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#trying to find out the average amount of albums people listen to in a year
synthfagz · 9 months
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if you don't know just guess
this doesn't mean albums that came out this year, just anything you haven't listened to in full before
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iwanthermidnightz · 4 years
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What Swift is doing might seem more like an attempt to win her longstanding battle against Braun than a calculated business move. But according to several industry veterans who spoke with VICE, if Swift pulls this off, she stands to make an unthinkable amount of money—and decimate the value of her old recordings in the process.
You'd think Swift's contract with Big Machine might prevent her from re-recording her old music, but she can legally do so for two reasons, according to Dina LaPolt, an entertainment attorney who represents Steven Tyler, 21 Savage, and several other high-profile artists. Firstly, while Shamrock Capital owns the master rights to Swift's first six albums—or in other words, the sound recordings on those albums—Swift owns the publishing rights. (Because she wrote her own songs, she retains the rights to the lyrics, melodies, and compositions that comprise them, and she doesn't have to ask permission from or pay anyone to use them how she sees fit.) Secondly, the "re-recording restriction" in her contract with Big Machine—a standard part of any record deal, which long prohibited her from recording new versions of the songs she released through the label—has reportedly expired. When Swift releases new versions of her old songs, she'll own both their master rights and their publishing rights, earning every penny they bring in and securing unilateral control over how they're used.
She's almost inevitably going to yield that power to license her music to advertising agencies and film and TV studios, according to Guillermo Page, a former record label executive who's worked for BMG, EMI, Sony, and Universal, and who now teaches in the University of Miami's music business program. To license (or "synchronize") a song, you need permission from the record company who owns it and the songwriter who wrote it. Swift has always said no to licensing offers on the grounds that they would profit Braun—but now that she's cut him out of the equation, she can strike those deals herself, and take home 100 percent of the profits they reap.
"She has all the leverage, and all the control," Page said. "Even if the current owners of the old catalog want to do some type of deal for synchronization, without her approval as a songwriter, they wouldn't be able to do it. By recording the masters herself, it opens the door for her to do those deals directly."
In all likelihood, Swift's collaboration with Match.com, which used her re-recorded version of "Love Story" in its latest ad campaign, wasn't a one-off; it was the first of countless licensing deals Swift is going to make with her re-recorded music. According to LaPolt, Swift will easily be able to convince companies to come to her when they want to license her masters instead of paying Shamrock Capital for them.
"I have some clients who have re-recorded their big hits," LaPolt said. "We have management companies that are very, very savvy in this area, and they went out to all the music supervisors at all the film and TV companies. These companies all know to come to the management company and license the re-records, because it'll be a lot cheaper, and the artist wants that."
Ad agencies and film studios interested in Swift's music will want to use her as a one-stop shop: By going to her directly, they can secure a license to both the publishing and master rights to her music in one fell swoop, as opposed to licensing the publishing rights from Swift and the master rights from Shamrock. Additionally, according to Tonya Butler, a former label executive and the current chair of Berklee's music business program, Swift will probably cut her licensees a deal.
"If she knows how much the record companies are charging, she's going to undercut them at every opportunity," Butler said. "Record companies are notoriously much more expensive than the publisher would be. It's much easier—and cheaper—to license from one party that controls both sides."
Butler raised the possibility that Shamrock may try to turn the tables on Swift: Instead of allowing her to undercut them, they could opt to license her songs at cost, making it cheaper to acquire them from the private equity firm. But because Swift controls her publishing rights, she could ostensibly revoke a company's clearance to use her music if they try to work with Shamrock. In the battle over synchronization, Swift seems guaranteed to come out on top. But Butler cautioned that Shamrock may already have a strategy in place for that.
"Just because we don't know what's up their sleeve doesn't mean that there's nothing there," Butler said. "We've known that she's wanted to re-record since 2019. [If you're Shamrock Capital], you don't spend that kind of money without having some kind of plan."
Swift stands to rake in hundreds of thousands (if not millions) of dollars through licensing deals—but when it comes to streaming revenues, Shamrock may have the upper hand. When the average listener wants to hear a Taylor Swift song, they'll generally opt for the old version as opposed to the new, especially if Swift's re-recordings sound significantly different than her original masters, according to Page. (It's worth noting that Swift recently said her re-recorded music will contain "plenty of surprises.")
"One of the things that you will find when artists re-record their songs is that they want to change certain things," Page said. "When they do that, they don't realize that they are changing a masterpiece—they're changing a song that is already known in a certain way. The moment you change it, it's not the same song. And that is a risk that she's taking."
Even if Swift tries to replicate her old recordings note for note, she might not be able to do so flawlessly, Page said. She was 16 when her self-titled debut came out; at 30, her voice doesn't sound the same as it did back then. Additionally, producers have changed the way they record music, and the technology they use has evolved.
"She can try to drive consumption by letting her fans know that the new versions are there, but that will be applicable for only the most hardcore fans," Page said. "The reality is that she will be competing against herself on all of those platforms. And it will be very difficult, because the other songs are already out there, sitting in thousands and thousands of playlists, on all the different platforms and services."
There's a chance that Swift could try to either sweet-talk or strong-arm DSPs like Spotify and Apple Music into prioritizing her re-recorded music on their platforms. Imagine, for instance, that Swift wants Spotify to remove the original master recording of one of her songs from a popular playlist, and replace it with her re-recorded version. She could threaten to withhold her new recordings from Spotify altogether—along with all of her future releases—if they don't oblige. But according to Butler, a streaming service like Spotify would probably balk at that.
"I cannot see Spotify switching out those songs," Butler said. "Shamrock could sue. If I have a license with you and we both agree that for however many years, you are going to distribute my music on your platform, and then somebody else comes along and you replace my music with theirs, then you have breached your agreement with me. That would be a huge mess."
Assuming DSPs like Spotify stay out of the fray, the odds are that most listeners will continue to stream Swift's original recordings instead of her new ones. Then again, her fanbase is fiercely loyal; there's a chance her re-recordings wind up dwarfing the old versions. Ultimately, it doesn't really matter: Because she's still entitled to royalty payments on her old recordings, Swift makes money either way. She can't lose.
Considering how foolproof, how lucrative, and how simple Swift's ploy to own her masters seems to be, you have to wonder if other artists might mimic it. So many musicians have spoken out about being infuriated that they don't own their masters, and have fought—almost always unsuccessfully—to reclaim them. If all it takes to win that fight is getting back in the studio and making new versions of their old songs, why can't every artist do it?
The answer, in short: because they're not Taylor Swift.
"You have to have what Taylor Swift has, which is an enormous audience and an enormous brand," Butler said. "It's working for her because she's got all the pieces of the puzzle. If you don't have that social media voice, if you don't have that brand, if you don't have her money, if you don't have all of the things that she has, it may not work for you."
Butler said she has no doubt that other artists will try to follow in Swift's footsteps, only for many to find something standing in the way. If they didn't write their own songs—or even if they wrote part, but not all of them—they won't have the legal right to re-record them. If they're not wealthy enough, they won't be able to cover the high cost of recording, especially not in a way that produces a carbon copy of their old music. If they haven't cultivated a rabidly devoted fanbase, they won't be able to convince people to stream their re-recordings instead of the original versions. Still, Butler said, many artists are going to try to replicate what Swift is doing—and record labels know it.
"The first thing that's going to happen is label contracts are going to change," Butler said. "They're going to try to set it up to where this cannot happen to this extent."
The way major labels would do that, according to LaPolt, is by making re-recording restrictions more stringent. As it stands, an artist is typically prohibited from re-recording music they make for a label for three to seven years after it's released. Going forward, labels could try to bump up the term of that restriction to 20 or 30 years, if not extend it in perpetuity. It's almost a given that they'll try, LaPolt said.
"Every time there is an amazing thing that an artist does to get out of their deal, or get their IP back, [record companies] come up with some dastardly, ugly thing to make sure that doesn't happen again," LaPolt said. "I can tell you right now, we would fight tooth and nail against that."
In some ways, what Swift is doing seems like a turning point for the music industry, one that could inspire an untold number of artists to take control of their master rights and irrevocably reshape the way record contracts are written. It's possible that we'll look back on this moment as a major landmark. What's more likely, however, is that it will prove to be nothing more than yet another shrewd move by a pop star who's risen to the top of her field by making so many of them, creating opportunities for herself that almost none of her peers are wealthy, successful, or cunning enough to secure.
"Is this a watershed, where everybody starts doing it—no way," Butler said. "I don't think that the majority of artists will be able to pull it off to the extent that Taylor Swift has. Is this a unicorn? No. But it's a horse with, like, five legs."
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foxofninetales · 3 years
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Get to know me
Thank you @xcziel for the tag!  I think I already did part 2, so I’m just going to do part 1.  :)
name: Like @xcziel I am an online old and try to keep my real name out of things.  In fact, I’ll take it one step further and say that this is a separate pseudonym created to keep my fanfic writing separate from my usual online presence (since that one’s been around long enough that people could find enough clues to track me down if they really wanted). But you can call me Fox!
pronouns: she/her, but honestly, use whatever you like, it’ll be a novelty.
star sign: Libra.  I don’t really do the horoscope thing, but I can always remember that because it sounds like the start of “library”!
height: 5′10″ (I look shorter because I slump TERRIBLY)
time: ...daylight savings?
birthday: Eh, “Libra” is close enough
nationality: American
fave bands/groups/solo artists: I had to think about this, because I’m honestly not much of a music person, so I’m going to answer this with some albums I can think of (not individual songs) I have actually bought with my own money: wayyyy too much Gilbert and Sullivan, various Big Band era and 1920s novelty song collections, the Muppet Treasure Island soundtrack, Petula Clark, and far, far too many Christmas music CDs (mostly classics and carols).  You will notice that what these have in common is that I can listen to the songs enough to absorb them and then SING THEM INCESSANTLY FOR THE REST OF MY LIFE, R.I.P. to those around me.
song stuck in your head: None currently, but “Oh Danny Boy” always resides at the tip of my tongue because one of my cats’ names fits the meter beautifully so I tend to sing it at him a lot.
last movie you watched: It’s been so long I can’t remember!  I honestly don’t watch movies all that much - I watch a lot more TV shows.
last show you binged: I’m going to say “binged” means “watched obsessively” rather than just “watched”, so it was probably “The Tiger and the Rose”.  Also, I do this weird thing where I want to Feel An Emotion and I find a show that pushes that emotional button and binge it until I have Felt The Emotion in sufficient quantities and then drop the show dead, so I have SO MANY half-watched shows in my watch history.
when you created your blog: This particular blog was created in... January 2021, I think?  But I’ve been blogging online since 2000.
the last thing you googled: Tencent!  Trying to figure out how to get access to that new Liu Sang movie.  :)
other blogs: I’ve had a scattering of other tumblrs over the years, and I’ve had a livejournal/dreamwidth account since 2000 under my usual alias.
why i chose my url: I was looking for something involving writing, and then I thought of “tales”, and then I thought about “cat of nine tails” and then I though about nine-tailed foxes, so this username is basically three puns in one for maximum efficiency.
how many people are you following: 56.  There are also a few very prolific rebloggers I just bookmark and visit on their own because it makes me unhappy if I can’t scroll all the way down to the “You’re caught up!” in the amount of time I have with my morning tea.
how many followers do you have: 89
average hours of sleep: usually 7 to 8
lucky numbers: ...none? 
instruments: None.  I took enough piano as a child that I can read music but that’s all I can say for it.
what i'm currently wearing: I’m still in my work clothes, so big blue dangly/sparkly earrings, a blue stretchy top and an enormous blue and white scarf wrapped and pinned as a skirt.  The top is leftover from an old TARDIS costume that got incorporated into my everyday wardrobe, and the scarf is one I liberated from the lost and found at work after it went unclaimed for three months, if that makes it any more interesting?
dream job: A while ago there was one of those big English aristocracy country estates advertising for a live-in hermit to sulk mystically in a grotto and glare at tourists.  I am still regretful that I missed that opportunity.
dream trip: Impossible to decide, but it would definitely be focused around something archaeological, like the clay soldiers or something.  If I could go back in time, I would love to visit my great-grandmother’s house one more time.
fave food: I just really, really love starch, okay?  Bread, noodles, potatoes, CAKE.  So much cake.
top three fictional universe you'd like to live in: Probably something from a picture book.  Like a little cozy Beatrix Potter animal or something. Or maybe the world of Patricia C. Wrede’s “Enchanted Forest Chronicles”, I think that one could be fun. 
No-obligation-tagging @wirwerdensiegen, @s1utspeare, @merinnan, @xantissa, @kholran  :)
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mytastessuck · 3 years
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Gorillaz: Plastic Beach
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mAh, nostalgia. This album was my high school years. I got a digital copy for my birthday from my mom and became obsessed with this album well into college. The dominance of electronica, the use of people with great voices, the expansion of the lore, Lou Reed...this album was all of music when I got it. It's my favorite Gorillaz album and it looks like it's gonna stay that way for a while. But how is it on a not even approaching semi-objective level? Let's find out.
1. Orchestral Intro
You can probably guess it by my awful taste but I'm not really into orchestra. This opening though, with the sound of waves and the mourning instruments, really tipped me off that I was in for something different. This album wasn't going to start off with something chill or even a zombie movie clip. No, at this point, Gorillaz were officially done fucking around.
10/10
2. Welcome to the World of the Plastic Beach
Then we get the brass leading us into a good beat and then HOLY SHIT, SNOOP DOGG?! He leads us in like a bandleader while a chorus of women back him up Just Like That while he goes with his usual flow. He adds the needed touch of instant cool to an album that's practically frozen with the artists already on it and with this song, it feels like you're walking past the gate into Disneyland.
9/10
3. White Flag
Some nice Arabian sounding instruments on this one. Pretty cool for Gorillaz to keep engaging in world music. Anyway, this was a really cool instrumental but it's time to move on to the other son---
Huh?
Suddenly, we get beeps and mixes backing up Bashy and Kano as they kick so much ass talking about pacifism for the sake of survival. This song kicks an undisputed amount of ass and it barely even tries.
9/10
4. Rhinestone Eyes
What I like about this song is that I keep finding new things to like about it as the years go back. First, I liked the weirdly-threatening nature of the song along with the woman moaning in time with the verses. Then I liked the video (even though it was insanely shady of EMI to release that without Damon's and Jamie's permission and it ended up being the thing that led to Phase 3's premature ending and Gorillaz going on hiatus). Then I liked the continuation of the moaning that I first noticed in live performances then finally heard in the song itself. This song is like Rolexes falling from the sky.
