#tim pagnotta

[mitjalovse]

The period I discuss invigorated many genres then. Thus, rock music didn't die, Mark Twain would call these reports an exaggeration. However, I would claim many bands from the era didn't really reach the distances of their idols. Sure, most of the groups from the late noughts still endure, but their latest works don't succeed like their early triumphs. For instance, Neon Trees feel like an example of the rock idiom from the previous decade. They sounded in line with what the pop charts offered, yet they put these characteristics through the rules of rock. Nonetheless, they should've gone further later on. I am not sure why they and many of their peers struggled afterwards – was rock an abberation at that point? We can only speculate on this.

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

Lovesong

Written By: Pearl Thompson, Boris Williams, Simon Gallup, Roger O'Donnell & Robert Smith

Artist: The Cure

Released: 1989

Cover included: Adele, 2011

Frontman Robert Smith wrote “Lovesong” as a wedding present for his bride-to-be Mary Poole in 1988. “Lovesong” was the second UK and third US single from Disintegration, The Cure’s eighth studio album, and is the band’s highest charting single in the United States, reaching #2 in late 1989. Despite the song’s enormous success, Smith has mixed feelings about the track. He expresses satisfaction in finally feeling comfortable enough to write a straightforward love song and feels the song keeps Disintegration from having only one mood – presumably “gloom”. However, he called it the weakest song on the album and expressed disappointment that it was the band’s breakthrough single in the US.

[Verse 1] Whenever I'm alone with you You make me feel like I am home again Whenever I'm alone with you You make me feel like I am whole again [Verse 2] Whenever I'm alone with you You make me feel like I am young again Whenever I'm alone with you You make me feel like I am fun again [Chorus] However far away I will always love you However long I stay I will always love you Whatever words I say I will always love you I will always love you [Interlude] (Fly me to the moon) [Guitar Solo] [Verse 3] Whenever I'm alone with you You make me feel like I am free again Whenever I'm alone with you You make me feel like I am clean again [Chorus] However far away I will always love you However long I stay I will always love you Whatever words I say I will always love you I will always love you

Everybody Talks

Written By: Tim Pagnotta & Tyler Glenn

Artist: Neon Trees

Released: 2011

“Everybody Talks” is the lead single from Neon Trees' second studio album Picture Show. The song became their highest-charting single and their first top 10 hit, peaking at #6 on the Billboard Hot 100. To date, it remains their most popular song. According to an interview with Rolling Stone, frontman Tyler Glenn says he was inspired by “Roy Orbison and the Motown music that my dad listens to.” In an October 2020 tweet, Tyler Glenn stated “The first 3 Neon Trees albums I wrote in the closet but I hid queer messages in songs. ‘Everybody Talks’ was about my ex girlfriend spreading rumors that I was gay (Surprise girl) I came out 6 years ago & it was the BEST move for my health & happiness”.

[Intro] Ah-ah-ah-ah Ahem, ahem [Verse 1] Hey, baby, won't you look my way? I can be your new addiction Hey, baby, what you got to say? All you're giving me is fiction I'm a sorry sucker and this happens all the time [Pre-Chorus] I find out that everybody talks Everybody talks, everybody talks [Chorus] It started with a whisper And that was when I kissed her And then she made my lips hurt I can hear the chit-chat Take me to your love shack Mama's always gotta backtrack When everybody talks back [Verse 2] Hey, honey, you could be my drug You could be my new prescription Too much could be an overdose All this trash-talk make me itchin' [Pre-Chorus] Oh my, my, shit, everybody talks Everybody talks, everybody talks Everybody talks too much [Chorus] It started with a whisper And that was when I kissed her And then she made my lips hurt I can hear the chit-chat Take me to your love shack Mama's always got a backtrack When everybody talks back [Bridge] Never thought I'd live to see the day (Ah-ah) When everybody's words got in the way, oh [Instrumental Break] [Verse 3] Hey, sugar, show me all your love All you're giving me is friction Hey, sugar, what you gotta say? [Chorus] It started with a whisper And that was when I kissed her And then she made my lips hurt I can hear the chit-chat Take me to your love shack Mama's always got a backtrack When everybody talks back [Post-Chorus] Everybody talks, everybody talks Everybody talks, everybody talks Everybody talks, everybody talks back [Outro] It started with a whisper (Everybody talks, everybody talks) And that was when I kissed her (Everybody talks, everybody talks) Everybody talks, everybody talks back, uh

[my-chaos-radio]

Release: August 10, 2018

Lyrics:

From the bottom of your soul

Oh, you feel it creep, creeping at the tempo

Don't you need it pump, pumping 'til it crumble

Trouble, trouble's what you need (what you need)

That's what you get in getting me (what you need)

Shame, shame, shame, shame

Mama doesn't know, ooh

Every night you go to

Shame, shame, shame, shame

There a woman wants to roll, ooh

I can make you shake

Right through your bones

From the bottom of your soul

I'm a fire, just to spark under your halo

Rolling thunder, I'm high up, ain't got no shame, no

Trouble, hey, what you calling me? (calling me)

Uh, come get some of what you need (what you need)

