#vocal chopped guitar riff

[illyrianbitch]

What Lies Between Us

Pairing: Reader x Modern Detective! Azriel

Summary: Azriel has spent years trying to escape the ghosts of his past, retiring into a self-imposed exile despite a promising career as a talented detective. When you turn up at his door asking for help on a recent case, his world is disrupted.

Warnings: angst, outrunning memories, brief allusions to crime, details of injury, horrible yearning and longing tbh

Word Count: 3.4k

✹ ✶ 𖧷 ✶✹ 

Azriel let out a sigh as he fumbled for his keys, juggling a bag of groceries in one hand. The weight of it grew heavy, and he clenched his jaw in focus as he finally pushed his door open, blindly reaching for the lightswitch on his wall. 

A soft meow greeted him at his feet. Azriel glanced down to see Shadow, his black sleek fur gleaming under the light, weaving affectionately between his legs. Shadow's green eyes flicked up briefly before he leapt gracefully onto a bar stool and then the counter, nose twitching as he inspected the grocery bags Azriel placed down. He pulled back, seemingly unimpressed.

Azriel’s therapist was insistent that more greens would be beneficial in easing his anxiety. He said nothing about its relation to his nightmares, but Azriel didn’t have high hopes regarding whether broccoli could treat years of insomnia. Slowly, he pulled groceries from the bags, one by one. He almost snickered at the contents of his fridge— a few shelves now stocked with freshly bought produce, a carton of eggs, orange juice, butter, and a pack of beer. He shut the door. 

There were a few birthday cards on his fridge, held on by various traveling magnets he’d collected over the years. One card was from his mother, the words “sweet boy” staring back at him, written with a heavy hand and adorned with hearts she delicately drew. The others were from his friends, a stupid one from Cassian, a sweet one from Mor, even Elain had gifted him one— and an invitation to her wedding. 

He hadn’t gone. 

But you had. He knew this from the pictures Feyre had posted on Instagram.

Not that he was checking. He deleted Instagram soon after.

Azriel's gaze lingered on the cards. There was one missing, and his fingers traced the place it used to be, where he had stuck it for a week before he realized he couldn’t handle looking at it every morning as he made breakfast. That card was tucked away in his bedside drawer now. He saw it every night, instead. 

He let out a deep sigh, running his hands along his face, fingers brushing against the stubble that had begun to grow already. 

He had planned to cook a healthy meal tonight, to take his new prescription and finally attempt to get a good night's sleep. But the thought of chopping vegetables and cooking felt exhausting. He pulled out a beer.

The cap nicked his thumb as he twisted it off, but he barely registered the sensation, quickly drawing the neck of the bottle to his mouth. He greedily swallowed down the cheap contents and moved towards the living room. Shadow padded after him, tail flicking in curiosity, a step behind every move Azriel made.

His apartment was empty, save for a few decorations and his heavily decorated bookshelves. Two of the chairs in his living room were still new, and the smell of brand new leather clung to them heavily, making the entire room reek of a department store. Azriel’s apartment wasn’t a home. It was a place filled with furniture. Besides those cards on his fridge, not much hinted at any sign of a life well lived. 

Except the vinyl collection he now stood before. 

His collection was meticulously organized, spanning decades of music. Some were torn, tattered at the edges where he’d picked them up at vintage shops, others brand new from gifts he’d been given. 

Azriel selected a record. Its cover was worn and bent at the edges from drunken nights trying to carefully shove it back into its place. A classic rock album, the kind that filled the silence with powerful guitar riffs and soulful vocals— one of his favorites.He slid it from its sleeve, handling it with the care it properly deserved, and placed it on the turntable

Azriel wasn’t a flashy man, never one for fancy possessions, but this collection was his pride. The turntable itself was one of the nicest things he owned, if not the nicest. He cherished it, admired it every time he came into the living room. As the needle found its place, the familiar crackle precluded the strong, evocative notes of the electric guitar, filling the room with a warmth and soul that pulled a deep,weary sigh from his gut. 

Shadow brushed against Azriel’s legs again, and his eyes fell at the touch, gaze falling on his guitar propped against the wall.  A wave of sadness ran through him. Azriel approached it, running his fingers along its neck, along the dust that had gathered on top of it. The strings resisted against the scars on his fingertips.

He took a step back, grabbed his beer, and made his way towards the balcony. 

The rush of cold night air offered a welcoming reprieve from the stifling stillness of his apartment. The chill bit at his skin, but he didn’t mind. It reminded him that he was still alive, still capable of feeling something other than biting numbness, suffocating guilt.

The city buzzed below. Azriel was never a fan of New York. The city was loud, crowded, and full of distractions that made it hard for him to find the quiet he craved. He felt disconnected from it all, from the hums of life and sounds of cars. He’d never felt as lonely as he did recently, surrounded by hundreds of people. Taking another sip of his beer, he let the music wash over him, the rich melody pouring out into the open air. 

Azriel was only two songs in before there was a sudden knock on his door. 