10/10
5. Stylo
Ah, the first single from the album. I remember telling my dad about this when I first saw the video for it. I was about to write off Gorillaz as a relic of my past before I saw Murdoc and 2D get run off the road by Bruce Willis. This song has an awesome bridge by Yasiin Bey, nice crooning by Damon Albarn and incredible back-up by Bobby Womack, who manages to lift the entire song over his head using just his voice. Damn, wish he had another song that put his voice on full display. Maybe later in the album...
10/10
6. Superfast Jellyfish
Yeah, De La Soul is back! And they're singing about TV dinners! Seriously, these guys can make guessing crossword actually fun instead of a dredging experience and have Shiny Toy Guns frontman Chad Petree singing about radioactive seas brings the whole thing home. It makes you want to really go out and eat a random jellyfish but don't do that. It'll hurt.
11/10
7. Empire Ants
Okay, before I give this song its totally fair score, it should be noted this is my third favorite song of all time. I love Damon's reassuring lyrics in the beginning but the switch in the middle to a more upbeat electronic pop tune pushes this song past perfect.
Then there's Little Dragon...
This song introduced to me to Yukimi Nagano's voice and wow...I didn't think humans could sound like that, let alone an Asian woman singing soul. If you think the instruments are carrying her here, obviously there are clearly no other songs on the album that showcase her talents so I have to recommend After The Rain, Twice and Constant Surprises by Little Dragon. Seriously, this woman's voice will water your fucking crops.
500/10
8. Glitter Freeze
Where is north from here? Don't ask me, I'm not a compass. Anyway, this song has Mark E. Smith from The Fall and they use him to his fullest extent...by which I mean letting him make an absolutely evil fucking laugh somewhere near the end. The instrumentation makes it feel like you're in a storm on a shaky ship and you're definitely going to feel like you need some pills after you're finished. This stuff will put hair on your chest.
11/10
9. Some Kind of Nature
This song introduced me to Lou Reed and I'm grateful to it for that. Lou was a shitty dude but damn his voice really made things better than they should have been. Fuck, I was one of the eight defenders of Lulu for this reason. But Damon doesn't sit with his thumbs up his ass on this song. He holds his own and makes the chorus sound legitimately dreamlike. All we are is stars, indeed.
100/10
10. On Melancholy Hill
This song is awesome to chill to...unless you're escaping a cruise ship while being gunned down by fighter jets. But other than that particular example, I recommend this song for anyone trying to relax while thinking of someone special. But be careful with the last note of this song. That gong can be a real eye opener.
9/10
11. Broken
Bummer of a song but if there's one song you absolutely NEED to learn on melodica, it's this one. Aren't we all broken? Well I am. And this song speaks to me.
10/10
12. Sweepstakes
Yasiin's back and there's gonna be trouble. He plays a carny in this track and you know that no matter how many times you listen to this song, you'll always gonna fall for his schemes. He's gone on to say that this is one of his finest achievements as a MC and I can see why.
10/10
13. Plastic Beach
Holy shit, they got the 50 Ways To Leave Your Lover guy on this track. Makes since because this, outside of Empire Ants, is my favorite song on the album. The harmony, the little imp they got for the bridge, the triangle...everything makes this song better than it has any right to be on an already awesome album. Damn, plastico indeed.
200/10
14. To Binge
Shock of all shocks, Yukimi's back! And it's a duet with Damon! And it's a song about a relationship torn apart by addiction! It's not my birthday so it must be Christmas. These two manage to drown the listen in waves of audio goodness that leaves them feeling like they spent 3 minutes and 56 seconds standing under a waterfall.
20/10
15. Cloud of Unknowing
Okay, I cried to this song. And now, with Bobby Womack's passing, I cry even harder. This song should be an anime ending with how solemn it is but you need to listen to the end to hear, "It may bring sunshine on its wings." Also, Damon covered this song live after Womack's passing. I suggest you look it up because it is tear-ripping.
50/10
16. Pirate Jet
Eh. Pretty average song compared to the others on the album but I appreciate the message. Sweet Lord, people. Turn off your shit when you're not using it. We only got one planet and I don't trust Elon Musk.
8/10
Album Score: 60.1/10
Whoo! No biases! Anyway, next week is The Fall, otherwise known as the album Albarn did on his Ipad. Otherotherwise known as the album a significant portion of the fandom has a hate-on for. Does it deserve the hate? We'll find out!
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bisluthq · 4 years
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Hello! So, I am a two muse theory doubter (yes read realistic Kay too a couple of times). Like, I want to believe. I have even tried to force it in my mind but it doesn’t take. The reason is - TMT fails to consider the fluctuations of emotional highs, lows, love and lust over the initial 2 year period of a relationship. Like, I am a semi profesh song writer with a muse. The variety of POV I write from are extensive. Life is an emotional pendulum and our experiences make it swing. On any given day, our perspectives and emotions can complete change for a given moment towards a muse. I can love my muse for the rest of my life but hate them with the same passion on any given day, go to my piano and write it into a song and feel indifferent to it later (the good and bad end up in songs). When I listen to Rep, it’s range of intensities I easily apply to my one muse. Taylor herself saying Dress, Delicate, CIWYW & NYD her true story on the album reads like she is just pointing to her average daily experiences with 1 muse. If Delicate is Joe & Dress is Karlie - Taylor separated her finding “love amongst the chaos” into loving two people in her true story. If you actually timeline those particular songs it’s Dress (a lustful hook up), to Delicate (wanting to make it official), CIWYW (the pressure of making it official) and NYD (the challenge of commitment). Unless “Dress” leads her to “Delicate”, why include it at all in her true love story line up? Like, was it a last minute attempt to hetsplain that song years after it came out?🤷‍♀️ by her including NYD in her true love story of Rep, it ties via the ‘squeeze my hand three times in taxi’ lines to cruel summers crying in the backseat lines (which is also the circumstantial vibe of CIWYW). The backseat crying lines of Cruel Summer ties to the Cornelia Street vibe (which Taylor writes later as a reflection of the whatever happened after the Delicate moment) which ties back to Delicate via the bar lines and forward later in time to Gold Rush via the creaks / wooden in the floor lines. I mean, all this says to me there is 1 muse of her true story - which could be Joe (but that cancels out the sapphic nature of dress) or Karlie (which means this illicit affair on joshy-boy really did happen somewhere between 100 and a million times). Tbh, I tend to believe the later. So you’ll be like okay what about LSS, Invisable String then fruitcake? (Fair call future sleuth haha). Or what about babygate and joshlie marriage?! Like, wbk that affair was at least long and messy AF. Folklore and Evermore were written last year and Lover period was fairly chaotic and clunky at best (presumably because of masters heist). Like, they MUST have broken up (FG, DBATC, Daylight, The 1, Cardigan saga, TIMT, Hoax, Peace, Exile, Coney Is, Evermore, RWYLM, CP, Happiness, TTDS). Like, they all have 1 muse energy of losing someone you love through messiness (could be joe🤷‍♀️ we’ll never know for sure). But many of these songs refer to a third person being involved which screams Joshlie to me because of ivy, illicit affair, the bitterness of “The Man”. Baby, you say? Like it’s pretty simple - Karlie went back to Josh, married him and had a baby and Taylor’s like “uhh, what a fucking joke” and processed it last year through writing two albums about it all. Invisable string, LSS - like these are both songs which come from a POV of self-reflection after hope is lost. Maybe reunited after preggo-gate? Maybe consolidated love after break up into friendship aka Dorothea? WB - quite simply - WB is the model to which Taylor writes about whatever she wants to (triangulation of desire). Good for her, great writing strategy. Is it a strategy needed? Well ya, but only if it’s born of having 1 muse and a very obvious story Taylor is trying to obscure. Like, come at me sleuth cuz I reallllly want to believe in two muse story. I wouldn’t even had bothered writing this if I didn’t. What am I missing?
Hey Sim here. So Nat broke protocol and sent me this one to answer because I too am a writer and I too at one point reached that point in the lyric analysis where I literally could not fathom any timeline I was hearing that made sense due to the connections in the lyrics between Reputation and Lover. I have a whole spreadsheet called “Car Bar Roof” where I’m just trying to make sense of a series of events through lyrics alone and I nearly drove myself crazy doing it.
With that being said, I want to give a disclaimer: Nothing wrong with you interpreting things your own way! I know Nat can come off kind of brash sometimes, but both of us are always hyper-aware that we are discussing what essentially amounts to a “Taylor Swift Is Gay” conspiracy theory and because it’s a conspiracy theory and we don’t know these people, no analysis is ever going to be 100% correct. If you don’t hear two muses on Rep, that’s totally fine! I’m sure we have some Toe/Swiftwyn readers who would agree with you there!
I do want to caution against relying entirely on lyric parallels to create a timeline, however. You’re going to dig yourself into a rabbithole that’s very hard to get out of. I think a lot of people don’t realize that Taylor has been using a lot of metaphors (especially the car and the bar) her entire career. It ends up being a big stretch to assume that just because two events in two different songs both take place in a car or a bar, Taylor is talking about the exact same moments. Like, let’s be real, how many times have any of us ever been in a car? Wouldn’t it be kind of ridiculous for a critic of our work to assume everything we write involving a car is about the same specific time we were in a car?
It is also incredibly easy to construct false narratives when you rely only on song analysis. I’ll give you an example using Taylor’s first high school boyfriend, Drew. Whether you believe it or not, he’s often cited as the inspiration for Tim McGraw. The song Tim McGraw has a variety of common themes with Taylor’s other work, the main ones being summer, dancing, the moon, a little black dress, a truck, a creek/river, and going back to school. If we follow song parallel logic, I could connect Tim McGraw to folkmore songs and, because of this, could say Taylor is still dating/writing about Drew from high school.
The little black dress in Tim McGraw is also mentioned in unreleased Live for the Little Things and The Other Side of the Door. In both Tim McGraw and Live for the Little Things, Taylor mentions a black dress and dances with her lover under the moon. A summer love that ends with going back to school can also be found in August, and Cruel Summer and August are very similar songs, in that both are about a summer love that can’t last and isn’t being taken as seriously by one person as another. The Other Side of the Door is almost the exact same premise of an ex at your doorway as I Almost Do, Dark Blue Tennessee, All You Had to Do Was Stay, and exile, meaning all those songs must be connected as well. Dancing with someone in the middle of the night can also be found in Everything Has Changed, 22, and Dancing With Our Hands Tied. As a bonus, trucks and dancing are also mentioned in Champagne Problems, which connects to Gold Rush, So It Goes, and Dancing With Our Hands tied through the use of the color Gold. So It Goes also mentions wearing black and meeting someone in the middle of the night. So all those songs have to be about Drew as well.
So here’s the narrative that makes: Taylor and Drew dated over a summer then broke up when he went back to school but at some point he came back to her door and they got back together. They mostly hung out in the middle of the night, driving around and dancing. Unfortunately, when he proposed, Taylor couldn’t say yes, and literally left him stranded on the dance floor and is now #foreveralone and writing folkmore to process these events.
To be clear, I don’t actually believe any of this. I don’t think anyone else does either, but since neither Taylor nor Drew have publicly interacted in over a decade, this can be easily disproved, despite the “obvious” way the songs connect. Taylor just likes certain themes. Cars and bars. Nature. The contrast of light and dark. Sparks and fire. I guarantee if you go over her unreleased songs and first two albums with the same fine tooth comb you’ve gone over Folkmore/Lover/Reputation/1989 with, you’ll find just as many lyric parallels, and it’s not because she’s only writing about one person.
Occams Razor tells me Kaylor’s not on good terms anymore. It also tells me Karlie and Josh are actually having a child together. From the outside, it looks like things have been bad since at least the Masters Heist, if not before, and the more digging we’ve done, the more evidence we find of that. Now, you don’t have to believe that if you don’t want to! As long as you don’t go around harassing people we’ve got no beef with you. Just know you’re always going to find song parallels to back up whatever you want because Taylor’s such a prolific songwriter who loves to use the same themes again and again. That’s just deductive reasoning, baby. Thanks for the discourse though! LMK if you wanna chat song analysis sometime!
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dustedmagazine · 3 years
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Black Twig Pickers — Friend's Peace (VHF)
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Friend's Peace by Black Twig Pickers (VHF)
The Black Twig Pickers aren't exactly the most normal of acts, each of the members finding old-time music to be simply a foundation for more experimental songs. Banjoist Nathan Bowles and fiddler Mike Gangloff, for example, have the drone-folk of Pelt. Fiddler Sally Anne Morgan passes genre limits in House and Land. Guitarist/harmonica player Isak Howell has been a journalist. The band even found its way onto Thrill Jockey for a string of albums and, while the band's link to Jack Rose facilitated that connection, it still suggests that the Twigs aren't exactly your standard fare mountain music. With new release Friend's Peace, though, the best thing about the record might be just how typical it is.
“Typical,” to be clear, doesn't mean “average” in this case. When a contemporary group plays old-time music, the typical read is to figure out how they manage to put a modern twist on the sounds, to see how they push the music forward. With the Black Twig Pickers, it's not that they aren't innovative, but it's that work so well within the tradition itself, creating their own distinct sounds without sounding like they're trying too hard. The members are either from or have lived for a considerable amount of time in Virginia (mostly in southwest VA), where this music is a part of the red clay soil. The group sounds less like tourists or academics than they do the latest iteration of an heirloom crop.
Part of the group's fine-tuning comes from playing the dances in Floyd. “Money Musk/Icy Mountain/Tommy Hawk” might not sound like the square dance music of the worst days of elementary school gym class, but it's meant to be functional. It combines local knowledge and folk history with a need to keep the people of Floyd, VA, on the dance floor. The song reads as a suite, but it moves smoothly in the way that only a tight band can. It's easy to enjoy the track without listening too closely, but trying to fit the various parts together plays off.
Likewise, “Cara's Waltz” (named for and inspired by Gangloff's wife) serves a purpose. As its name suggests, it doesn't have the upbeat energy of “Money Musk,” but it has a gorgeous fiddle part that sounds like it must have been written 80 years ago. The group mixes new arrangements of traditional numbers with originals, but across the album, it's impossible to tell them apart without knowing the songs.  
“Will You Miss Me When I'm Gone?” shows off the group's ever developing use of vocals. The tune traces a Virginian line from the Carter Family through Ralph Stanley, but the harmonies are uniquely the Twigs', joined here by Morgan's husband Andrew Zinn. Appalachian bands naturally need to reflect some on death, and they just as naturally need to party after doing so. The band follows that number with the bouncing “Roan Mountain Sally Ann” and its dueling fiddles.