Shame, shame, shame, shame

Mama doesn't know, ooh

Every night you go to

Shame, shame, shame, shame

There a woman wants to roll, ooh

I can make you shake

Right through your bones

You can live forever, babe

Walk with me in shadows

I can make you better, babe

Come pray with me, get safe with me

Shame, shame, shame, shame

Mama doesn't know, ooh

Every night you go to, ooh

Shame, shame, shame, shame

There a woman wants to roll, ooh

I can make you shake

Songwriter:

Shame, shame, shame, shame

Mama doesn't know, ooh

Every night you go to

Shame, shame, shame, shame

There a woman wants to roll, ooh

I can make you shake

Right through your bones

Tanner Elle Schneider / Tim Pagnotta

ArtistFacts:

👉📖

Homepage:

Elle King

[chorusfm]

311 – Full Bloom

The fourteenth studio album from Alternative Rock legends, 311, is a strong collection of songs that longtime fans of the band are sure to enjoy, and there’s plenty of new vibes brought forth for casual fans to check out as well. Full Bloom was produced by Collin Brittain, with some additional producer credits from Scotch Ralston and Tim Pagnotta. The band described Full Bloom as “311 on steroids,” and it’s hard to not agree with this assessment. 311 goes bigger and better than they have in quite some time and delivers the right mix of nostalgia paired with artistic growth for a strong musical statement. The set was preceded with their highest charting single in 13 years, breaking into the Top 15 on Alternative radio, with lead single “You’re Gonna Get It.” The concise ten-track album features some of the band’s strongest material in years showcasing that the veteran rockers have plenty left in the tank. Starting off with the lead single is a wise choice as the track is the best song on the record and helps set the right tone for the entirety of Full Bloom. The eerie guitar picking from Tim Mahoney in the opening riff is a different approach from the guitarist, while lead vocalist/guitarist Nick Hexum opens with, “See it coming like a train in the distance / Watching everything change in an instant / Magical feeling, indestructible / You don’t even care what they’re thinkin’ / When you don’t slow down, it won’t sink in / On your own, out there in the great unknown.” The single feels super-charged and creates the right type of anticipation for the material that follows. ”Need Somebody” builds off of the success of the opener with some similar-sounding guitar tones, while bassist P-Nut’s riffs reverberate off of the speakers in the most epic of ways. The song is the second single to be released from the set and it fits comfortably in the groove that 311 is best known for. The title track follows next in the sequencing with some bubbly guitars from Mahoney, while Hexum and SA Martinez harmonize nicely in the verses and choruses. The second verse of, “We, are all apart of connection / With every single section / Though sometimes we forget / Cuz everyone loses signal sometimes / Lost in the static forget we’re combined / That’s just the way that it goes,” preaches what 311 have been about from the beginning: unity. After the killer three-track punch, 311 settles into a comfortable groove on the bass-heavy “Friend” that alludes to the fact that the band is here for the long haul as Hexum mentions, “My friend, we can’t let this be the end.” The song doesn’t really go much beyond the early tones set forth, but luckily the funky beats found on “Mountain Top” get 311 back on track quickly with another solid bass/drums breakdown courtesy of P-Nut and drummer Chad Sexton. Hexum remains as captivating as ever in his vocal delivery, and Martinez’s vocal effects on the lyric of “Where’d it all go?” highlight how the band can still take some calculated risks. ”New Heights” complements the earlier title track with a similar-sounding guitar riff, while Hexum comes to grips with mortality and legacy as he croons, “And if our time is winding down / We’ll turn a whisper to a sound / And if you ever feel a doubt / We’re all in this forever.” “Days Go By” is reminiscent of the sound the band went for on 2009’s Voyager, but with improved results. It feels very much like a 311 song, and ironically is the only song on the LP to clock in at exactly the 3 minute 11 second mark. One of the coolest songs on Full Bloom comes on “Persimmon” that features some atmospheric riffing from Mahoney while Hexum offers the opening thought of, “It’s hard to make things easy / And easy to make things hard.” 311 continues to explore the depths of their dynamic sound as the song unfolds, and show why the band has been able to consistently fill venues over their 36 year career. “All You’ve Seen” feels like an instant classic in 311’s discography with its chill vibes and smooth chorus of, “Close calls and… https://chorus.fm/reviews/311-full-bloom/

[redmaplerory]

yknow I was watching an interview with Dallon about Razzmatazz (here) and they’re talking about producer Tim Pagnotta’s influence, and the interviewer mentions Pagnotta’s history in pop punk, and Dallon helpfully points out that he was never into pop punk and bonded with Tim over other things.

My brother in Christ, you were a part of one of the most mainstream bands to come out of that scene.

I’d also argue he’s currently the most successful member to come out of Panic! but that’s a separate argument

[fght-ff-yr-dmns]

Remember these guys?

They just ‘liked’ my three month old tweet regarding 'First Band You Saw Live’.

Sixteen year old Luke would have been thrilled!

Who am I kidding, 32 year old Luke is just as excited.

A totally underrated pop punk band and one I always love to revisit…especially on summer days like today.

[ground-decibels]

upcomer : Joan

Il souffle comme un vent de boys band 90′s (Boyzone, Backstreet Boys) avec les deux membres de Joan, tout droit venu d’Arkansas. Leur premier titre take me on, co-produit par Tim Pagnotta (St. Lucia, Wild Belle) est de la pop indolente et inoffensive comme on aime en écouter. A mi-chemin entre The 1975 et LANY, le single des deux compères est une vraie réussite. Doux et sucré. 

[sugarcult]

.