He frowned and waited a minute for them to go away. Another knock followed, more insistent this time. Grumbling, he turned around and headed to the door, placing his beer on the counter.

"Damnit, Rhys,” Azriel called out, hand reaching out to pull his apartment door open, “I told you I didn't want to—" 

Azriel’s words died in his mouth as he opened the door, feeling a rush of emotions flood him all at once—relief, shock, and a hint of something else he couldn't quite name.

You were as beautiful as the last time he’d seen you, at that family dinner where he’d done his best to avoid you. Your skin was tan now, a sun-kissed glow that Azriel quickly deduced was from the recent trip you’d taken with Mor and Feyre. You’d gone to Belize, and while Feyre was gone, he and Rhysand had taken a trip upstate, stayed at a small place Rhys owned. Rhys was smart enough to not bring you up throughout the week, but Az still saw all the pictures Feyre had sent him— pictures that included you beaming at the camera, drink in hand and those pink vintage sunglasses you’d bought at a flea market three years ago.

"Y/N," he breathed out, voice barely above a whisper.

“Hi, Azriel,” you said, voice steady and soft, sweet like honey. It dripped down his skin and made him melt. His hand fell lax against the door handle. You gave him a small, almost unsure, smile. “I need your help.” 

Azriel’s brows furrowed, gaze scanning your features for a moment. There were dark circles under your eyes— and your eyes, your eyes themselves seemed sad. Troubled. His stomach twisted into itself. You held his gaze for a moment before you were clearing your throat, shaking your head as if breaking the connection. 

“Can I come in?”

Azriel blinked. “Of course,” he finally replied, pulling the words from deep out of his chest. He gave a smile as he stepped aside and gestured for you to come in. “Please.”

✹ ✶ 𖧷 ✶✹ 

It was strange to be so close to you, to watch as you gingerly took off your coat and draped it over one of his barstools. Azriel’s eyes traced your form before him— the bend of your spine as you leaned over, the jewelry on your wrist, the boots that you wore.Even with your back turned to him, Azriel knew you. Something was deeply troubling you. There was an evident tension in your body, in the way your shoulders moved, in your shallow breaths. 

His gaze lingered on your waist for a moment, on the way your body curved below your hips. He shook himself out of the daze, suddenly embarrassed and shameful. 

His eyes fell to the ground, where Shadow now mewed and rubbed against your legs. You looked down at the contact, letting out a small laugh. Shadow wasted no time before jumping onto the kitchen island, nudging against your arms affectionately.

Azriel moved quickly, scooping Shadow up and setting him back on the ground. “Sorry about that,” he murmured.

“It’s okay,” you replied, a soft smile still playing on your lips. It was unsure— wary, even. The realization made Azriel’s stomach sink. He looked down at where Shadow was pressed against you once more.

Azriel’s eyes met yours, a flicker of something tender passing between you as he quietly said, “He missed you.”

Your gaze softened. A silence followed. It was heavy, but no longer uncomfortable. “I did too.”

The words hung in the air, filling the space between you with a warmth that neither of you dared to acknowledge fully. Azriel pushed away the thoughts in his mind that began to wonder if your words were meant for him, if you had missed him. He cleared his throat.

“What brings you by?”

You blinked, breaking the stare you were holding. “Right,” you said. You quickly turned back to your bag, fumbling slightly as you pulled out some papers and folders, gently placing them on the counter. 

You flipped one of the folders open, saying nothing as you glanced at Azriel before casting your eyes down at the papers before you. You took a deep breath.  “I need your help with a case.”

Azriel took a step forward, eyes glossing over the papers before him. He tightened his jaw. “You’re not supposed to be showing me these.”

He could get in trouble for being exposed to such sensitive information— and you, you were risking your career being here. 

“I know,” you replied. 

Azriel leaned forward, setting into a stance next to you. He ignored the way his skin prickled at the close proximity, instead placing a finger on the papers, pulling them closer to him. He frowned, brows furrowing as he took in the details. He casted a side glance at you.

You were already looking at him, a crease between your brows as you pressed your lips into a thin line.  

“Y/n,” Azriel murmured, “I’m not sure how I can be of any use.”

“Just hear me out,” you pleaded, moving closer to tap a finger on the papers. “They’re following a pattern. I need to get ahead of it. I’m stumped and you used to be great at these cases.”

Azriel’s frown deepened. “Is it a copycat?”

You paused. Azriel missed the flicker of hesitation in your eyes before you nodded. “Yeah, a copycat.”

He let out a contemplative hum. “Who?”

You chewed on the inside of your cheek, taking a step back as you remained quiet. Your silence was pronounced enough for Azriel to stiffen. He turned around slowly. His eyes gave away the question that was seated on the tip of his tongue. You nodded. 

Azriel stood still, his face hardening, but there was something in his eyes that looked awfully like fear, something in his gut that felt awfully like shame— like regret. He took a deep breath.

“I can't help you.”

Your shoulders slumped. “Azriel-”

“Y/n, I can’t help you,” He repeated, the words falling from his mouth like a practiced mantra of self-denial. “Request the files you need, talk to Cassian. He knows it just as well as I do.”