The album closes by turning Ernie Carpenter's energetic “Dan Friend's Piece” into an elegy of sorts. The group (notably after Rose's passing) used the song as a memorial, but it picks up on this recorded version. It replaces Carpenter's kinetic approach with a more knowing sort of optimism. The shift suggests the album's title, finding peace from a piece, but always with the awareness of the role friends play in both halves of the pun, whether historical or contemporary, or (probably) those yet to find the band.
Justin Cober-Lake
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youngboy-oldmind · 4 years
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ALBUM REVIEW: The Lost Boy
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“Try to take a walk up in my shoes/A n**** rapping like I really got something to prove, Cause motherf****er, I do/I climb hills, n***** was sleeping, on Nyquil/ Paint a picture vivid, dawg, on everything, my life's real”
Overall Thoughts
Maryland rapper YBN Cordae plants a solid footprint in the rap game on his debut album The Lost Boy: a 45 minute masterpiece filled with excellent storytelling and production combined with a unique style that proves he’s definitely an up and comer to look out for in years to come.
The Lost Boy was my favorite rap/hip-hop release of 2019. Cordae’s first studio album is contender for one of my favorite debut albums ever. In my opinion, related artists’ (Chance the Rapper, Logic, Bas, J Cole, Kendrick, Amine) debut album’s fall to The Lost Boy. And at 21, his debut releases at an age younger than everyone in that group. To have an excellent project at such a young age is another feat on its own.
One commonality I notice with debut albums is that new artists tend to sound like their biggest influencers; the biggest culprit being Logic. But Cordae stands out with his own style that doesn’t sound too similar to any of his numerous influences. His delivery, word choice, and flow (while not always mind blowing), is not a carbon copy of a rapper from the 90s-00s. Here, Cordae’s sound is his own.
His pen game on this project is consistently above average, but rarely mind blowing. Tracks like “We Gone Make It” and “Thousand Words” exhibit his strongest lyricism. However, Cordae’s story telling abilities are consistently powerful. Tracks like “Bad Idea”, “Thanksgiving”, “Nightmares Are Real”, “Family Matters” all have Cordae illustrating his experiences. He emphasizes his perspective as a young man who’s finding himself through all these experiences. Even his most bragging and banger tracks still feature great humility and storytelling elements, the stand out being “Broke as F***”.
The features on The Lost Boy are all top notch. Cordae includes Chance the Rapper, Ty Dollar $ign, Pusha-T, Anderson .Paak, and Meek Mill, all of whom bring elite verses to their features. It’s even better that the guests don’t completely outshine Cordae. Cordae brings enough weight to each song that its not completely engulfed by the feature. Songs like French Montana’s “No Shopping”, Logic’s “Homicide”, Chance’s “Handsome” all suffer from a feature that outclasses the main artist. But Cordae goes toe to toe with each feature.
I should also mention the two skits, “Sweet Lawd” and “Grandma’s House”. Both are pretty good as far as skits go. I can’t help but assume they were influenced by Kanye West’s “I’ll Fly Away” from The College Dropout, both of which sound very reminiscent to. They display Cordae’s singing abilities and soulful sound. And its touching to hear Cordae’s grandmother on the latter track.
Overall, I can’t really find a weak spot on this project. The runtime, theme/tone, uniqueness, production, and lyricism are all excellent. As far as debut albums go, Cordae made has created one of the best I’ve ever heard.
Album Breakdown
The common theme throughout this project is Cordae’s experiences being young and lost in a chaotic world. I love this theme because it doesn’t limit the scope about his topics. He can make fun tracks, political commentary, and emotional deep cuts while staying tonally consistent.
1. Wintertime
"Wintertime” features a smooth, mellow, jazzy beat; The vibe feels like a instrumental off of J Cole’s 4 Your Eyez Only. Cordae introduces himself, compares where he started to where he’s at now, and discusses some everyday plagues that stress him (anxiety, maintaining success, pressure to appear problem-free) while also aiming for the top and hoping nothing he creates fades away. Great intro.
2. Have Mercy
This next track is lyrically nothing deep or profound, just a banger track with a dope instrumental. The echoy, bassy sound that develops on the last leg of the song is especially great. I also found Cordae’s music video technique interesting. He released two videos, Path A and Path B, that illustrate opposite tones. Path A brings more zainy, flamboyant visuals while Path B is much more dark and eerie. I personally think Path A is the more appropriate for the track. Overall, not a bad banger.
3. Sweet Lawd- Skit
This skit features Cordae singing the hook off “Have Mercy” over a church-like piano. As I mentioned early, strongly reminds me of “I’ll Fly Away” off Kanye West’s The College Dropout. Cordae’s voice is soulful and pleasant to listen to as well. The first gospel-esque track.
4. Bad Idea
Chance the Rapper and Cordae team up to create one of the best songs on the album. They both deliver great verses, Chance’s middle verse being the best. Here they talk about the downsides of Home and the impact those experiences had on them. They borrow the beginning chorus lines “It might not be such a bad idea if I never went home again” from Gil Scott-Herman’s “Home is Where the Hatred Is” and heavily styled like Kanye West’s “My Way Home”. Although Cordae is the main singer on the chorus, he layers his voice to make it sound like an ensemble of singers. A great stylistic choice. And the heavy piano X light strings perfectly end the track. Between the strings at the end, the Kanye West sample, and Chance’s (a huge fan, supporter, and protege of Kanye) involvement, I definitely smell influence from West’s sophomore album Late Registration.
5. Thanksgiving
“Thanksgiving”, the first deep cut on the album, has Cordae introducing a girl to his family during Thanksgiving. However, she’s fake and never stays around, making him question their relationship while remaining hopeful they can maintain it. Cordae demonstrates his powerful storytelling abilities. The overall mellow tone in the production allows his lyrics to fit perfectly in the instrumental; it doesn’t outshine but it doesn’t get over shadowed either.
6. RNP
Anderson .Paak has collaborated with Andre 3000, J. Cole, Rhapsody, Kendrick Lamar, BJ The Chicago Kid, Pusha-T, and Q-Tip, so I wasn’t surprised when I saw Cordae would be collaborating with the talented singer. However, I couldn’t prepare for the amazing back-and-forth chemistry between them. You wouldn’t think when listening to them trade bars that they have a 12 year age difference between them. Also fun fact: J. Cole produced the track.
Both these artists are just having fun over a bouncy beat, talking about the “problems” they’ve experienced being rich. Definitely be favorite fun track so far.
7. Broke As F***
This is tied for my favorite track on the album. Cordae’s lyrics aren’t necessarily the most complex and deep, but he brings such a indescribable energy to his storytelling. He basically tells the story from him being a baby, being in high school appreciating hip hop, where he came from, and where he’s going to go. The great thing here is that its not solely bragging about his possessions. Its a commentary on what he’s GAINED. This adds a touch of humility. And at the end, he comments on how he’s lost, still searching, and doesn’t “really have a lot of answers”, tying into the theme of the album. Perfect.
The spacey instrumental on the chorus, the beat drop after the first line of the first verse, and the beat change midway through makes this one of the best instrumentals on the album. And the ending drums transition to the next song perfectly.
8. Thousand Words
“Thousand Words” has some best verses on the album. Here Cordae talks about the toxicity of social media and how people create false perceptions to hide true pain. While already an intriguing topic, Cordae goes a step further by admitting he’s not holier than thou. He admits everyone lowkey wants to be a little famous, and nobody wants to be “nameless”. I love that. It’s easier to say Instagram and Twitter are toxic (Logic on Confessions of a Dangerous Mind). But to admit there is some validity and positivity to social media...very profound for someone so young. My favorite lines are:
“Living in this false reality that's in this picture gallery/ Based on a n***** profile, we guessin' salary/ The lifestyle you advertise was quite strategized/ Make a minimal amount and then we maximize/ These n***** cappin' with lies how they capitalize/ Creating they own perceptions, what a massive facade/ Digital marketing schemes even broader regime/ Live how you want on the internet, who thought of this thing?”
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9. Way Back Home
Ty Dollar $ign stands out on the feature, talking about not letting fame and success pull him from reality. Cordae sings the chorus and most of his verse. Admittedly, I wasn’t a fan of Cordae’s parts; It felt underwhelming. But the instrumental and Ty’s verse carry a significant part of the song. I especially loved the high pitched melodic voice that pops in the beat throughout the song. I also love the sci-fi, techy “WORP” effect throughout the instrumental. But ultimately, this felt more like Ty’s song than Cordae’s.
10. Grandma’s House- Skit
Between “Grandma’s House” and “Sweet Lawd”, I prefer this skit. The harmonious vocals that echo Cordae’s grandma’s vocals give off an amazing gospel vibe. The simplistic yet soulful and intimate aura of this skit makes it one of my favorite interlude-skits off any rap album.
11. Been Around
Another mellow song on the project, “Been Around” has Cordae talking about the development of his career and how he’s going to keep moving forward and not let doubters or bad situations slow him down. I like the chorus more than the verses, but overall its not a bad track. It maintains the tone of the album and flexes Cordae’s pen game a little.
12. Nightmares Are Real
This was the most intriguing collaboration on the album. Pusha-T and Cordae have very different sounds and styles; Pusha-T brings much more aggressiveness whereas Cordae is softer. Cordae’s hardest verses don’t compare to Pusha-T’s baseline intensity. Although they don’t demonstrate strong chemistry, they both bring solid verses. Both tell stories of how they started in the rap game, however, Pusha-T’s wordplay and lyricism is a step above Cordae’s. He talks about dealing with selling crack while developing his skills in rapping. Particular set of lines had me shook.
“Asterisk, skipped school, recorded with The Neptunes/ We was makin' high school classics/ Before I took a kilo and I wrapped it, I rapped it/ Around the funeral with the casket/ Coke avalanche, like a landslide/ Only grew my hair this long because my man died/”
I don’t wanna go too far into explaining these lyrics cus genius will do better job. But Pusha-T brings fire to this track. The tone of the instrumental matches Pusha-T’s intensity as well. As solid of a collaboration this is, its not in my top 3 collabs. That goes to show how amazing this project is.
13. Family Matters
"Family Matters” is tied with “Broke as F***” for my favorite song on The Lost Boy. Cordae talks about the stress of witnessing family traumas and difficulties while experiencing his own success. He expresses feelings of guilt and selfishness when his family hides things from him so he can focus on achieving his goals. He talks about abandonment from baby daddies, aunt’s raising kids that aren’t theirs, a cousin in an abusive relationship, a cousin addicted to xanax, and another aunt who’s a prostitute. All of this is happening while he’s worried about “plays and streams”. It’s an interesting sentiment. Is it selfish to focus on yourself when your family has a load of obstacles and difficulties? Every time he succeeds he has to look back at where he came from and be reminded his family does not share his accomplishments. Nearly brought me to tears when I first heard it.
As I already stated, lyrically this is one of Cordae’s top songs. Arin Ray brings a choir on the chorus that sounds amazing, adding to the gospel sound sprinkled throughout the album. And the light violin strings at the end encapsulate the emotional turmoil Cordae expresses.
14. We Gone Make It
Another top track, “We Gone Make It”, features a collab with Meek Mill to make political/social commentary on todays world and encourage others to keep pushing to succeed. Unlike the other three collaborations “Bad Idea”, “Way Back Home”, and “Nightmares are Real”, Meek Mill’s verses are actually equal with Cordae. Although I’m not a huge fan of Mill, he brings in a succinct, powerful 12 bars and a hook so dope he, as Cordae puts it, had to “sing it twice”. Also fun fact: Cordae used a modified version of the first verse on H.E.R’s “Lord is Coming (Remix)”.
Instrumentally, the beat accompanies the message without overshadowing it. The piano melody and vocal chops throughout mix well with the verses. I personally love the piano keys in the final minute. It adds an aura of delicacy to a song with such an intense message.
15. Lost & Found
In the perfect closing track “Lost & Found”, Cordae displays pride, stating “I was lost boy, now I’m found”. Over a bumpy, bassy beat with epic trumpet harmonies, he comments on everything throughout the project. However, now he has assurance he’s not lost nor insecure from his experiences. And he knows things are going up from here. Like the rest of the album, he’s lyrically above average, reflecting on his life while introducing a fun, braggadocios vibe. Kinda like a “the balls in your court” to the rest of the rap game. Loved it.
Final Thoughts
I look forward to Cordae’s next album. This was a near perfect debut solo album. At 21 years old, Cordae displays strong lyricism and production skills. His ability to story-tell and introspect indicate incredible feats in career. The lowest parts of this project are still amazing, and the high points put this project as my favorite of the year. I don’t know how else to say it. The rap game better watch out for this Maryland born “Lost Boy”. If The Lost Boy indicates the trajectory of his future, Cordae will have the crown in no time.
Top 3 Tracks:
1) Family Matters
2) Broke As F***
3) Bad Idea
Overall Grade: A+
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LOOSE REVIEWS (It Looks Sad., Pablo’s Paintings, Vancouver Sleep Clinic, Steve Lacy)
Just a bunch of very quick, very throwaway reviews that I put together while I’m writing the Björk discography post (I’m currently at Vespertine, so this shit is gonna take a while). Mostly slightly underground bands, all very short projects and one of them don’t even have a project, but you should check them out. Anyway.
It Looks Sad. – Songs For Quarantine
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Not much to say about this. It is a 9-minute EP, obviously not meant to be taken as a serious, ambitious release, but it’s from a band I wanted to check out: It Looks Sad.. They’re categorized as emo, but their style reminds the listener a lot more of shoegaze and dream pop, at least from what I’ve heard by them (right now, this and Drool, which fits cozily in my Summer playlist).
If you want some moody music for the quarantine (if it’s still going on by the time I post this) and you don’t care if the songs sound like they were recorded in an underwater cave, then go ahead and listen to this I guess. It’s average as fuck but whatever, that’s the point.
 WORST TO BEST: Eyes, Love, Waves, Bug
 bedroom music/10
“*insert shoegaze mumbling here*”
 It Looks Sad. - Kaiju
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2015 EP. Two tracks, one sucks and the other is tolerable. Like I really don’t know what the fuck the singer was trying to do with Creature, he’s hollering all over the place, and the delivery would be more at home in maybe some poorly-recorded punk song, but the instrumental is nothing like that, as it’s pretty much indie-rock 101; not to mention the lyrics, which are the blandest broken-hearted songwriting I’ve heard yet, probably. I now understand how truly emo they were.
For Nagoya, I can at least say the hook is pretty cool, but that’s it really. I guess I’m grateful they changed their style.
 2.45/10
“Best friend this is terrible. You know it’s inevitable. I hope you come back, I hope he comes back.”