[axomlyrics]

Change My Clothes Lyrics - Dream, Alec Benjamin

Change My Clothes Lyrics – Dream, Alec Benjamin

Change My Clothes Lyrics: The English song is sung by Dream, Alec Benjamin. The Most Popular song lyrics were written by Dream, Alec Benjamin. Music is given by Tim Pagnotta, Brian Phillips. Change My Clothes Lyrics Don’t Lack ImaginationI’m Just Too Scared To TryAfraid That I Won’t Make ItBut If I Never Step Outside Of My Comfort ZoneHere In My HomeI’ll Never Know Where I Could GoIt’s Worth It…

[idkhowbr]

FLOOD Magazine: Vocalista do iDKHOW encontra consolo e liberdade criativa em sua cidade natal, Salt Lake City.

Entrevista original: Tina Benitez-Eves para FLOOD Magazine Tradução: equipe iDKHOW Brazil

Dallon Weekes está passando o aspirador. “Alguém tem que fazer isso,” ele disse pelo telefone enquanto estava em sua casa em Salt Lake City, Utah, com sua esposa e dois filhos. Weekes ainda está enfrentando a tempestade da pandemia enquanto tenta manter um estúdio doméstico imaculado.

Vários dias antes, Weekes, metade da dupla indie-eletrônica iDKHOW (também conhecida como I Don’t Know How But They Found Me), estava andando pelo espaço vazio do Kilby Court para a série "On the Road (At Home)" da FLOOD Magazine. O local independente e livre para todas as idades em Salt Lake foi onde tudo começou para Weekes — foi onde ele fez seu primeiro show com sua banda The Brobecks, com um de seus adesivos ainda colados entre os incontáveis ​​nomes de bandas no lado de fora do local, relembrando as paredes internas do CBGB (um antigo clube de música em Nova York), que eram revestidas de grafite e adesivos.

Weekes, que junto com seu baterista Ryan Seaman, lançou recentemente o álbum de estreia do iDKHOW, Razzmatazz, tinha acabado de entrar no June Audio para gravar algumas músicas para lives do Instagram. Já faz algum tempo desde que Weekes teve uma folga para revisitar alguns de seus velhos lugares, contemplar tranquilamente o Lago Utah ou perambular pelo Jardim de Esculturas Gilgal, um enclave oculto projetado originalmente por Thomas Battersby Child Jr. na década de 1940, com mais de setenta pedras gravadas com vários poemas e escrituras e doze esculturas originais - há até mesmo uma esfinge.

“Foi bom poder passear por partes da cidade que basicamente estiveram fechadas durante este ano inteiro", diz Weekes. "Estes são alguns dos meus lugares favoritos, os lugares que eu vou quando estou em casa, então foi legal."

Mudando-se para Los Angeles durante seu período como baixista do Panic! At The Disco, de 2009 a 2017, havia algo faltando, mas estar de volta a Salt Lake City nos últimos três anos tem sido um foco criativo para Weekes. 

"Para mim, é um lar," ele diz. "É um lugar onde as artes e a música são criadas com essa sinceridade que, pelo menos na minha experiência, eu realmente não encontrei em LA. Muitas vezes existe esse motivo oculto quando as pessoas estão fazendo essas coisas. Eles querem ser ricos ou famosos, ou seja lá o que for, mas aqui em Salt Lake, é uma cidade realmente subestimada quando se trata de arte e música. Está cheio de artistas que estão fazendo essas coisas apenas porque isso faz parte deles e porque precisam, não necessariamente porque querem ser uma estrela do rock ou algo assim."

Weekes adiciona, “É uma cidade que muitas pessoas esquecem, e é mais progressista do que se acredita. É definitivamente uma pequena ilha azul cercada por um mar vermelho, mas Salt Lake City, e Provo também, estão cheias de pessoas que estão apenas fazendo arte pela arte."

Antes de voltar para SLC, ele estava juntando as músicas que criava desde 2016 antes de lançar o projeto que se tornou o primeiro single do iDKHOW, "Modern Day Cain" em 2017. No início, "I Don’t Know," uma abreviação do nome interminável da banda, aprovada por Weekes, era o segredinho musical sujo deles, já que ele e Seaman estavam em suas respectivas bandas quando começaram a conceituar o iDK — Weekes com o Panic! e Seaman como baterista do Falling in Reverse entre 2011 e 2017.

Agora, com tudo aberto publicamente, o iDKHOW finalmente preencheu um vazio eletrônico. Razzmatazz é uma síntese perfeita de indie-glam-pop que gira em torno de um mundo digitalmente enlouquecedor, abrindo com os sintetizadores de "Leave Me Alone", um hino ao distanciamento social intencional das relações disfuncionais. Weekes lançou recentemente uma versão regravada da faixa, feita no June Audio em Salt Lake, junto a uma interpretação mais despojada ao piano.

Ao longo de todo o Razzmatazz, Weekes e Seaman permanecem sincronizados através de algum mundo pop Kraftwerkiano (Kraftwerk é um grupo musical alemão de música eletrônica), partindo de um blip apocalíptico onde os humanos estão sendo substituídos por máquinas em "Mad IQs", passando pela sincera "Nobody Likes the Opening Band" e as vozes robóticas ligeiramente sinistras se infiltrando em "From the Gallows". Pelas baladas apaixonadas de "Clusterbug" e "Need You Here" e com toques mais doces de sintetizadores em "Sugar Pills" e "Lights Go Down", tudo levando a um movimento mais orquestrado de encerramento com "Razzmatazz".

