights again, Stuck is a pretty close attempt and was probably the hardest cut from my top 10. Trill Burr in particular is a classic song and feels like it could have easily been featured on Trick Dice.

Noname - Room 25

Room 25 was the one album that I reviewed in 2018 and I still agree with pretty much everything I wrote back then. While not as good as Telefone, this was still a great release. 

Playboi Carti - Die Lit

After seeing so many artists of this new trap wave release one good album and then completely fall off, I was shocked that Playboi Carti was able to follow up his debut mixtape with such a strong release. Even on my previous AOTY list I referred to his sound as lightning in a bottle. While I slightly prefer his self titled debut, this album brings the same energy and perhaps has the better highlights of the two with tracks like Shoota, R.I.P. and Long Time. I think both this and Room 25 speak to the depth of 2018, as neither are too far off being as good as the respective artist’s earlier releases that had cracked my top 10.

Saba - Care for Me

While I was never able to get into Bucket List Project, Care For Me connected with me a lot more. Saba spitting that typical soulful, introspective, and mellow Chicago style is incredibly dope on this record and the trap influences go a long way towards making it listenable. The opener Busy / Sirens especially is an incredible beautiful track.

Vince Staples - FM!

This release being included is evidence to how much of a Vince Staples fan I am. I’m honestly not sure why this album exists or what it’s supposed to be. This weird 22-minute concept album is supposed to mimic a radio station I guess? It’s not very good, but I love Vince Staples and the Kenny Beats production is pretty good here.

10. Black Kray AKA SickboyRari - Bloodrain

While only 16 minutes long, this EP was an easy inclusion for me since Amongst the Dead is one of the best rap songs that I’ve heard in recent years. The first six tracks of this EP are okay and top 25 material, but the closer is just so incredible that I can’t leave this out of the top 10. 

9. Mac Miller - Swimming

This was the hardest album to rank for me, but only because I first listened to it about a week ago. It’s hard to compare this to albums that I’ve heard over three years ago, but in my haste to complete this list and move on to 2019 it has to be done. The production here is for the most part magnificent and Mac’s introspective mellow rapping is consistent across the whole album. What’s the Use and Self Care would be my standouts.

8. Czarface & MF DOOM - Czarface Meets Metal Face

I had the previous Czarface album in my top 10 and it’s mostly for the same reason. I feel like 7L has become so comfortable in this setting and has quietly been one of the best producers of the past five years. When you have legendary rappers like Inspectah Deck and MF Doom rapping (Esoteric is no slouch either) over those beats it becomes a very easy inclusion in my top 10.

7. J.I.D - DiCaprio 2

Described sometimes as a southern Kendrick Lamar, it’s easy to see when listening to this album why these comparisons are made. JID is clearly heavily influenced by the Compton rapper and borrows a lot of his iconic flows. It’s easy to forgive as the end product here is so strong and songs such as Slick Talk, 151 Rum, Off Deez and Off Da Zoinkys are all incredible. While a lack of consistency holds this back from featuring higher, this is still a great album and I’m excited to see what JID does in the future.

6. Kids See Ghosts - Kids See Ghosts

When I was making this list, I felt like there was a clear gap between these top six albums and the rest of this list. All of these albums are incredibly strong and indicative of the strength of this year. Kids See Ghosts arguably has Kanye’s best production since MBDTF, as he creates these melancholic atmospheric beats that perfectly match Kid Cudi who is rightly the star of this record. For Cudi, this is easily the best thing that he has ever done and it feels like the great record that he was always destined to make. The biggest thing holding this release back is that it’s only 23 minutes long, so it doesn’t quite fulfill it’s potential. Reborn and Kids See Ghosts would by my standouts and both are absolute classics.

5. Death Grips - Year of the Snitch

This is the first time that I’ve mentioned Death Grips on this blog and it’s for the simple reason that I haven’t really enjoyed any of their work since Jenny Death. Year of the Snitch is a fantastic return to form in my opinion and is perhaps one of the strongest releases in their entire discography. As you could expect it’s a 37 minute adrenaline rush with the noisy chaotic sound that Death Grips are known for. Death Grips Is Online, Black Paint and Hahaha would also be some of my favorite Death Grips songs overall.

4. Pusha T - Daytona

These four Kanye releases in four weeks felt like such a momentous event and Daytona was the perfect way to kick it off. Within 45 seconds of If You Know You Know you could tell that Kanye had returned to form and that these releases, while short, were going to be handled with the same perfectionist mindset that had led to Kanye releasing so many classic albums. Similar to Kids See Ghosts, Kanye perfectly blended in to match his guest and was able to create beats that were absolutely perfect for Pusha T’s aggressive boastful raps. Pusha T also raps on this record like he had something to prove and it ended up being a defining performance for the legendary rapper. When thinking back to 2018 my mind will always go to Kanye releasing four albums in four weeks. Especially since in the case of Daytona and Kids See Ghosts the end product was so strong.

3. Earl Sweatshirt - Some Rap Songs

Some Rap Songs is perhaps the release that has benefited the most from this list being made two and a half years late. While unnassuming at first, I found myself repeatedly going back to this one over and over. Earl’s lo-fi production on this album is incredibly hypnotic and serves as a great backdrop for the Odd Future rapper. While it has often been masked by edgy or depressive lyrics, Earl has always been a great rapper and I feel like on Some Rap Songs he was able to reach his full potential. Overall this album is just extremely impressive as both the production and rapping here are top notch.

2. JPEGMAFIA - Veteran

I’ve gone back and forth dozens of times as to which of these next two albums would feature at number one as both would be incredibly deserving. In the case of Veteran, this angry, raw and rebellious record served as my introduction to JPEGMAFIA, who is now one of my most loved rap artists. Featuring gltich influenced beats and aggressive vocals, JPEGMAFIA has created a truly unique sound that pulls influences from every corner of the rap world. While this album has the strongest standouts of any record released this year (1539 N. Calvert, Real Nega, Baby I’m Bleeding and I Cannot Fucking Wait Until Morrissey Dies to name a few), ultimately I was uncomfortable having it at number one due to the fact that the middle of this album is so inconsistent. Apart from that it’s an amazing album and borderline classic.

1. Denzel Curry - TA1300

As of writing this Denzel Curry is my favorite rap artist thanks to his enegetic delivery, tremendous ear for beats and unique songwriting. It should be no surprise then that I loved this album, considering that TA13OO is close to being his magnum opus while undoubetedly being the album that led to him being taken seriously. Prior to TA13OO Denzel was just the ex-RVIDXR KLVN rapper who made Ultimate, who was also dismissed by many as just being a trap artist. After this album everyone was forced to respect him as an artist, rapper and songwriter, as it’s impossible to listen to this album and not recognize the raw talent that is on display. The highlights on this album (Vengeance,  Black Balloons, Sirens and Percs) are all incredible and help this album get to borderline classic status. As of right now I’m still hesitant to call this album a classic, as there’s a few hiccups on this album and overall it lacks a cohesiveness when listening to it front to back. Perhaps I’m being a little harsh, but considering the talent of Denzel I know that he has a genuine classic in him. I’d be surprised if when it’s all said and done TA13OO is still remembered as the highlight of his discography.