 Pablo’s Paintings
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Just wanted to give a shoutout to the underground Leeds, Yorkshire band Pablo’s Paintings. I had listened to Lizard a long while ago, and loved it, so I decided to check out the rest of their stuff today (May 25th), and it’s very solid. The track You’ve Got A Long Way To Go draws heavily from a psychedelic influence, while Paint’s Gone Dry and So Long (All Your Friends) sound like something The Beatles would maybe write.
I guess you could call them formulaic, but their mixing and distinct sound are all pretty good for a band that hasn’t gotten a song with over 2000 streams on Spotify. Their songs can be a little to bubblegum-ish, such as So Long (All Your Friends) which doesn’t really stand out as many others, but for the most part, they deliver. Can I Draw You Something? has a slight edge to it, in comparison, but still sporting cute lyrics about just drawing for someone, and Ghost In The Machine has a great progression to it, and a very cool cover art to accompany it. It’s clear the band has a taste for visual arts, from the lyrics to the band’s name.
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In short, they do have a long way to go, and I hope they release an album soon, considering all but two of their Spotify singles were from last year; I’d be the first to listen to it.
 WORST TO BEST: So Long (All Your Friends), Paint’s Gone Dry, You’ve Got A Long Way To Go, Can I Draw You Something?, Lizard, Ghost In The Machine
 good band check them out/10
“I draw these lines and take them for a walk. I find that I say things better when I don’t need to talk”
 Vancouver Sleep Clinic – Winter
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Contrary to the name, the band Vancouver Sleep Clinic is from Australia. Led by ambient singer (a term I didn’t know existed until today) Tim Bettinson, from my understanding, the band have partly built their audience by reeling people into the music by putting having the songs feature in TV shows and movies and whatnot, since there’s a hefty list of times their songs have appeared in this type of media on their Wikipedia page. I decided to listen to Winter because I discovered Stakes from the fact that the $uicideboy$ sampled it on the song Sold My Soul To Satan Waiting In Line At The Mall, and liked it a lot. The EP as a whole, however, not nearly as much.
To start off with the main problem I have with Winter, the tracks are all the same. Seriously, I cannot distinguish one from the other; all the songs are soaked in reverb and mainly center around simple acoustic guitar chords and generic pianos, mixed with Tim’s head voice and sometimes the dumb decision to include a synthesized drumming track, like in Vapour, where the fast-paced hi-hats sound so out of place and clip so badly in your ears, it sounds like your earphones are having a mini seizure, but not in a cool way. Meanwhile in Flaws, there’s this unnecessary, wack finger-snapping that makes it sound like I’m listening to some techno song with around 3000 views on YouTube (I do like his backing vocals in the track though).
At its best, tracks like the opener, Collapse, offer an actually powerful passage, in that song’s case, the hook breakdown, where the 808 drum patterns are actually very welcome, and the synths under it are very beautiful and harmonize really well. The final track, Rebirth, also attempts a grand breakdown of sorts, but falls flat because the song is so unnecessarily stretched out and weirdly segmented, and it’s so unexpected: the song is a slow piano/guitar ballad as usual, and then, around 3 minutes in, after the song fades out almost entirely and tricks you into thinking it ended, the drum kicks start rising and all of a sudden there’s... something? I don’t even know what instruments are playing apart from the  superimposed drums and what I think is an electric guitar, because it sounds like god knows what, an overheating computer mixed with some shrieking sound, which I assume is the guitar, way off in the background. And then Tim sings a last verse and the song suddenly ceases to exist. Same thing happens with the shortest track here, (Aftermath), consisting of 4 lines, your average piano and strings, and of course, the reverb. It builds up an epic instrumental, and after the brief singing section, just ends. No further instrumental work, just woosh. It’s gone.
I will give credit to Tim’s verses. Even though they’re always delivered with the same intonation, his lyrics are alright, and at least in Stakes, he employs some backing vocals that really make the track, and the hook is magnificent. They tend to blend into one another, with constant themes being metaphors for words he should have or regrets saying, the cold (obviously, given the EP title), sometimes drowning/large bodies of water, and of course, all tracks are about melancholy and heartbreak. But in some parts of the EP, his verses really do feel like some alright poetry, such as the awkward last verse in Rebirth (“I’m starting again, tearing my flesh, stripped to the bone, the all that I’ve grown. Leaving behind, breathe like a child. It’s taken the winter to find who I am”) or the already mentioned beautiful hook in Stakes. In most of the songs, however, I find his themes to be too repetitive and, I wouldn’t say uninspired, but run-of-the-mill.
So overall, the EP doesn’t amount to much. All the tracks attempt to go this emotional route, but they’re very repetitive, and that numbs them and robs them of their emotion a lot. Listen to it if you want to relax, or maybe even sleep to it if you want to take their name literally.
 WORST TO BEST: Vapour, Flaws, (Aftermath), Rebirth, Collapse, Stakes
 4/10
“I sunk in oceans blue, now they’re all frozen over. I should have took your hand, we should have crossed the border.”
 Steve Lacy – Steve Lacy’s Demo
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Member of The Internet, singer-songwriter, guitarist, bassist, drummer and producer Steve Lacy is an artist I’ve wanted to check out for a while. I have at some point in my life heard his song Looks, off this demo, but thankfully I forgot how it went so I can check it out again. It’s gonna be a quick listen and review, but I’m curious (and while looking him up I found out he won a Grammy with Kendrick’s DAMN., for producing, backing vocals and songwriting, so that’s cool, congrats Steve).
Right away, I’ll just mention this project is very lo-fi. As in, the drums and his voice are poorly mixed. I’ll give it a little bit of a pass because this man played all the instruments in here and I appreciate the fuck out of that, but anyway. You can tell right at the first track that singing isn’t Steve’s forte, at least in this album, at this time. The hook in that song is just bad, the good part are the instruments, the guitar riffs and the very dynamic bassline, plus the fun little bongos. However, just like all songs here except Dark Red, this is waaaaaaaay too short. It has two short hooks, the verse, and that’s it. The songwriting, I feel, is one of Steve’s more substantial talents; this song I just mentioned is mainly about how a relationship can’t progress because the two involved don’t like much about each other apart from their looks, and Ryd is all about taking a girl to your backseat, but even though these themes are very simplistic, Steve fleshes them out into something more interesting and melodically rich. In Ryd, his smooth vocals surf over the sunny riffs, but what takes away from it are the weirdly mixed drums, as they sound like they’re playing way louder than they should be. The track is groovy though.
The most focused song here, Dark Red, tells the story of a man who’s worried his girl might leave him soon. The instrumentals are nothing special, very basic, and same with the vocals, even though they’re more rooted and solid in this song. The next song, Thangs, emphasizes its bass way more than other songs, but once again, Steve’s voice is not pleasing to listen to, specifically his high-pitched backing vocals, they’re awful. The lyrics are the most basic here, and this song just goes by without leaving any impact after ending pretty abruptly.
Haterlovin is weird. The vocals are way too low, but I like how they differentiate themselves by not going the melodic route, instead Steve chooses to rap them, and his flow in the verse is impressive, but at the same time the hook is way too repetitive for the song to work, and even though it’s nice he switched up and focused the track on the drums, it still leaves it pretty bare.
To close it up, Some brings some promise, with a pretty funky bassline and hook, but then ends out of nowhere and starts a hidden track, Snaily, which I admit has nice falsetto vocals from Steve, but I don’t know why I couldn’t be a separate track. Overall, the album isn’t great, but I appreciate how organic and talented Steve is. Throughout the songs, his creativity is pretty noticeable, so I can’t hate his efforts, but unfortunately his ideas don’t find the right light to shine here.
 WORST TO BEST: Thangs, Haterlovin, Looks, Some, Dark Red, Ryd
 4.5/10
“Next thing I know she was feeling on me, and I was in the M double-O D when she said park my car down the backstreet”
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sneek-m · 4 years
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Ugh, I can’t fix the placement of the Read More break on that Ask post about where I find music, so here’s another post just so it doesn’t get lost in the feed.
Thank you for reading!
Maybe this is expected from someone who averages about 300 new songs to share on a playlist every month, but I find music from several places, so this is going to be pretty lengthy. I broke it down by genres and scenes because each of them have a unique outlet to which I visit for the newest stuff. Go below for the full rundown!
Japanese music
I used to consult YouTube a lot for Japanese music. I’ve watched a lot of Japanese music-related content (music videos, interviews, random variety show segments, etc.) to the point I trained the algorithms of my account to fetch me new stuff on the daily. On a good day, I would spend an hour just clicking new uploads that I didn’t recognize. I subscribe to a few labels and music distribution channels like Space Shower Music too.
I get a lot, lot more non-music junk recommended to me since YouTube re-did their front page this year to suit more of an instant scroll for mobile than this more organized breakdown with Recommended and a Recently Uploaded section. It probably also has to do with the fact I watch a lot more idol content, so I get a bunch of fan uploads of Hello! Project and 46/48 variety. Not that I am complaining because I do love those groups but it also gets in the way of actual music rising from the pile.
Every other week, I also spent a good hour or two browsing the New Releases page of the Japanese digital music outlet Ototoy. This is where I do a bulk of my catching up with Japanese music. I try my best to be adventurous and click on any remotely cool name on any I don’t know. I look it up on YouTube to preview it, Spotify if it’s a digital-only release, and save it on my ongoing YouTube playlist where I keep all my finds of the year. I keep two separate playlists for general music and idol music. I’ve been hoping this does something to better the YouTube algorithms, but I don’t think it’s doing much.
News outlet Natalie keeps me up to date too with what’s going on in Japan too when it comes to music. I do follow idol groups, bands and pop singers and whatnot on a Instagram dedicated just to following Japanese accounts so I get individual notifications. It’s somewhat of a news feed in that way but it’s mostly so I can just see pictures from music people I like without dealing with IRL FOMO.
Of course, I follow some friends on Twitter who shout out about cool new releases time to time. They’re a big help too!
Korean music
I discover Korean music -- K-pop but also non-idol acts like R&B, indie-rock and such -- solely through YouTube. I follow music distribution channels like Stone Music, Genie, Super Sound Bugs!, Mirrorball Music and Poclanos. They upload new stuff everyday. I save it in my K-pop YouTube playlist if I like it. I have some friends on Twitter who share new K-pop too, so I compare notes that way too.
Other Asian pop
Some other Asian pop, mostly Mandopop but sometimes Thai, crop up on my YouTube recommended, and I used to save some cool ones. Once YouTube did that front page change, though, it’s been buried with all of the junk.
Rap music
Like with Japanese and Korean music, I have a separate YouTube account just dedicated to rap music browsing so I can isolate algorithms for rap music on that account to better tailor my viewing. I check up on it at least once a month, and I keep whatever I like on a YouTube playlist there.
Pitchfork’s Levels section is great to get at least familiar with new names. I follow some rap writers and friends who’s really into rap on Twitter, so they help me out a lot too.
House, Techno, Ambient, etc. 
Most of my electronic music diet comes from whatever Resident Advisor reviews. Their Month in Music round-up posts have been helpful, but a good amount of time I already checked out a record because it was posted on their reviews section.
I do have a Soundcloud account where I follow at least 700 accounts, and I get a lot of electronic music on my own there. One day I realized, if news posts come from labels sending press releases to writers, why not just bypass the sites and follow labels directly so I get their information on singles straight from the source? So every other week I scroll through my big feed that I should actually clean up one day to check up on new releases. I end up clicking on labels as I scroll, see what they got new, to make the process faster. It piles up when I got two weeks of material to scroll through.
Bandcamp’s Month in Ambient have been a great source for ambient music.
Latin pop
I’ve been starting to keep up with Remezcla’s weely music round-up so I can get introduced to what’s new with Latin pop. I could use more outlets for this avenue.
Western indie rock and metal
Every month I see what news posts the music site Stereogum posted to catch up on what I missed. I check Pitchfork every day, browsing their review section almost daily when I’m looking for something to read. I also sometimes check Bandcamp’s Album of the Day posts. I’m at least retaining name recognition that way. I’m having less and less interest to keep up with indie rock in America, U.K. and the like these days, though. My friends who’s into that stuff keep me motivated to still listen to some.
Stereogum’s Black Market and Bandcamp’s Month in Metal posts have been really nice to get myself more familiar with metal. If I want to listen to music with guitars, I’ve been picking up metal lately, so I like these outlets more these days.
I also follow a bunch of indie-rock and metal labels on Soundcloud like Topshelf, Roadrunner, Merge, etc etc, so it comes in my feed there too.
Non-new-releases music
For music other than the new stuff coming out in a year, I look up best-of lists online. I don’t think I’ve finished on best-of list that I’ve found since end of high school, so I don’t think I will run out of albums to check out very soon. I’ve been starting to consult Rate Your Music results after typing in “best [artist] album” on Google if I want to get a crack on an artist’s discography.
Sorry if this is way too broad. If you want more specific answers for specific genres/scenes/artist, feel free to ask!
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kalluun-patangaroa · 5 years
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Suede
SKY magazine, December 1993
written by Simon Witter 
"HELLO! WHAT HAVE WE GOT HERE?!" asks Brett Anderson rhetorically, staring at the fluff he has just removed from his ear. "I haven't taken these earrings off for about nine years."
It may seem an incongruous moment to ask the 27-year-old indie pin-up about his personal style, but hey, that's the kind of guy I am. "Tatty," replies Brett with a wry smile. "I haven't been able to get out and go shopping."
Brett Anderson, frontman of Suede – the British pop sensation of 93 – is hotly rumoured to have a great dress sense. Today however, perched uncomfortably behind an executive desk at the central London HQ of his record company, his head inadvertently framed by a halo of Right Said Fred promotional balloons, he is sporting a navy blue jeans'n'top ensemble he accurately describes as "just anything". Brett has been telling me how he spends most of his time with people who work in shops or are unemployed – "real people, not in the business" – so I presume this boutique bonding provides a clue to his supposed, though temporarily non-evident, style savvy.
"Oh no," he gasps. "Not clothes shops! Most of my friends are in food shops. So I know a good bit of brie when I see it."
The thought of Brett Anderson having, at any point in his life, ever eaten food, conjures images of pigs flapping their trotters as they sail past this second floor window. But we press on with the personal style enquiry.