Gravado no Pagzilla Sound em LA ao longo de três semanas e meia em 2020 e produzido por Tim Pagnotta, Razzmatazz foi posteriormente mixado via e-mail, e então atrasado por causa da pandemia. "Eventualmente foi como: 'Olha, nós só precisamos lançar. Estamos esperando há muito tempo. Se esperarmos mais, vou realmente enlouquecer,’” diz Weekes. “Então nós apenas puxamos o gatilho.”

Inicialmente, o iDKHOW foi construído em torno de músicas que Weekes estava experimentando antes de compartilhá-las com Seaman para adicionar as partes de bateria. Agora que Weekes já utilizou todos as suas músicas anteriores, ele está coletando novas ideias envolvendo Ryan neste processo muito mais como escritor.

"Tenho enviado ideias a ele, e estamos enviando coisas um para o outro e começando a coletar ideias, nada realmente muito focado, mas mais como traços gerais, para ver se há algo de que gostamos, e algo que queiramos dar prosseguimento," diz Weekes. "Antes você escrevia canções na estrada. Todo mundo tinha um telefone na mão, você gravava tudo o que fazia e depois desenvolvia as músicas noite após noite. Agora é um pouco diferente quando você junta as peças no estúdio, e depois você meio que tem que descobrir como tocá-las ao vivo."

Ensaiando em casa, Razzmatazz teve a chance de respirar mais ao longo do ano passado, com Weekes brincando em variações de músicas para mudar as coisas todas as noites, caso a turnê comece novamente.

"É algo que definitivamente me deixou bem aberto para muitas coisas que são novas para mim, no que diz respeito a ser um compositor, explorar ideias e experimentar coisas que nunca tentei antes, que é algo que sempre quis fazer," diz Weekes. "Nunca quero ter que fazer a mesma coisa duas vezes. Eu percebi que tenho certas inclinações quando se trata de escrever músicas, então estou tentando me livrar desses hábitos e realmente tento me concentrar em fazer coisas novas e sair da água um pouco mais para que meus dedos dos pés não toquem o fundo, se é que isso faz sentido."

Recentemente lembrado que faz mais de um ano que o iDKHOW fez seu último show, abrindo para o Angels & Airwaves no The Pageant em St. Louis, a ausência de performances ao vivo afeta Weekes. "Fiquei um pouco deprimido naquele dia por não poder estar no palco e tudo mais," ele comenta sobre o último show antes da pandemia em 16 de dezembro de 2019. "Mas você procura o lado bom das coisas sempre que pode. Para mim, o maior deles é que estou aqui com minha família, e este é o tempo mais longo que eu já pude estar com eles na última década mais ou menos, então esse é o lado positivo para mim."

Ainda no início do processo, Weekes está se deleitando com o brilho do Razzmatazz, uma longa estrada para ele e Seaman, que tiveram que manter o iDKHOW em segredo no início.

"É definitivamente um peso fora dos nossos ombros," diz Weekes sobre a revelação. "Acho que nós dois estávamos em situações muito semelhantes — em bandas que certamente eram bem-sucedidas — mas não tínhamos voz própria, então, finalmente, ter luz verde para ser criativo sem restrições ou regras ou qualquer coisa, e apenas sermos nós mesmos e tocarmos o tipo de música que gostamos, foi uma grande bênção."

Com o iDKHOW, Weekes diz que há mais liberdade musical, particularmente por parte da Fearless Records, que deu para a dupla 100% do controle criativo. "Ser capaz de ter essa liberdade sem ninguém se intrometendo em suas ideias e enfraquecendo a mensagem é algo tão inestimável para mim," diz Weekes. "Tem sido uma ótima experiência poder trabalhar dessa maneira."

Para Weekes, é um privilégio duplo poder atingir um certo grupo demográfico de ouvintes e ainda levar a prerrogativa do iDKHOW em qualquer direção que ele e Seaman quiserem, sem qualquer repercussão. "Você quer fazer uma carreira atraente para certos grupos demográficos que sempre estão quase arranhando você, mas eu joguei esse jogo por muito tempo. Estar perto dessa parte da indústria que trata a música e a arte como uma mercadoria — como se fosse Coca-Cola ou algo que você fabrica — é apenas algo que nunca me interessou."

Ainda em casa por um futuro imprevisível, Weekes diz que sua filha Amelie, de onze anos, está demonstrando interesse por música, recentemente aprendendo ukulele e violoncelo, e ele está feliz em mostrar a ela o que fazer se essa é uma vida que ela decida seguir, o que nunca foi uma opção para ele quando era mais jovem.

"Quando eu era criança, querer ser músico e tocar violão não foi algo que fui incentivado a fazer. Era realmente visto como uma perda de tempo, e você seria um viciado em drogas, um canalha. Essa era a opinião dos meus pais nos anos 80, porque as bandas que eram populares quando eu tinha sete e oito anos eram o Mötley Crüe e o Guns N 'Roses, e isso era o rock and roll."

Ele complementa, "Mas eu cresci mais nos anos 90 e os heróis da música que eu admirava, mesmo que tivessem seus próprios problemas, eles não os glorificavam. Eles não estavam promovendo nenhum tipo de estilo de vida. Eles estavam apenas fazendo arte pela arte."