"I want to change it at the moment," he says. "I'm sick of wearing second-hand things. I used to have a grudge against new clothes because I don't like wearing things that another thousand people are wearing. It's nothing to do with being into clothes from years ago, or tatty clothes at all. I'm quite keen to toy around with my style until I eventually find something, to have clothes made for me. There's never anything, when I go out and look for clothes, that I really love. I've got quite a strong vision of what I want, which would be very, very well fitted things. I don't like baggy things. I like lots of ethnic looks. I really like the Spanish look, that sort of matador thing." By way of explanation, Brett strikes a pose, clicking imaginary castanets above his head. "I like that shape. Prince wears a really brilliant little thing sometimes. When I kept getting my bellybutton out, it was really a desire to achieve that shape more than anything, nothing to do with flaunting my navel."
It's well worth flashing your bellybutton while you still can, I assure him, a rueful hand on my own expanding waistline.
"Yep," he smiles. "Well I can't anymore. Not after that chinese last night."
In May of 1992 Suede released their first single, 'The Drowners'. They had already been on the cover of Melody Maker – before they had a record out – and would grace 18 other British magazine covers over the next year, including the cover of Q on just their second single. Their eponymous debut album, released last March, went straight to No. One in the charts and went on to win the Mercury Prize, and last autumn they released a full-length concert video Love & Poison. At this rate, it will be time for their memoirs by easter.
Within the bizarre, incestuous fishbowl of the British music media, Suede have become almost self-damagingly important. After a couple of wilderness years spent faffing about, finding their feet and being universally loathed, their overnight transformation into the most hyped band in the world was nothing short of miraculous. Yet it created impossibly high expectations of their music. A German friend told me how surprised he was, after long distance exposure to their media glare, to discover how average Suede sounded – a judgment that casual discovery of the first album would hardly have elicited. And while touring America, their support act the Cranberries famously outshone them by an enormous factor when it came to album sales. Yet phase one of Suede's career has been – or appeared to be – so extraordinary, that they are going to be hard-pressed to follow it up with anything similarly momentous.
For now, we have 'Stay Together', a new, epically long single. As a measure of Suede's magnitude in the reality-starved world of British indie pop, I am treated to an absurd preview of the track the day before meeting Brett. Before entering the listening room I am subjected to a bag search to check – I kid you not! – that I'm not carrying a concealed tape recorder.
In LA, the world capital of muso control freakism, I was played U2's Desire, the immediate-follow up to their 15-million selling Joshua Tree album, eons before its release without anyone thinking twice. Yet now, without a hint of humour or irony, I am being treated as if I not only know anyone who cares what the next Suede single sounds like, but would be willing to pay for a tape of it recorded through a leather bag.
After regaining consciousness, I join in the fiasco, insist on a full body search (well, at less reputable establishments you'd have to pay good money for this touchy-feely experience) and am seated. The label boss places two speakers on each side of my head, facing my ears from about 20" away, turns it up LOUD, and begins to do that embarrassing, pseudo appreciative in-chair grooving that only people who work in record companies and recording studios have the gall to indulge in. "It's not pompous," he assures me, "even though it's eight minutes long."
Of course any pop song – as opposed to dance record – that lasts eight minutes is by definition pompous. 'Bohemian Rhapsody' was gloriously, defiantly pompous with a side order of pomposity to go. But, despite the circumstances, 'Stay Together' sounds like a fine, many-hued song, liberally doused with Bernard Butler's life-saving guitar, that is destined neither to win many new fans nor shock the devotees.
"It's about a sense of unrest I feel about the world," Brett tells me the following day, in an ill-advised shot at an explanation. "An attempt to make some sense when everything seems to be going slightly insane. I do get a real sense of impending doom, but not in a depressing way, not like we're all gonna die, let's go and rape people. I feel quite content with it. We're living under some shadow, and I'm not quite sure what it is. It's a bit like the fears I felt when I was growing up, when things were unstable and there was the threat of nuclear war, or the fear that your parents could die of aerosol poisoning."
Brett grew up, together with Suede drummer Mat Osman, in the soulless satellite town of Haywards Heath, between London and Brighton. According to Osman, if they'd been the tea party fops people make them out to be, they would've formed a grunge band. They only wanted to be really glamorous because of their stultifyingly dull working class backgrounds. Some might say that that would lead to the three-Es-a-night, dance-and-forget syndrome, rather than the formation of a glam rock band.
"Hopefully we're not a glam rock band," Brett shudders defensively. "You can escape those surroundings by taking a load of Es and ignoring it. Another way is to create your own myth, to try and become romantic in your own eyes, to create something beautiful out of the rubbish and the shit. It all sounds very Oscar Wilde, but that's the way we did it. None of us were brought up in workhouses, but we haven't had easy lives at all."
Suede claim to be obsessed with fame because they were excluded from it. Yet surely fame is the one classless thing people aren't born into?
"Lots of people are constantly privileged," says Brett, who has clearly spent an unhealthy amount of time pondering the abstract qualities of fame. "If you're born in Soho to rich professional parents, and you've got Jonathan Wotsisname coming round to your house every night to see your father, then you've got this world that you slip easily into. When you're excluded from it there's a desperation, you're desperate to have it. It doesn't come as second nature to you, like professionally famous people who hang out in Beverly Hills. It's not something you're comfortable with, but that mutates it into something far more interesting, a bit prickly and far more creative, because you're not just sitting there lapping it up."
Suede's appearance coincided not unfortunately with the post-Madchester 70s revival. But was their styling something more than just the result of being unable to afford new clothes? Personally, I had thought the emergence of Gary Numan had killed off the idea of anyone ever again wanting to be David Bowie (not to mention Bowie's recent records). Then along came Suede, with their rough guitars, their androgyny and their theatrical singer.
"I never thought of ourselves as '70s," Brett insists. "David Bowie is a genius, but the rest of all that rubbish I always found laughable. As for the clothes, I always thought we looked more 60s than 70s. It's all tied up with this whole kitsch thing, this Magpie and Porridge and rediscovering the culture of British music journalists' youths. Kids of 14 didn't know what anyone was talking about, it was just that the people in power had reached a certain age where they were getting sentimental about their youth and started remembering Magpie. That's all it was, all a complete load of rubbish. As soon as we were aware that this scene was going on, we wanted nothing to do with it."
Brett's voice is a highly variable instrument, perfect and beautiful on slow numbers like 'The Next Life', but occasionally, when he affects that archly operatic Bowie yodel, a whiney, sneering sound like Rik Mayall on speed boring into your brain – absolutely maddening. It goes without saying that his delivery owes much to the most overrated British pop star of the last decade, Morrissey.
"I forced my voice in that way because of how we were born, musically, playing shitholes. It was the only way I could make myself heard. I didn't want to sing in the murmuring way that was the style of the time. I wanted to project my voice, because I was writing songs that I wanted people to hear the words of. I wasn't just writing about fluffy little clouds, which is what everyone was doing at the time. People read into my intonations a theatrical seventiesness, but it was a complete accident."
Overworked as the subject is, it's hard to avoid asking why Brett thinks his androgyny caused such a fuss. It's not the first time it has been done; it's not even the tenth time. Genderless, mincing fops are to classic British pop what hairspray is to American rock, a staple ingredient. Brett, by comparison to most, is pretty tame.
"I don't know," he sighs. "We certainly weren't thinking 'oh let's be androgynous', it's just the way we are. I'm naturally quite an effeminate person – not all the time, I do play on things. I think it was because, at the time, people were so incredibly boring. We had been through five years of the cult of non-personality, and we never wanted to go with the flow. When everyone had their heads down, chugging away, we wanted to twist things a little bit. It's like at school, when you find that something annoys someone, you keep on doing it more and more. And that's what happened really."
A female psychologist wrote recently about the overt sexual expression of pre-pubertal girls at pop concerts, the way in which, amidst the non-contact hysteria of the pop experience, they could sometimes experience their first orgasm. She was, admittedly, talking about a Take That show, but I can't help wondering if it looks like that from the stage to Brett Anderson?
"No, nothing like that," he purrs, "nothing sexual. I always feel like people are putting it on."
Having their first fake orgasm?
"It's a bizarre thing in my head. I know they really like me, but I can't really take it seriously. When I'm onstage, and it's working, I feel like I can do absolutely anything. I feel as though there's no limit, even in the sense that I could fall asleep if I felt like it, because I'm that relaxed. I feel much more comfortable on stage than walking down the street. I could go off into a corner and do a crossword or shave my head. I feel ridiculously relaxed. I really enjoy the power of being onstage. It's to do with the circuit of the flow between the audience and you, when it's an audience willing you to be good. Your own power is an expression of how the audience is feeling, but I can't say I ever feel sexual, even if it looks that way. I think that to call the power purely sexual is to belittle it. When I've been to incredible gigs, it hasn't been a sexual thing, it has been something far more magical than that. "
Brett and Osman came to London in the mid 80s to study, respectively, architecture and politics at UCL and LSE. Suede began after they placed an ad in the NME in 1989, but initial concerts had audiences shouting "Fuck off!", critics calling them effete wankers and record companies running for the hills - a three-pronged invitation to eat shit and die that would have spelt the end for most bands.
"That X factor that made people despise us," muses Brett, "was something we managed to turn around in our favour. It's like being in love with someone, and exactly the same things you adore about them, completely horrify you when you've fallen out of love. We went away and learnt how to write songs, and came back transformed. And those qualities that originally pissed people off, we transformed into something provocative. I think the fact that we went through all that rubbish was a fucking good thing for us. People forget that the Beatles spent five years in Hamburg. No one would touch them in England, cos everyone thought they were an utter load of shit. They spent five years getting it together, suffering a bit and fighting for it."
A typical lyric from those hard years was Brett's line about "shitting paracetomol on the escalator". When they were recently described as chemically saturated, I had assumed more interesting chemicals were involved.
"That's about pure mundanity, being off your face every night and your staple diet coming from your bathroom cabinet. It's a metaphor for a humdrum life, going up and down the London underground, which I spent five years of my life doing."
In many ways this – Suede's poignant soundtracking of new depression Britain – is their strength. But if they are Her Majesty's equivalent of slackers, it hasn't made America any more amenable to their cause. Indeed, despite Brett's avowed loathing of the British character – "negativity, small-mindedness, lack of faith" – there may well be a Britishness about Suede which prevents America from getting the point.
Brett makes the mistake of quoting a Smiths song to me – something about innocence, fragility and trust – forcing me to point out that American audiences don't want to be trusted with something precious, they want to rock out with their cocks out. Evan Dando may wear a dress and pigtails, but the wider American market is notoriously unkeen on sexual ambiguity. Queen were big in America until the early 80s, when Freddie Mercury started appearing in full clone gear. They never toured America again, and didn't have a single hit until after his death (and then only thanks to Wayne's World). In fact, America's association of guitars and manliness make Suede fundamentally unsuited.
"No!" storms Brett. "I don't think we're fundamentally unmanly. All you have to do is come and watch us live. We're about sexuality, power and emotion, things that everybody feels."
Whether or not America is destined to fall for his Morrissey-meets-Larry Grayson stage persona, Brett's much-aired desire to move to America (and less well-known plan to live in Paris) has, for now, been replaced by a much smaller act of bedouinism.
"I've moved from Notting Hill to Highgate," he announces proudly, "from a fashionable place to a place where you're living in the last century pretty much. I was living in a very small flat in Notting Hill and it was driving me insane, I couldn't write and was being bombarded with nonsense all day long. I needed the peace and quiet, and now I have a bigger flat with a studio room in it and I'm writing quite prolifically. It's more serene, there's more space to think. It's quite a beautiful place, but you do feel like you're living in the last century, like you're some sort of oddity, or in a play. You keep going into these odd characters. But it's a great place."
In person, and despite the affectation of much of his thought processes, Brett Anderson is quite charming. An endearing smile – which seems to hibernate when cameras are around – plays constantly around his face, suggesting shared confidences which, to some extent, he delivers. Like so many people cocooned by over-protective minions, he is refreshingly open and approachable. I like him. But he is deeply shocked and incredulous when I paint a picture of the special treatment afforded him by those he works with.
"They treat me with the respect I deserve," he jokes defensively. "I don't have tea with Lenny Kravitz. My best friend works in a chip shop, and that's why I like it, it's a complete escape. One of the beautiful things about being successful is that it can rub off onto your friends as well. Not fame and all that bullshit – the really brilliant thing about being successful is the self-confidence, the sense of life having a purpose, that life is a wonderful thing. You open the shutters in the morning and the sunshine pours through. That sense of vitality about life can completely rub off on your friends. Sometimes it doesn't, it can go the other way, with friends ignoring you cos they think you don't have time for them, but that never happens with your proper friends."
And yet, engulfed in the sweltering perversity of his peer group, Brett has come to hold some pretty crap views, views that seem utterly irrelevant beyond the borders of saddo indie land. He worries about being thought a sell-out, thinks Suede are radically honest because they admit to having ambition – as if people didn't get over all that bollocks a decade ago – and, worst of all, that people don't talk enough about music in interviews. Oh dear!
But, despite all this, Brett's public image remains unshatterably cool. He exudes waves of sultry, sulky hipness. I feel an urge to know what naff items lurk in the corners of Chateau Anderson, his ownership of which will shock Suede devotees to the core. Brett tells me he's been to see Aladdin, listens to jazz music, likes The Orb and Verve and has just bought the new Shamen single. To prove it, he even does his Mr C impression - "Comin' on like a vibe, y'know!". This won't do at all.
"I like Terence Trent D'Arby," he admits, trying harder. "I think he's really good."
It's good, but it's not right.
"I bought Billy Joel's River Of Dreams album. I like that one."
Aha – as Inspector Clouseau used to say – now we are getting somewhere! What about films?
"No, I've got impeccable taste when it comes to films."
No feature length On The Buses video stashed chez Brett?
"No. I have got Crocodile Dundee."
Bingo and Bullseye! So much for impeccable taste.
"Well, my perennial favourite is Performance," he flusters wildly. "I can virtually quote the whole film from start to finish. And there's a brilliant film which I've just discovered called The Shout, with John Hurt, Alan Bates and Susanna York. It's about a man who has spent years in the Australian bush learning the secrets of the bush doctors coming to this ridiculously reserved Cornish village and turning two people's lives upside down. It's like an animal alive within this village, and when he shouts, everyone within a mile radius dies. If Alan Bates' part had been played by Vincent Price, it would've been laughable, but it's incredibly powerful, one of those great lost films."
It's a nice try, but nothing can erase the impression created by Billy Joel and Crocodile Dundee.
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Lacuna Coil’s Cristina Scabbia wants you to “lay down on your bed, close your eyes and come on a journey with us”
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For two decades now, Lacuna Coil have been one of the most consistent voices in heavy metal. Since their debut album ‘In A Reverie’ in 1999, they’ve averaged a new record every two or three years; always ambitious, always as gothic as Hallowe’en in a bat roost, always abrasive… and at the heart of it, always featuring the gargantuan lungs of singer Cristina Scabbia.
Surprisingly for a band so far into their career, new record, ‘Black Anima’, their ninth, contains the best songs the Italian band have ever committed to tape. It’s a deeply personal work, with recent events in Cristina’s life inspiring much of its content. “This isn’t just a heavy record in terms of it’s sound,” says Andrea Ferro, who shares vocals in the band with Cristina. “The words are heavy, the tone of the record is heavy, it’s a very emotional record. I think this and our last record are the most personal records Cristina has made…”
NME thought it time we asked Cristina about the making of ‘Black Anima’, a record that explores sadness and pain in unflinching detail – but also that revitalises the veteran stars.
Cristina, you’re recently described your new album as ‘the heaviest and darkest’ album you’ve ever made. Metal bands always say this. Do you really mean it or is it just something to say?
“We really mean it. I’m even more convinced of it the more I listen to what we made. I think our last record [2016’s] ‘Delirium’ was heading in that direction and ‘Black Anima’ is a natural progression from that record…”
You’ve been doing this now since 1994. Normally bands get more mellow the longer they go on…
“Well, I certainly don’t feel like that as a person. The older I get the more curious I get. I feel like going from ‘Delirium’ to ‘Black Anima’ taught me so much about myself. I lost both my parents in a very short period of time and they literally were the world to me. We’d talk every day. Multiple times a day. It was so shocking to me to lose them…”
I’m sorry that happened to you Cristina…
“It happens. They lived a long happy life and I was lucky to have them for so long. But I have realised that I am much stronger than I thought I was. For years before I was trying to prepare myself for it happening. I was trying to visualise how I’d cope. I used to tell myself what it would be like. I thought I’d lock myself indoors, shut out my friends and be completely depressed – and then I learned that you do just go on. You have to carry the torch. I feel bulletproof now. I’ve lost the most important thing in the world to me, and I’m still here.”
In all the time you’ve been doing this, what’s the biggest change you’ve seen? Being in a band now is so different to how it would have been starting out in 1994…
“Everything is so much more complicated. Social media has made everything so fucked up. Everyone wants to look beautiful and perfect and smiley and rich and that’s just a distorted version of anyone’s reality. I think people dug deeper before these times. Now everything is so transient. A band release a new single and in another two days another band releases a new single and the previous song is forgotten. I’m sick of hearing about views and numbers and streams and… shit. I think there’s poetry behind the creation of music and songs – and there’s nothing poetic about social media.”
Lacuna Coil come from Milan, Italy – not a country famed for its export of heavy metal…
“Well it was just so different back then. We used to send cassettes with our songs on to record labels. No email, no smartphones… I still can’t believe how lucky we were to be noticed – this little band from Italy – by our label, Century Media, who we’re with even now. We were the first band they signed outside of their circle in France. We were so surprised to get a call from them. Metal is, even now, a real underground genre in Italy. There’s a few more bands now – we’re good friends with the band Fleshgod Apocalypse – but the scene is still very underdeveloped. There’s not many opportunities for bands to break out. The radios don’t play metal, the clubs are weird sizes – loads of 500/600 capacity venues in Milan just closed down, so venues that are left are either too small or arenas, so it’s hard for touring bands to find anywhere to play.”
This is a question that separates the progressives from the old farts. Were things better then?
“Ummmmmmmmm… Yes and no. I think things were more exciting back then, because there was just less of everything. Things that have largely been eradicated now, like waiting for the release of a record, have been lost – and these were great things! I miss queueing up outside record stores! I miss patience! Everyone wants everything immediately now, and I don’t think that’s always good for you. I think there was probably more respect for music as art too…”
Would you like me to warm your slippers by the fire, Cristina?
“Yes, well, the good thing about the present times is that bands can access a bigger audience easier. I would have loved Lacuna Coil to have had access to something like YouTube in the beginning. The idea you can form a band, record a song, upload it and someone in Australia can be listening to that song the same day is still mind-blowing to me. There’s just more chances. More opportunities to showcase. This is a great thing – I just wish it all wasn’t such a clusterfuck! I think the idea of bands having 25-year careers now is quite unlikely.”
What it sounds like to these ears, Cristina, is you’re looking for music to have more permanence than it does right now…
“I think there’s something in that, though I’m just frustrated with how much music has to compete with right now, really. There’s so much noise competing with people for their attention. Why is everyone trying to go viral by kicking a bottle top off a water bottle?”
Can you kick a bottle top off a water bottle Cristina?
“No I cannot. I haven’t tried. But I get it. People want to be entertained. Little fixes of entertainment. That’s what we’re competing with. To be something more.”
How do you do that, though?
“Well we’re trying to do things in a quite old-fashioned way. We’re trying to write records, not songs. On the new record there’s an intro and an outro, and you should try to enjoy the record in its entirety. We’re trying to get an hour from people to lay down on their bed, close their eyes and come on a journey with us. That’s the goal. We like to try to add a visual element to our records too. This time we’ve made tarot cards with the record, which I think suits it because it’s a very – how do you say? – esoteric record, in a spiritual way. There’s a card for each song, designed by the artist Micah Ulrich. I don’t really believe that tarot can tell the future, but I do think they’re a good visual to show where you’re at in your life.”
“There’s a book we read that we found inspiring – it was the spark that led to ‘Black Anima’ really. It’s called The Physics Of Angels [Full title: Exploring The Realm Where Science And Physics Meet, by Rupert Sheldrake] which is a conversation between a theologist and a scientist. It got us thinking about why people need to believe in a protecting presence – where does that come from? It inspired a lot of the album’s artwork and theme, and even a few of the songs.”
Which side of the fence do you fall on Cristina? Are you team science or team theology?
“Science. 100%. Actually, let’s call it 80%. I still understand the spiritual part and I do hope there is something in us that lasts. I want to believe my loved ones are still around me in the form of energy, but I don’t have any proof. That stops me from blindly believing. Obviously Italy is a very religious country. We have the Pope. But while I grew up going to church – my parents were believers – I never did believe. I used to just be confused why I had to go to church every week. I didn’t understand why people didn’t behave like they said they did in church. I always thought it was more important to be a good human being, to be a respectful human being, without any fear of God attached to it.”
Before we part ways, I just wanted to say that my assessment of ‘Black Anima’ after living with it for a while, is this is absolutely a record made by a woman who is living with an unbelievable amount of pain…
“In parts, absolutely. There is a realisation throughout this record that it is sometimes okay to not be okay. I don’t think darkness is wholly negative. We learn who we are in darkness. Sadness is a huge part of life. It’s okay not to be happy. I guess what I’m trying to say is that I’m always trying to look for the light in the darkness, but it’s okay to live within the darkness for a bit too. I think when you embrace all the shades of life you can live a happier life than if you deny any of it.”
On a scale of one to ten – ten being very happy, one being very sad – where do you think Cristina Scabbia ranks right now?
“I think I’m on an eight. I’ve been down, but I’m here.”
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maiden-of-might · 5 years
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Tag, you’re it!
These are always fun, thanks @occidentaltourist for tagging me :)
Nickname(s): Allie, my name is Allison so we can just keep it short & simple
Zodiac: Leo, hear me roar like a lion
Height: 5′2
Time: EST
Favorite band/artist: I don’t have a favorite artist or band, I kind of listen to anything and everything. Currently digging on: the new Taylor Swift album, 70s rock, and basically any 80s song. I’m super into the 80s and 90s. NSYNC, Britney, Nirvana. My itunes is all over the place
Song stuck in my head: Over the Rainbow
Last Movie I saw: Indiana Jones and the Temple of Doom
Last thing I googled: “what are the specific duties of a maid of honor?” I’m getting married next year & we just set a date & the wedding party proposals are going out!
Other blogs: Just this one :)
Do I get asks: I don’t, but I am open to them! 
Why this username: Somewhere along the last...7 or so years I turned into a Supergirl blog and I am not mad at it one bit
Following: I have all sorts of interests so I try to surround myself in real life & social media with things and people that align with those interests. A lot of times it still opens the door for me to find new things to enjoy :)
Average amount of sleep: Usually teetering between 7-8. i wake up at 7:45am-8am even on the weekends
Lucky number: 17
What am I wearing: a Han Solo shirt and a pair of leggings. it’s bedtime!
Dream job: I want to help put on major conventions. SDCC, D23, etc. but also I’ve become deeply invested in animal conservation
Dream trips: Drop me off in Europe & pick me up later
Favorite food: Pizza! Asian food! Sushi! 
Instruments I play: Sadly, 0
Eye color: Green/Hazel
Hair color: Dark brown
Aesthetic: It changes with my mood
Languages: I speak English, but I’ve taken 6 years of Spanish. The language is still relatively foggy in my brain but my best friend is Spanish speaking and i can somewhat keep up with her and her family when they speak
Most iconic song: For me right now? Hooked on a Feeling by Blue Swede. I never tire of hearing it
Random fact: A group of Giraffes is called a tower. They have the same number of neckbones as humans. I am super passionate about giraffes (and other African animals!), so please feel free to hit me up to learn about other endangered species
Tagging @5ivebyfive, @infinitychanges
You guys don’t have to play along if you don’t want to, & this is open for anyone else to do if they’d like!
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bubblesandgutz · 5 years
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Every Record I Own - Day 386: Brian Eno & Harold Budd Ambient 2: The Plateaux of Mirror
Brian Eno’s second foray in his Ambient series didn’t get the same standing ovation from the critics as the landmark Music for Airports. In some ways, it’s understandable---Music for Airports had its repeating musical phrases which makes the listener feel grounded despite the airy nature of the music, whereas The Plateaux of Mirror finds pianist/composer Harold Budd feeling out wandering melodies over Eno’s evolving tides of sound. If Music for Airports was built on cycles, The Plateaux of Mirror was built on a crooked line. Even if the two albums’ tonality is similar, their strategy is very different.
I’ve been thinking about this album over the weekend, and by extension I’ve been thinking about music criticism quite a bit. While I think it’s totally fair to prefer Ambient 1 to Ambient 2, I do feel bad that this album got lower scores from critics. I’ve grown tired of music criticism over the last few years and have pretty much stopped reading it. When you read a record review, you’re trusting some anonymous person to judge a piece of art for you. What are their credentials? What’s their bias? What do they want out of music? How old are they? And without knowing any of this, why would you trust their opinion?
When I was doing album reviews for The Stranger, I would typically try to crank out one per week, and I would generally devote several days beforehand listening to the album on repeat. Given this level of focus, I’d be sure to select albums that had some intrinsic quality that interested me. I didn’t want to spend two days obsessing over a record that I didn’t find intriguing. I didn’t score records, but instead used the review to talk about how the album made me feel, why I found the album interesting, and why I thought the album was significant in a larger context. Most writers don’t have this luxury---they’re given a list of albums and a deadline. An album might get one cursory spin before the reviewer writes up their assessment while the readership is expected to believe that the writer has actually spent some time absorbing and contemplating the record. I don’t blame the writers; I blame the Consumer Reports approach to art that’s been adopted by most media outlets.
I often try to think of music outside of the context of the 20th and 21st century innovations---before the advent of recording. Two hundred years ago, music was a much more participatory experience. You sang at church. Or attended a hootenanny. Or sat in on a piano recital. Music was a communal experience, and either you or someone in your village/tribe/family/church was a part of the performance. There was no room for music criticism in these spheres. What kind of asshole would stand at the back of some crucial musical ceremony 300 years ago and grumble “blah, i’d give it a 2.6.”?
While I don’t think our modern problems can be solved by reverting to the past, I think we can often pinpoint the root of the problem by looking to what kind of model existed before it. The average human being is incapable of being intimately invested in the lives of more than 100 people at any given time---an amount likely due to the average size of our tribes over the course of human evolution. Now that we live in huge cities and surround ourselves with hundreds of people, our capacity for empathy has been compromised, and even our ability to appreciate music---our capacity for finding the human language and tapping into the emotional resonance in a carefully constructed arrangement of notes and beats---has been impeded by some pointless need to assign it a number. We don’t operate in the same orbit as the musician, and so we’re bothered when we don’t understand its language. Is that the fault of the artist or the listener?
TL;DR version: The Plateaux of Mirror is great and music critics shouldn’t be trusted. 
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quitblow5-blog · 5 years
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‘For artists, work ethic and intelligence are just as important as talent.’
Scroll through the blue-ticked Instagram accounts of most major-league US music executives, and you’ll tend to find the same old schtick: images of their artists playing career-boosting stages; flattering snaps of their newly decked-out office; a smattering of vacation/weekend shots accidentally-on-purpose showcasing that sleek second home in the Hills.
Mike Caren’s Insta feed, however, offers a little something more – a little something indicative of the inquisitive mind of the man himself. A swift perusal of Caren’s page throws up graphs, charts and textual provocations covering themes like ‘10 trends that will reshape the music industry’, how fast TV watching is declining amongst Millennials, the average ages of social media use in 2019, and the ‘share of ear’ that radio claims amongst US consumers over 13.
This all fits because Caren, as well as being obsessive about the A&R process, is also obsessive about media trends, and how consumption of everything from HBO to Fortnite and Instagram are munching into the daily music habits of today’s teenagers.
Such compulsive attention to detail is serving Caren’s businesses well. The Beverly Hills-raised exec founded Artist Publishing Group back in 2006, followed by the launch of Artist Partner Group in 2013. Warner Music Group and Atlantic Records, with whom Caren has worked for more than 20 years, injected a multi- million dollar investment into APG three years ago.
Since then, APG, which now employs more than 40 staff, has developed and broken stars including Bazzi, Charlie Puth, Kehlani, Kevin Gates and NBA Youngboy, as well as an electric array of songwriters such as Hitmaka, Yung Berg, Amy Allen and Madison Love.
Most recently, Los Angeles-based APG unleashed Ava Max, who hit No.1 in many territories this year including the UK, Sweden, and Germany with international smash “Sweet But Psycho”.
Caren began his career aged 17 with Atlantic Records, and later served as Co-President – alongside John Janick – of the relaunched Elektra Records (Bruno Mars, Ed Sheeran, Cee Lo Green) between 2009 and 2012.
MBUSA recently sat down with Caren within APG’s Fairfax studio complex to ask him all about his A&R philosophy, and where he sees the future of multimedia going in the next few years…
Tell us a truism about the music industry.
So much of what moves the needle in this business is just about listening – really listening. When a label or publishing exec has a 60 minute meeting with a producer or songwriter, once you’ve caught up with each other, you’re already 30 minutes into it, and only then do you start listening to music.