Arte pela arte. É o que Weekes e Seaman trabalharão para manter com o iDKHOW, e há mais músicas em trabalho, mas o mais importante primeiro — Weekes ainda precisa terminar de limpar o estúdio.

"Vou tirar um pouco do pó," diz Weekes. "O mundo está em minhas mãos."

[emilyblame]

you kids are too young (maybe) to know who this man is.

this man is Tim Pagnotta. lead vocals and rhythm guitar of a little band called Sugarcult, formed in California, 1999.

13-year-old me was in love with this man.

29-year-old me would still give him one of her kidneys if he asked.

[dreamcarnews]

We can’t wait for you to hear the album tomorrow. Special thanks to Tim Pagnotta for helping us make it.

[iheartmoosiq]

Salvation can come in many forms. For me, it often comes as music, especially when it’s as lifting and exultant, inspired and elevating as The Strumbellas’ new song. The Canadian rock veterans make a grand re-entrance with Salvation, which was produced by Tim Pagnotta (Elle King, Walk The Moon) and co-produced by Brian Phillips. Salvation, out now via Glassnote Records, is a punchy prancing treat that sees The Strumbellas wading deep into folk-tinged alt pop territory. “Our whole dream has been to make cool, small-town music with just a fun, poppy feeling,” says lead singer/guitarist Simon Ward. “Every record we do, we get closer to that. ‘Salvation’ is exactly what we wanted to do, what we were hoping to get out of this song and record: fun, poppy songs that are sad and weird.” The Strumbellas’ last album Hope came out in 2016. They’re currently working in the studio on their fourth album. Stream/download Salvation, here, as we wait for them to reveal more tasty morsels off their next release. 

[tennesseewilliamshakespeare]

actually in tim pagnotta’s defense if i wasn’t texting someone back for whatever reason (no way in hell there’s not a reason) and they aired that out to their entire fanbase on twitter i would feel like maybe i’d made the right decision

[bringinbackpod]

Interview with Sugarcult

We had the pleasure of interviewing Marko DeSantis of Sugarcult over Zoom video!  In August 2001, SoCal rockers Sugarcult burst onto the scene with their anthemic debut album Start Static. Combining high-energy punk riffs and irresistible power-pop melodies with a heavy dose of youthful angst, Start Static quickly earned the group a legion of fans, and spawned three hit singles, "Bouncing Off the Walls," "Pretty Girl (The Way)," and "Stuck in America." Now, two decades later, Craft Recordings commemorates this enduring favorite with a deluxe 20th anniversary vinyl and digital reissue.   Set for an October 8 street date and available for pre-order, the vinyl edition of Start Static (20th-Anniversary Edition) will feature the original album — newly remastered by the GRAMMY®-winning engineer, Paul Blakemore — plus three special bonus tracks: an early demo of "Say I'm Sorry," a live version of "Bouncing Off the Walls," plus a spirited cover of Elvis Costello & The Attraction's "No Action." The album comes housed in a gatefold jacket, featuring sculpted emboss printing and updated liner notes from the band. Fans can also find a special variant of the LP — pressed on clear vinyl and limited to 500 units — exclusively on Sugarcult's website and at Craft Recordings' online store.    The digital edition, also available October 8, features an additional, previously unreleased live version of the band's hit single, "Stuck in America." and "Bouncing Off the Walls (Live)"   Formed in Santa Barbara, CA, in 1998, Sugarcult — whose original lineup consisted of Tim Pagnotta (vocals/guitar), Airin Older (bass/vocals), Marko DeSantis (guitar), and Ben Davis (drums)— made their mark as one of the most dynamic and entertaining pop-punk bands to come out of the 2000s. After independently releasing two demos and two EPs, the quartet caught the ears of Ultimatum Music, who signed Sugarcult and connected them with producer Matt Wallace (Maroon 5, Faith No More, The Replacements) to work on their debut full-length.    Start Static went on to sell more than 300,000 copies, while the band embarked on nearly three years of non-stop touring. In addition to playing the main stage of Warped Tour and appearing at festivals like Glastonbury (UK), Summer Sonic (Japan), and Soundwaves (Australia), the group joined Green Day's American Idiot tour in the U.S. and Japan, as well as Blink 182's European arena tour. They would go on to headline hundreds of shows across North America, Europe, and Japan. Multiple songs off Start Static, meanwhile, could be heard on popular shows like MTV's Laguna Beach and in films like Van Wilder (the stars of which, Ryan Reynolds and Tara Reid, appeared in the music video for "Bouncing Off the Walls.)"   In the liner notes, guitarist DeSantis recalls that Start Static  "was our confrontation and/or handshake with the world; our chance to get people to pay attention, earn their respect, and then, hopefully, win their hearts. The album title fit the narrative of the songs—which are mostly vignettes of young adult anxiety over the trials of messy romance and post-adolescent dissatisfaction and uncertainty. [Start Static] was our album title and our mission statement."   Following Start Static, Sugarcult went on to release two more acclaimed albums (2004's Palm Trees and Power Lines and 2006's Lights Out), and two DVDs before embarking on an extended hiatus in 2008. Since then, each band member has excelled in a variety of fields within the music industry.    Tim Pagnotta is an award-winning, multi-platinum-selling songwriter and producer who has collaborated with the likes of Weezer, Blink 182, Neon Trees, Walk the Moon, and Elle King. Airin Older went on to become a founding member of Edward Sharpe and the Magnetic Zeros and joined British alt-rock group thenewno2, featuring Dhani Harrison. Marko DeSantis is now a professor of music business, artist development and artist coaching at Los Angeles College of Music, Musicians Institute College of Music and Citrus College. He has also enjoyed several DJ residencies in the U.S. and Japan and has been featured as a guest speaker and panelist at SXSW, UCLA, and Sonos LEAD, among others. Ben Davis, meanwhile, enjoys a successful career writing and producing music for film, TV and commercials.  We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #MarkoDeSantis #zoom #Sugarcult #StuckInAmerica #BouncingOffTheWalls #StartStatic #20Years #20thAnniversary #20YearAnniversary #TwentyYearAnniversary Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter!  source https://www.spreaker.com/user/14706194/interview-with-sugarcult