That leaves you 25 minutes to listen, and consider eight to 10 ideas. Then the meeting is over – and you haven’t even cracked the surface. If you’d allowed for 90 minutes of music, you would probably have found something really special.
So for that last 20 minutes, I might ask you to [hand over] everything you haven’t played me – whether you think I might or might not like it. Then I’m actually going to listen to it all and hear the stuff that other people don’t get to.
You employ more than 40 people at APG, and you’re expanding. Can you actively keep the roster here capped at certain size?
Yes. We started in the publishing world, where I felt that one A&R executive couldn’t really have a high impact on every one of their writers unless they were limited to approximately 10 writers.
I noticed that at most of the major publishing companies, when I talked to executives, their personal roster would be over 50 writers. I found it hard to believe that they would be able to deliver something significant for every writer with that roster size. Records is about a smaller amount of artists, but it’s also about building teams.
People with different perspectives, different skill sets all working together, learning from each other and bringing different things to the table. I work with people that have so much passion and intelligence and determination. This company is a sum of those parts. There’s 40 people here that have the impact of 150.
What would you say is the defining A&R philosophy of APG?
We believe that work ethic and intelligence are just as important as talent. A smart and hardworking creative will keep improving whereas someone without that work ethic or vision might creatively just tread water, or even decline in their quality.
“We work with [talent] for days, weeks or even months before we sign a deal.”
The biggest thing is getting to know writers and artists personally. We work with them for days, weeks or even months before we sign a deal. We will often lose a deal because somebody – after working with APG – is rushed elsewhere in the industry by a bidding war or whatever. And if that happens, it’s okay. It wasn’t meant to be.
Why is getting to know artists properly so important to you?
Ideally, you want to enter a relationship that’s a decade or decades- long. You can marry the first person you kiss, but I think it’s better to go on more dates and ask a lot of questions to see if your vision of the future is aligned. When you have tough conversations upfront, it leads to better conversations for years to come.
Give us an example of a tough conversation with an artist.
Those conversations revolve around expectations, timeline, patience, vision. I love artists that have huge goals and who know several moves they want to make to get there – who aren’t expecting to make it all in one single play. I love songwriters turning into artists too, because they’ve had this passenger seat in other artists’ careers to which they’ve contributed. The writer-turned-artist has seen other artists making tough decisions, and what the results were, which helps them avoid their own mistakes and pitfalls.
“If you just try to protect artists from making those mistakes, it doesn’t help, because when they become very successful, they will ultimately take all the big decisions; your job is to prepare them to make great ones.”
APG is the best at amplifying, investing in and turbo-charging artists who have a lot of ideas. And the best ideas always come from artists. It’s always better to let an artist make a mistake, because when a smart artist makes a mistake, they learn from it. If you just try to protect artists from making those mistakes, it doesn’t help, because when they become very successful, they will ultimately take all the big decisions; your job is to prepare them to make great ones. You can’t shelter talent early on, then expect people to act like an experienced artists when they’re successful.
How do you feel about the number of songwriters behind the majority of hits today?
The other day somebody sent me a video with Bob Marley, One Love and said, ‘What an incredible song and songwriter.’ I said, ‘Yeah, Curtis Mayfield was a fricking genius.’ They said, ‘Are you kidding? That song was written by Bob Marley!’ It’s a co-write. Curtis Mayfield and Bob Marley. And if Bob Marley can co-write, anyone can co-write.
One defining modern A&R trend is that of collaboration. Two people from largely different genres cross-pollinating fan bases. What do you make of that trend, and does it ever concern you?
I saw an exhibit of Picasso and Matisse years ago. They were friends and they did interpretive pieces of each other’s work. Their artistry was so clear when they did so. Anything that allows someone to demonstrate creativity and originality is an amazing vehicle – but the song [has to be] organic and creative.
Why did you started APG in the first place?
First, I had been working as an A&R person at Atlantic for 10 years. Having been in one company for so long, I wanted a different experience and I wanted an entrepreneurial experience.
I built a lot of trust at Atlantic, so they allowed me to create a partnership venture with them. But I operated it independently, and I love to experiment. Every session is an experiment; every marketing idea is an experiment; every day here is about experimentation.
“I had this philosophy, this is 15 years ago, that songwriters and producers are artists in their own right.”
And second, I had this philosophy, this is 15 years ago, that songwriters and producers are artists in their own right – and that a publisher could publish their songs and get them paid, but could also treat them as an artist and A&R them in that way, providing the introductions, the insights, and the resources that labels provide to artists.
It was a learning process because I didn’t know about publishing, and I didn’t have the budget to chase hits, so we had to be bold.
Why is so much A&R focused entirely on the new – the thrill of ‘breaking’ something?
Out of anything in this business, I get the most satisfaction from seeing other people with their first big successes: their first hit song; their first platinum record; their first sold out tour; their first song on the radio.
Every time a new artist, a new writer has an experience like that, it’s contagious. To me, that’s more powerful than congratulating someone on their fifth of sixth platinum album. It’s an honor to make music – it’s exciting and it’s an adventure.
I’m really proud of the artists and writers that have been successful, but I’m just as proud of the executives. That goes for the team here, but also people that have previously worked or interned here and moved on. I root for their success.
“Every time a new artist, a new writer has an experience like that, it’s contagious.”
Right now, I’m in awe of A&R moves from Miles Beard (pictured), Jeff Vaughn, Tizita Makuria, Eli Picarretta, Edgar Machuca, Matt MacFarlane, Lisa Mottahedeh, David Phung, and Dan Snyder, all of whom landed their first A&R roles here – several starting as interns or assistants – and all of whom have signed Gold or Platinum artists or writers, or had hits this year.
But I’m also thrilled to see fast career growth and broadening responsibility from vets that joined us such as Elyse Rogers, Angie Pagano, Mike Mathewson, Olly Sheppard, Jessica Kelm, and the list can go on. Fifteen years in, I look around and see our team members thriving, and people who’ve cut their teeth with us at pretty much every label, from A&R Executive to Chairman.
APG takes a white label approach with its artists – your brand is kept on the sidelines. Why?
We’re too broad to create a single, forward-facing brand. The great labels that I love had, and continue to have today, sonic consistency. They had a cultural voice and a specific niche, with a sound or a through line.
I lean in to creative people; we’re not going to not sign an artist just because they don’t fit in with other artists on our roster, or not work with an executive because they’re a certain type. There are no rules and no limitations to who APG works with. We just want to work with people for whom we can deliver more than anyone else out there.
Also, I love our entrepreneurial artists and I don’t want to take away from their opportunity to build their brand – both their artist brand and their company brand. I love it when an artist’s dreams include everything from festivals to clothing to charitable organizations. If I can help build an artist’s brand, it’s one more resource that we’re providing that I don’t think many others offer.
What makes a good artist manager?
One, they have to have enough experience to know that everything changes every year. Two, they have to listen to their artist but also speak the truth to them. And, of course, work ethic and intelligence are so important – especially the work ethic, because managers have to provide an example for their artist. Great managers are also great communicators; people who bring people together.
“there’s this ‘Napster Gap’, as I call it, 2002 to 2014, where only a few people invested into the business, and only a few people got hired – so there was not as much opportunity for mentorship for a lot of people versus what had come before.”
It’s a weird time for the music business because there’s so much opportunity now. But there’s also this ‘Napster Gap’, as I call it, 2002 to 2014, where only a few people invested into the business, and only a few people got hired – so there was not as much opportunity for mentorship for a lot of people versus what had come before. There are some incredible managers out there who are just so smart, and had to learn the game on their own.
The head of Netflix, Reed Hastings, said earlier this year that Fortnite was a bigger competitor to his company than traditional rivals like HBO. What do you make of the idea that other media is stealing attention from artists and music?
It’s something I think about a lot. I heard about something recently that said that Americans have over 11 hours a day of media consumption because of how much multitasking they do – like how they will play video games while listening to music. Their consumption is literally doubling.
I see incredible opportunity there, because if you work in the music business and you’ve never played Fortnite, you’re going to fall a few steps behind.
“If you work in the music business and you’ve never played Fortnite, you’re going to fall a few steps behind.”
How Fortnite makes its money is worth thinking about: the short windows of items being for sale; the opening for other platforms [as the game can be played across different devices]; the live events; how [Epic Games] updates and changes the game’s dynamic to keep things so exciting. There are so many amazing things to learn from it.
As far as competing in media, there’s going to be huge L.A. production competition. You have Netflix, Apple, Amazon, Hulu, Spotify and a bunch of other companies with endless amounts of money going to go into content production. It’s going to mean a whole new competition for creative talent, and it will be interesting. It could be incredible for talent – and it will definitely fortify L.A. as the creative capital of the world.
How do you counter that with the value of labels?
There’s no one-size-fits-all, right? Some people love business. Some people love managing people and administration. Some people love to be creative. Some people can do all of those things together. And there are some people who are just true artists who want to color outside the lines and break rules. They don’t want any of the administrative burden. They don’t want to reconcile tours, or deal with Social Security or 401ks, you know?
Some of that’s to do with different points in your life. You may be young; you may want to have fun and be creative and break the rules and not deal with turnover and all of these things. And later in your life, you may want to be more stationary and operate a company and a business. People just need to know what things entail.
“Staying independent is probably the right thing for a lot of artists and it’s probably the wrong thing for a lot of artists.”
There are an increasing number of artist managers who now say that running an independent operation for an artist isn’t ‘management’ – it’s a business partnership, so it shouldn’t be 15 or 20% commission, it should be 50% across everything, including touring. And that all depends on how much of an artist’s business is just music – whether they need a manager who’s just doing music, or managing several businesses.
Staying independent is probably the right thing for a lot of artists and it’s probably the wrong thing for a lot of artists. It all has to do with individual ambition, and how you actually want your 16 to 20 waking hours to be spent.
In an age awash with A&R data, how do you feel about the reduction in signings based purely on based on gut instinct?
I love data… partly because so much of the major label business is focused on it, which leaves all this open territory for us. But, also, I will say data can definitely show more than just momentum, it can reveal a pool of artists who didn’t wait for anyone to move their career forward, who got out of bed every day and worked hard to move the needle.
Somebody can tell me they’re going to work hard all day long, but an artist that had no resources that went out and built some fans? That’s someone you know wants it. I’ll never discount that, as work ethic is so essential.
Where do you get your work ethic from?
My mom’s creative. My dad’s organized. I love this job – this isn’t work, look how soft my hands are! The worst part of my job is sitting waiting for someone to show up who’s late. That’s it! And nowadays, I can always fill those hours by listening to music anyway.
I’m very sure you could have capably run an established major label group. Contemporaries like John Janick are doing it…
He’s awesome.
Why did you choose to build something from scratch, rather than run a big frontline label during this period of your career?
I don’t think anyone ever offered me a job that had the freedom that I now enjoy as an entrepreneur. As an industry, we need to empower people and trust them. There’s always a lot of oversight and structure in majors – and it’s probably needed. But now, we’re facing an ever-evolving future, we have to experiment and to do R&D.
“Change is inevitable. Change is good. But you have to try things in order to figure out what works with change.”
Change is inevitable. Change is good. But you have to try things in order to figure out what works with change. It’s inevitable that artists are going to change the way they make music and market music – and anyone who clings on to the past will get left behind. I love nostalgia like anyone else; we can still tell great stories of the good old days, but we have to be open to try new things all the time.
Let’s talk about the future, then. What are you excited about?
We are a very de-centralized company; I’m trying my absolute best to build the most entrepreneurial organization possible. I want everyone here to think like entrepreneurs, and to make decisions. I choose to run this company differently from, say, the way the legendary Clive Davis ran Arista. He’s incredible, but I hear he personally approved every piece of art and every mix.
Again, just like the artists here, everyone should be making decisions, seeing the results and learning from them. I want every executive I work with to feel that their career grew twice as fast in this organization than it did anywhere else.
What’s going to change at APG over the next five years?
We’re trying to reorganize the entire approach to being a global company. Many major labels don’t seem like singular global companies; they’re a bunch of companies, around the world, that license to each other. Spotify is a global company; they have editors in different offices, but they are a global company.
That’s something we’re a couple of steps ahead on and I don’t think it will take five years. I think it will happen way before then.
The above interview originally appeared in Music Business USA – MBW’s new annual magazine featuring some of the smartest people, with the best stories, in the Stateside music industry.
Subscribe to MBW’s premium bundle to ensure you never miss one our physical magazines in future. Click through here to find out how.Music Business Worldwide
Source: https://www.musicbusinessworldwide.com/for-artists-work-ethic-and-intelligence-are-just-as-important-as-talent/
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beqlz4kw-blog · 5 years
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Please Help! I have problem between the insurance company and repair shop.?
Please Help! I have problem between the insurance company and repair shop.?
I got into an accident 2 months back, i am NOT at fault. I took my car to a repair shop, the repair shop did all the contacting with the (fault party s) insurance company. Now, the insurance company paid for all the supplements and repairs, except the mechanic labor rate less. The shop charges 45$/hour, and the insurance only pay 38/hour.. Now the shop don t want to release me the car if i don t pay the difference. What should i do? Who should paid? What can i do?? The accident is not my fault!
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nctdreamsquad · 6 years
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NCT OT18 Ranking
      Hello there! For a while now I have been thinking about NCT and its concept as a whole and watching how it has progressed since debut in 2016. While thinking about I noticed a lot of irregularities (heh…) between members and how it has affected how the boys and the entire group is perceived by the public. Of course, that has been done by how SM promotes them and how they individually value each members’ talents. So, I thought it would be interesting to see with the content that we have at hand, how each member ranks in terms of importance to least importance for SM.
      I decided that to have an accurate ranking it would need to be based on different factors. Certain members might have more advantages when it comes to a certain field but disadvantages compared to another member in a specific field. The categories are line distribution (how often they sing/rap on the discography), screen time (how often are they shown in MVs or in the photo album), and benefits (who gets to do solo schedules whether that be MCing/Songs/etc.). I will take the 3 different rankings of each category and then average each boys rank to find their proper place.
     Also, certain members like Jaemin & Jungwoo I projected more of where I thought they will be in the future, seeing as they haven’t been here as long cause of Nana’s injury and Jungwoo only coming in this past year. Of course, this is my opinion and how I think SM views each boy and if we have different thoughts that is completely fine. Whether we agree or not on this subject, I would love to hear other peoples’ thoughts and discuss.
*Little add-on: The boys are ranked from 1-18 but there might be bigger or smaller gaps of how much SM values them between each ranking. (Which I will try to inform you when I believe that happens.)