[deadcactuswalking]

REVIEWING THE CHARTS: 28/08/2021 (Ed Sheeran, Tion Wayne/ArrDee, Clinton Kane)

So, this might end being a pretty strange episode – not because the charts are strange; in fact, with Ed Sheeran’s “Bad Habits” at #1 for a ninth consecutive week, it’s business as usual. Instead, errors might end up slipping past me or I might end up forming analogies that may end up not making sense – not that I don’t do that already on here – mostly as a result of me feeling really unwell this past week. I guess I’m not exactly in the best state of mind to be REVIEWING THE CHARTS.

Rundown

Given that a lot of the past weeks recently have been very busy and almost chaotic, I’m glad this is a semi-cool down, even if we still have eight new songs and a considerable amount of movement within the UK Top 75, which is what I cover. As always, we start with the notable drop-outs, songs exiting the top 75 after five weeks on the chart or a peak in the top 40. This week, that includes the underperformance of “Motley Crew” by Post Malone, “Permission to Dance” by BTS, “Higher Power” by Coldplay, “Good Without” by Mimi Webb, “Didn’t Know” by Tom Zanetti, “Let’s Go Home Together” by Ella Henderson and Tom Grennan, and after 31 weeks, “Friday” (Dopamine Re-Edit) by Riton and Nightcrawlers featuring Musafa & Hypeman. A lot of these songs were around for a considerable amount of weeks, and the one thing they all have in common is that, in my opinion, they’re pretty lousy.

There’s also one other notable drop-out in the form of “Ain’t It” by Doja Cat as it ends up selling and streaming less than another Doja Cat song, meaning it falls off of the chart due to nonsensical UK Singles Chart rules that only allow three songs on the chart by one artist. This time, however, instead of a song being replaced by a new Doja Cat song, the song that dropped out of the chart because of this rule just a few weeks ago returns to the chart, that being “Kiss Me More” featuring SZA at #38. Our other returning entries are “Perfect” by Ed Sheeran seemingly getting residual album hype at #70, “Life Goes On” by PS1 and Alex Hosking not going away at #65 and “Solar Power” by Lorde back at #52 off of the album boost. We’ll talk more about Lorde later on.

Firstly, there are plenty of notable losses, songs dropping more than five spots from last week’s position. This week, that batch consists of “Verdansk” by Dave at #29, “Holiday” by KSI getting ACR’d at #32, “Lose” by KSI and Lil Wayne at #46 (though it’ll rebound next week thanks to the album’s deluxe version), “Rollin’” by MIST featuring Burna Boy at #51, “BED” by Joel Corry, RAYE and David Guetta at #54, “Excuses” by Mentis featuring Kate Wild at #55, “Little Bit of Love” by Tom Grennan at #58, “Heat Waves” by Glass Animals at #60, “Head & Heart” by Joel Corry and MNEK at #61, “Body” by Russ Millions and Tion Wayne at #63, “Love Again” by Dua Lipa at #64, “Mr. Brightside” by The Killers at #68, “Our Song” by Anne-Marie and Niall Horan getting a harsh ACR drop to #69, “Dumb Love” by Mimi Webb at #74 and “Oliver Twist” by ArrDee just hanging on at #75.

In terms of notable gains this week, we do have a surprising amount, including “Love Tonight” by Shouse at #66, “Alone with You” by ARZ gaining big off of the debut up to #50, “Drive” by Clean Bandit and Topic featuring Wes Nelson at #33, “Just for me” by PinkPantheress at #27 off of the debut, “Woman” by Doja Cat at #20 and finally, our first of two new top 10 entries, “OUT OUT” by Joel Corry and Jax Jones featuring Charli XCX and Saweetie at #10, becoming Corry’s 5th top 10, Jones’ 7th, Charli’s 5th and Saweetie’s first to reach the region if you don’t count her uncredited remix of Little Mix’s “Confetti”. It’s also the first top 10 hit Charli XCX has had on the UK Singles Chart since 2015. Now that the rundown’s over with, I guess it’s time to cover our eight new songs, starting with...

NEW ARRIVALS

#67 – “Change My Clothes” – Dream and Alec Benjamin

Produced by Tim Pagnotta and Brian Phillips

...

Okay, starting with...

#62 – “Summer of Love” – Shawn Mendes and Tainy

Produced by Ido Zmishlany, NEON16 and Tainy

After the comical underperformance of Wonder, I’m honestly surprised that Shawn Mendes is still pushing for a fifth album. It would make more sense if he went the songwriter route from now on, especially given that the biggest male pop star on Earth sounds just like him on a #1 hit. This new single is a collaboration with Puerto Rican reggaeton producer Tainy, perhaps best known for his work with Colombian rapper J Balvin as well as other important Latin singers like Daddy Yankee. Unless it’s a big-name collaboration, Spanish music rarely appears on the UK Singles Chart, but Tainy has actually appeared in the top 75 before thanks to a collaboration with Dua Lipa. “Agua”, his SpongeBob-themed bop with J Balvin, deserved better. I was initially confused to how he would work with Shawn Mendes but honestly, I kind of like this. My main problem with it, ironically enough is Tainy, as the reggaeton rhythm here feels particularly cheap and lifeless, even if Mendes in his multi-tracked falsetto delivers his lines convincingly over mostly ambient production. It’s a pretty subtle song, which makes it perfect for Mendes to reminisce about the first Summer he spent with his girlfriend Camila Cabello. He even references their collaborative hit “Senoríta”, and how it felt like they were both 18 again – even though neither are really all that far removed from that time in their lives. That janky guitar melody in the chorus encapsulates the nostalgia of the lyrics pretty well, and whilst I wouldn’t say it’s minimal, it’s definitely a lead single making purposefully less of a first impression, so I am interested in where Mendes goes after this. Sadly, I don’t see this song sticking around for long, but time will tell.

#56 – “Don’t Go” – Skrillex, Justin Bieber and Don Toliver

Produced by HARV and Skrillex

Why do I feel like none of these artists are actually anyone’s favourite artist? Regardless, this is the umpteenth time Bieber’s made a song produced by Skrillex and honestly, that’s always brought out the best in both, especially if you remember “Where Are U Now” with Diplo, which I’d still put up there with my favourite song from the Biebs... although there is a severe lack of competition in that category. That’s not to say that I had high hopes, but this could work and... yeah, I really like this. That lead whistle is really infectious and the R&B-inflected glossy piano production is really busy, covering Bieber’s lack of personality pretty perfectly. Skrillex described it as a “beautiful mess” and I’d say that’s pretty accurate, especially when Bieber starts rapping about “COVID operations” – genuinely, what the hell is he talking about? This all adds to how surreal this song really is, yet it feels pretty controlled. Half of the loops used here sound off-beat, Don Toliver’s vocal mixing is really off, there’s no real EDM drop like there would usually be in a Skrillex production, but all of that adds to the charm of how pretty much nonsensical this song is but still in the context of a standard pop song. Don and Bieber have some genuine chemistry when they start trading bars and hell, I’m just glad a pop song debuting on the charts actually has a third verse or bridge. In fact, this song somehow has both and it’s under three minutes. I can’t say this song is good in any objective way; in fact, it’d be easier to say it’s horrible for the exact same reasons I’ve been praising it, but this just scratches an itch for pop music that feels like it’s adjacent to trends rather than following them. It’s like Skrillex knows what makes a song popular in 2021 but tried to include all of them in two minutes and 48 seconds, without realising that he doesn’t understand how to pull off any of them. In short, this song is hilariously stupid and I honestly recommend you checking it out on that point alone.

#48 – “Mood Ring” – Lorde

Produced by Lorde and Jack Antonoff

I’ve still yet to listen to Lorde’s third album, Solar Power, as a result of me slacking off in terms of new releases – well, at least new releases that will impact the charts, as I’ve been spending a lot of my music listening time playing albums by bands like Tropical F Storm and If I Die First because, well, of course I have. This was a single released just days before the album dropped and seems to be complete satire because, well, every single so far from this record has felt like satire, as do the CD-less promotional tactics. The content in general is mocking how people try to spiritually connect with themselves and the world, but not exactly in a harsh way; in fact, the song doesn’t really have any reason to mock mood rings and the ways in which people try to better themselves in terms of mental health, so it’s stuck in a weird place where it’s either a light-hearted jab with appreciation of what it means to people or a weird, semi-bitter approach that really doesn’t complement the airy instrumental. For a song with as little of a structure in the verses, it eventually becomes a pretty simple verse-chorus-verse track with a 2000s R&B-esque backing beat and... it’s just fine. It sure is listenable even in all its unnecessary sarcasm that really rubs me the wrong way given it’s criticising a whole heap of nothing. Overall, the biggest crime this song commits is that it’s boring and a complete non-presence. Oh, and Lorde sounds like Lily Allen in terms of cadence in that second verse, which makes perfect sense but makes me wish she was the lead vocalist here as that would inject a lot more personality into this song that as it is, just feels like an interlude that meanders for far too long.

#47 – “Rhythm & Vibes” – Tobi & Manny

Produced by Krunchie and Zdot

Tobi & Manny is a British rap duo consisting of, well, Tobi and Manny, both YouTubers who I believe are associated with KSI’s Sidemen group, which seems to be producing more charting hits than anyone would have expected. Tobi has charted before, with this new single putting a positive spin on British hip-hop, going for a UK garage rhythm with some pretty bright keys as well as a groovy bass that holds much of the track’s momentum, as neither Tobi or Manny are really engaging here, with their deadpan and unengaged delivery. The entire song’s content seems to focus on “positive vibes”, trying to convince listeners that Tobi and Manny are some of the few UK rappers that aren’t violent. This is especially evident in Tobi’s verse, as he puts a spin on a lot of UK drill terminology with some semi-clever wordplay which would be funny if he sounded like he cared about any of this. It definitely fulfils its purpose of positive vibes, and I can see this sticking around but I’m not really convinced by this.