Most Important
1.    Mark
I don’t think this will come to anyone’s surprise that Mark is the most important member in NCT (in SM’s eyes). It is evident in how he has been in every unit since NCT’s debut in April of 2016. Mark always has had a large number of lines in whatever song he is in (title/non-title + unit). He has been able to have his raps and compositions that he wrote published in every album (except for the Japanese album). He has been able to promote individually on variety shows (music related vs. pure variety). It is very obvious that Mark is one of SM’s favorites in general when it comes to all SM groups but especially in NCT.
2.    Taeyong
Taeyong’s ranking is very similar to Mark’s, in fact, the very small margin that makes up the difference between 1st and 2nd place is that I think SM personally likes Mark more. Taeyong is also privileged in that he gets lots of lines in songs, screen time, multiple SM Station songs, and other solo schedules. However, I get the feeling that SM views Taeyong as a person that they employed and someone who makes a good idol whereas Mark seems to be a little more integrated into part of the “family” aspect.
3.    Doyoung
Doyoung is the first member where the advantages and favoritism gap is slightly wider from him and Taeyong. He still has a lot of benefits compared to the boys lower down the ranking but I do believe SM sees Doyoung as most useful when it comes to MCing and being a spokesperson. An integral part of NCT but not the first name they want you to think about when you think of the group. This might sound a little rude, however, another reason why I think Doyoung is higher up in the rank is that SM likes to have people who will listen to them and won’t rebel and Doyoung fits that very well. For example, if something unfair happens to one of the boys I’m sure that Yuta or Johnny will be more likely to speak out about it than Doyoung would be.  
4.    Jaehyun
Honestly, I think Jaehyun lucked out when it came to getting his position in NCT. I love Jaehyun and his voice is one of my favorites but, although he’s consistent, there is a member who excels more than him in every category. Vocal (Taeil, Haechan, Kun), Rap (Taeyong, Mark, Jaemin), Dance (Ten, Yuta, Jisung), or Variety (Johnny, Haechan, Renjun). However, the fact that his voice sounds very different from other members helped him stand out more. Also, he fits the “boy next door” concept very well and I think that’s another reason why SM likes to give him more focus than other members.
5.    Ten
Now, I know that Ten’s place is NCT is rather open-ended seeing as the only NCT songs he has been in is 7th Sense/BDS. However, I think it’s obvious that SM does like Ten and values his talents so much so that he has gotten 2 solo songs. Not only that, but both songs came out at almost the same time a year apart which usually means that SM planned it to hype people up even more. Also, Ten has had continuous activities in South Korea and Thailand. I do think that his injury may have caused a pushback with him promoting in a unit or doing more NCT related activities. However, I do strongly think that Ten will be in NCT China and will play an important member in their success. Also, with the dancing capability and performance talent that Ten has there’s no way that SM can keep him locked up forever.  
6.    Jisung
You might be a little surprised that I placed Jisung so high up in the ranking and if I had made this post months ago I would also not agree with my decision. However, with the addition of “GO” and especially with the release of the “We Go Up” album I can see the path that SM are putting Jisung on. From the beginning, I could tell that Jisung was going to be important when it came to MVs and playing a main role in them but with the lack of lines that he had, I thought it would be much more “visual” based. I was proven wrong with him getting to go on solo schedules like “Why Not?” and “Dancing High” + the fair amount of lines he is now getting in the recent Dream album. I will say that of the members I have listed so far, Jisung and Ten are the two that I am completely fine with getting more individual shine/recognition and will wholly support as they’re a few of the most talented boys in NCT (not just talking about their dancing). He still is extremely young and has a lot to learn and experience but I can already see that Jisung is going to be a wonderful person and performer in the future.
7.    Haechan
Haechan is the last member that I will place in a more advantageous position before the favoritism gap widens a lot more. I do want to start off by saying that Haechan does have more privileges than others below but mainly when he’s in Dream, otherwise he’s kind of at the lower middle of the group. As you will see how I ranked each member individually in each category below later, Haechan was very much saved by the amount of lines + screen time he gets in Dream. I don’t think SM uses him as well as they could when it comes to 127 and I still don’t understand why he hasn’t been in a NCT U song yet (I WANT THE OG 7TH SENSE WITH HYUCK IN IT). Haechan is another member that I believe to be incredibly talented and I hope that he gets what he deserves and stays amazing.
8.    Yukhei
Precious Yukhei. I was honestly surprised and am still awed at the amount of media attention SM is letting him have by going on different variety shows. He’s a newer addition but of the time he has spent in NCT so far, I think Xuxi is in a comfortable position. I do think SM will rely more on his personality than his performance abilities to bring in fans, however, he’s the only rapper we have for NCT China at this moment so that bodes well for him. It’s a little early to say but I’m confident that Yukhei will be a prevalent member in the whole of NCT and popular in NCT China.
9.    Jaemin
FINALLY! We finally have NaNa back and it has been so great to see him with the other dreamies. It was obvious from the beginning that Jaemin was supposed to be an important member in Dream (after Markhyuck) but his back injury put him out of the running. I think SM tried to fill the void by splitting what would have been Jaemin’s parts to Renjun/Jeno/Chenle. However, now that he is back we can see that SM is steadily placing him in the center position when it comes to dancing & screen time. The “We Go Up” album has been very gracious towards NaNa & Jisung and I think it will be common to see more and more of them in future comebacks.
10. Taeil
Moon Taeil, a much needed but highly underappreciated voice in NCT 127. I think Taeil benefitted more back in the SMROOKIES days with his solo song and the early beginning of NCT’s timeline. It was during Limitless era that we can see SM pushed Taeil into singing the high bridges notes and flashy rifts during the last chorus. While the more main vocal parts that he used to sing got handed off to Doyoung. Which I find interesting since Doyoung and Taeil have eerily similar voices but (IMO) Taeil has the richer color in his voice while Doyoung can sound a little flat sometimes. Although I would like Taeil to have more singing parts + screen time, I do think he’s lucky in the fact that he is a part of NCT 127 from the beginning. Whereas Jeno, Jaemin, and Jisung are kind of in a weird place where they obviously can’t be put in 127 after they graduated from Dream but SM most likely won’t make another Seoul Unit until they have established other units in separate countries.
11. Jeno
I would say that Jeno is the younger version of Jaehyun for Dream. Jaehyun is definitely more capable and talented (at this point in time) than Jeno. As I stated before, I think Jeno benefitted from Jaemin not being in Dream because what would have been NaNa’s screen time went to Jeno. SM tried to make up for lack of lines with him being able to be a MC on The Show and giving him good amounts of screen time in M/Vs. However, out of Triple J, I am most worried about Jeno’s future and gaining a spot in a new unit. 127 is getting bigger now that there are 10 members and I don’t think SM will be added anymore. So unless there’s a new Korean unit (which wouldn’t really make sense since we already have 3ish units) Jeno should try to learn a new language and hope for a spot in a foreign unit.
12. Jungwoo
I believe that the middle area of being important to NCT + SM started with Haechan and ends with Jungwoo. My summary of Jungwoo is the most theoretical because of how recently he was added to NCT, but I do feel confident in his ranking. It seems that he trained longer and with most of the OG members (Hyungs + Korean Dreamies) but didn’t make the first cut so he had to wait for the next opening. However, I think that SM is leaning towards giving him a fair amount of lines and with him being added to 127 I think that is very telling of what they think of him. I will say that Jungwoo is highly competitive and it’s obvious that he works very hard to be included so I wouldn’t be surprised if SM rewards him for that whereas Kun or Yuta could do the same thing but I don’t think it would work out as well for them.
13. Chenle
I would say that Chenle is similar to Taeil in the sense that they are both incredibly talented when it comes to singing but aren’t used enough for what they can do. Chenle does get a good amount of lines that show off his abilities but the parts are usually repeats of what Haechan has already sung, therefore giving the illusion that Chenle is good but not as great as Haechan. He’s obviously not SM’s golden child in S. Korea but I am certain that with the introduction of NCT China he will be an important member. Chenle had already started off his singing career in China before joining NCT so it would make sense to build off his existing fanbase in his home country.
14. Yuta
Nakamoto Yuta. I always feel so frustrated when I think about Yuta’s position in NCT. He’s proven to be extremely versatile by having the ability to sing, rap, and dance well. His variety and charisma skills are endearing and overall he’s a nice boy. Unfortunately, something happened that ensured Yuta would always be unheard and unseen. I’m not sure if Yuta was a prime candidate for an important position and then a new boy came along that SM liked better or if they have always disliked Yuta. It’s obvious by the lack of lines and screen time that they don’t think he’s necessary to grab in new fans. Which is interesting since he is their ONLY Japanese member (as of right now) that they have and if they want to promote in Japan PROPERLY (not that 127 Japan ish) then they should invest time/attention on him. I worry for Yuta’s future as SM has no plans to debut a Japan unit (that we know of) and he’s just stuck in 127, while other foreign members will likely have more opportunities in their home countries. We don’t really have any say in what SM does and who they promote but please support our takoyaki prince who deserves the world, Nakamoto Yuta.
15. Renjun
I personally didn’t think that Renjun was going to be so low on the list but after going through the separate categories it seems to be that way. He has always had a consistent amount of lines in the Dreamie songs but I have noticed that SM loves to not give him screen time. Ironically, it is very similar to what SM does to Yixing in EXO’s M/Vs + live performances. When Renjun is singing his part, it is very common for the M/V to switch to another member doing something or show a specific object related to the plot, but not showing the member who is singing? It’s the same with live performances when it’s his turn to sing the cameramen will start shooting a wide angle of the whole group or pan to another member and it really ticks me off. Renjun will obviously be put into the China unit but with the probable addition of Xiaojun, Hendery, and Yang Yang it decreases his chance of getting a main position. Which is unfair since he and the other China line members have been working longer in NCT than the new three. I’m not pitting the new and old members against each other but I do think seniority should come into play a little bit.
16. Johnny
No one is surprised that Johnny is almost at the bottom of the list for how important SM thinks they are to NCT. I remember being SO EXCITED when I found out that Johnny was added to 127. He was finally going to have his chance to shine and then I watched the Limitless MV… It’s obvious now that SM added him because of how insistent fans were getting at Johnny not having debut yet. After the Cherry Bomb album came out it was pretty solidified that SM was not going to use Johnny as well as they could for NCT’s sound + image. Honestly, if Johnny wasn’t so outgoing and willing to look like a fool for the camera then we would never have gotten NCT Night Night and all the other silly memes we have of Jonathan. He is very much underappreciated and for his sake, I hope he gets put into a foreign unit because I know he is open-minded and will work hard to succeed.
17. Kun
There’s not a whole lot to say about Kun (not that I wouldn’t love to endlessly chat about this precious bun). He’s hasn’t been on SM’s radar for S.Korea but more like bait for the fans who want a Chinese Unit but have to wait indefinitely for it. Thankfully, it is confirmed that we will have NCT China and I know that Kun is capable of being a leader + main vocal material. Also, I think his personality would work well on Chinese variety + talk shows so if SM isn’t a complete idiot they will promote NCT’s Mama well.
18. WinWin
Last and most certainly least in SM’S eyes is our lovely Dong Sicheng. I honestly don’t know what SM had in mind when they decided to debut WinWin in 127. It’s not that I don’t love him, cause I do, but they literally have never used him for ANYTHING in NCT. The only lines he has ever had are always layered/harmonized with another member’s voice, he is never dancing in the center (even though his position is technically a dancer), and for how pretty they say he is they don’t give him any solo screen time. Touch was literally unbelievable because of how much focus Sicheng got in the MV and the live performance. It still does not make up for how much BS he has to go through with being in a group where he has nothing to do. Going back to why SM debut him if they wanted China Unit bait they could have just used Kun seeing as they would probably let him sing more than Sicheng’s nonexistent lines. The worst part is that even if he gets a decent role in the Chinese Unit, he still has to endure 127 for the rest of his idol life (if they don’t take him out and focus him in other units, which I think would be better for him). I adore his relationships with the other 127 members and in NCT in general but I want something more for Sicheng, somewhere he can really shine.
Least Important
 Here are the categories that I used to make the final ranking.
Line Distribution:
*This is done by units so NCT U, 127, Dream…
Ø Main Vocal/Rappers (Has many lines whether it be Title/Non-Title + what unit they’re in)
-         Mark
-         Taeyong
-         Doyoung
-         Jaehyun
Ø Lead Vocal/Rappers (Fair amount of lines, usually used in bridges of songs)
-         Haechan
-         Taeil
-         Renjun
-         Chenle
-         Jaemin
Ø Sub Vocal/Rappers (Small amount of lines, usually the transition parts or repeats)
-         Ten
-         Jeno
-         Jungwoo
-         Jisung
-         Yuta
-         Yukhei
Ø Vocal/Rappers (Almost no lines whatsoever; usually will be ad-libs or harmonized/layered)
-         Johnny
-         Kun
-         WinWin
Screen Time:
*Mainly based on MVs, but also incorporating solo/duo magazine shoots, photo albums
Ø Face of the Group (Lots of screen time, supposed to be an important member in the group)
-         Taeyong
-         Mark
-         Ten
-         Jisung
-         Jaemin
Ø  (Members who consistently get screen time/solo shots)
-         Doyoung
-         Jaehyun
-         Haechan
-         Jeno
-         Jungwoo
-         Yukhei
Ø Obligatory (Is a member of the group so they need to be shown, usually in more group shots)
-         Chenle
-         Taeil
-         Yuta
-         Renjun
-         Johnny
-         WinWin
-         Kun
Benefits:
*Based on writing/composing for NCT music, Songs outside of NCT, MCing, Variety Shows, general freedom to pursue what they desire
Ø Unlimited (SM picks/asks them first if they want a project, usually is able to try new things)
-         Mark
-         Taeyong
-         Doyoung
-         Yukhei
-         Jisung
Ø Limited (Does the projects that SM gives them, might be able to try out something they like)
-         Ten
-         Jaehyun
-         Johnny
-         Taeil
-         Jeno
-         WinWin
-         Yuta
-         Jungwoo
-         Jaemin
-         Chenle
Ø Restricted (Is not given outside projects, will likely be looked over for projects, only in NCT schedules)
-         Haechan
-         Kun
-         Renjun
     Now as a wrap up to this exceedingly long post, I just want to say I am not trying to pit the members up against each other. I am not trying to put the boys’ fans up against each other either. I just wanted to show (IMO) what each member’s career as an idol has been like so far and whether SM has played a positive or negative role in it. I just want fans of NCT to be aware that you can have your faves in the group but their members (that they care about deeply) might not have the same successes and as easy of a time. Furthermore, support all units AND all members of NCT.
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