#22 – “I GUESS I’M IN LOVE” – Clinton Kane

Produced by Steve Rusch

Isn’t it great when someone debuts in the top 40 and doesn’t even have a Wikipedia page? Thankfully, there’s information about him out there, as he’s an Australian singer-songwriter of Filipino descent who has been gaining mostly bubbling traction for the past few months, his biggest hit until now being the breakout song “CHICKEN TENDIES”. This new song is a very simple ballad because what else do you need other than good production, a looped chord progression on a synth piano and a guy who sounds a lot like Dermot Kennedy? The song is a love song taking the angle of how the years of heartbreak and pursuing love has been “worth the wait” (or “worth the weight”) as long as he’s able to be with this newfound love. I actually think Kane is more compelling as a songwriter than he is as a singer, mostly because that falsetto is rough, though his belting on the choruses once the string section comes in is pretty powerful. For such a lovestruck song, it seems a tad slow and sad, but given the context of that chorus, I think it works pretty well as a cathartic release. To my surprise, I actually like this quite a bit – I have no idea how it got into the top 40, although a song about teenage melodrama that had been leaked and teased for a while debuting high on the charts is not unprecedented in 2021.

#19 – “Wid It” – Tion Wayne and ArrDee

Produced by Gotcha Bxtch

ArrDee is getting so many feature placements lately and I can’t say it’s undeserved as I think his charisma is really up there, even if sometimes he feels like a parody of UK drill. Fittingly, this song is a collaboration with similarly comical Tion Wayne, and it should be no surprise that this is good, starting with an eerie vocal sample and quickly crashing into a busy and scattered drill beat that doesn’t jump through the mix in terms of its 808s as much as I wanted to, but is still hard. Oh, and Tion and ArrDee trade bars here, trying to up-stage each other in their drill stand-up routines. I wish ArrDee and Tion were on the same wavelength in terms of vocal mixing, which makes their chemistry a bit stunted, but the song is still very catchy and a fun, short listen. The first two words said are “Good gracious”, and much of the song seems to focus on the two rappers’ diverse taste in women. ArrDee’s comically contradictory bars like when he says that he doesn’t need to be violent to be successful before threatening the listener with four of his friends “fixing up their face” always feel like a pay-off, but that’s not to say Tion isn’t just as funny here, as he name-drops Kylie Jenner for literally no reason, comments that he still has women enjoying some very violent singles and claims that he’s being targeted by both the Daily Mail and... taxes. My favourite line from ArrDee is when he refuses to “OT Bop” because he’s from Brighton (which will make no sense outside of the UK and I’m not going to bother explaining it), with my favourite line from Tion being that he’s so entertaining that even blonde women with racist families come to see him perform. I think that’s the problem with this song, though – there are many good lines but not as many deliveries, and with a beat that’s just decent, it’s not really able to carry the two overwhelming personalities. Don’t get me wrong – this is a good song and I’ll probably end up liking anything with ArrDee on it, but it could be better.

#5 – “Visiting Hours” – Ed Sheeran

Produced by Johnny McDaid and Ed Sheeran

Finally, we have our second new song in the top 10 and the second single from Ed’s upcoming Equals album, although this was actually first debuted live in Australia at a funeral for music promoter Michael Gudinski. Ed was a close friend of Gudinski and it’s pretty obvious from the lyrics here, as the opening line about wishing Heaven had visiting hours immediately hits before he goes into more detail. The first verse elaborates on Gudinski’s influence on Ed and how all of the lessons he’ll tell his daughter, who he laments Gudinski not being able to meet, came from him. The song is an almost desperate plea to be able to talk to the man in Heaven just as he would when he was alive, to deliver news and ask for advice, as Gudinski acted as a father figure and mentor to Ed. He promises that he’ll make sure that when his kids have grown up, they still drink their father’s favourite wine and whilst I can’t relate to all of the details here, as someone who has recently lost a loved one, specifically my own father, this hits a lot harder than I expected it to, which is helped by the subtle blend of guitars and Ed’s typical conversational tone both lyrically and in his delivery. When you lose someone important in your life, I feel like the main thing you want is closure, for you to just talk to them one last time for the sake of ending all the stories you started with them, with a sense of denial that they won’t come back. For me, this song is definitely one of the most resonant songs to debut on the chart in some time.

Conclusion

As a result, I do have to say my favourite song for this week, and hence Best of the Week, is Ed Sheeran’s “Visiting Hours”, with an unexpected Honourable Mention for Shawn Mendes and Tainy with their song “Summer of Love”. This was a pretty damn good week all things considered, so it wouldn’t be that genuine to give out a Dishonourable Mention, instead tying the Honourable Mention with “Wid It” by Tion Wayne and ArrDee. Worst of the Week, I guess, is going to Lorde for “Mood Ring” as it’s the only song I dislike here. Here’s this week’s top 10:

I don’t really see next week being all that busy unless Halsey’s album makes an impact or DONDA is actually released, so I’ll just see you next week.