Azriel curled his hands into fists. He attempted to ignore the stone that sank in his stomach at the name of his friend, of his brother. Cassian. As if sensing his distress, Shadow mewed softly, weaving between Azriel’s legs.

“That is not true and you know it,” you retorted. There was a heavy sense of frustration that seeped into your voice, one that dripped from every word you said. You could feel the tension thickening the air, suffocating the space between you and Azriel. 

He remained silent, his gaze fixed on a point somewhere beyond your shoulder. The stubborn set of his jaw made you falter further. You took a deep breath, lowering your voice to one much softer, much smoother. Azriel nearly melted at it, nearly found himself apologizing for everything he had done.

“I’ve requested access, I can talk to Cassian. But we both know you know things even I don’t. You kept meticulous records.”

“I-”

"Please," you interrupted, your voice pleading. "Az.”

Azriel’s expression softened, his eyes meeting yours with a mixture of sorrow and resolve. He let out a small sigh and then he offered you a nod. His steps were measured, deliberate, as he turned and made his way down the small hallway, the echoes of his footfalls filling the quiet space. 

His bedroom was just as empty as the rest of the apartment, and his gaze flickered to the bedside table as he passed. He stilled for a moment, feeling another heavy wave of sadness wash through him. Another second passed before he pulled his mind away, forcing himself to walk into his closet. 

It took a few moments of pushing aside boxes and clothing before he found it, running his hands along the small safe tucked away in the back wall. With a practiced hand, he dialed the combination, the soft click of the lock releasing echoing in the room. The door opened gently, revealing its contents—a sleek handgun nestled among a jumble of items, including a worn leather journal and a stack of notes. Brushing his hand over the cold metal of the gun, Azriel reached for the journal, its worn cover familiar beneath his touch. Tucking it under his arm, he closed the safe with a sense of finality.

Returning to where you stood, Azriel found it difficult to meet your gaze again, opting to keep his eyes trained on the journal in his hand and Shadow at his feet. He wasn’t sure if it was just him that suddenly felt so smothering, or if there was something in the air that made it hard for him to breathe. 

He offered you the journal with an extended hand. For a brief moment, your fingers brushed against each other. A familiar warmth ran through Azriel’s body and he resisted the urge to recoil from the intensity of it alone. 

His hand stayed in the air for a moment, suspended in the moment of your touch. You glanced down at his palm, eyes drifting to his bare ring finger. Your eyes softened and Azriel followed your gaze, immediately pulling his hand back and shoving it into his pocket.

“Thanks,” you murmured, turning around to place it on top of your bag. You kept your back to him for a moment, and Azriel traced the curve of your spine with his eyes, watched how you placed two hands to brace yourself on the counter as you sighed. You slowly turned around.

“Azriel-”

The glint in your eyes told him where the conversation was bound to lead. He cut you off as fast as he noticed. “I can’t.”

You deflated, shoulders falling slightly as your gaze danced across his face. “You didn’t even let me speak.”

“I know what you’re going to say,” he said softly. He shifted on his heels, shoving his hands further into his pockets. “I can’t get involved. This is all I can do.”

“Alright,” you finally replied, bringing your bottom lip between your teeth as you absentmindedly nodded your head. “I’m sorry.”

“No, no.” He took an instant step forward, hand naturally flying out to touch your arm. He realized his movement before he made contact, letting his hand fall awkwardly at his side. “Don’t apologize. You have nothing to apologize for.”

“I better get going.”

Please don’t.

“Yeah.”

Please stay. 

As you started to gather your belongings, slipping the journal into your bag and pulling your jacket on, Azriel's gaze remained fixed on you. His heart lurched painfully in his chest as you reached for your jacket and pulled it on, your shirt hiking up to reveal the beginning of a jagged scar along your abdomen. He deflated, casting his eyes to the ground. A wave of self-loathing washed over him and he clenched his hands at his sides, his knuckles turning white with the force of his grip.

It wasn’t until you were opening his front door that Azriel found the courage to look up, mustered the strength to meet your eyes.

“Y/n-” Azriel paused. His heart thudded loudly in his eardrums. He felt a faint tugging sensation in his chest, as if his body itself was screaming at him to get closer to you, to not let you leave. He swallowed down the selfish words he wanted to say, and instead offered you a wary, but warm, smile. “Be careful. This might just be a copycat, but they’re still as dangerous. I want you to be safe.”

“I know.” Something in your face softened, and you offered him a half smile. His eyes darted to the small dimple on your cheek. “I will be.”

You turned to leave, but no movement followed. Instead, you stilled, hand tapping on the handle before you turned around again. “It was nice to see you, Az.” 

He gave you a small, curt nod. His chest tightened. “You too, Y/n.”

“Take care of yourself.”

And then you were gone. 

✹ ✶ 𖧷 ✶✹ 

Azriel sat on the couch, the soft hum of his chosen record filling the otherwise quiet apartment. His hand absentmindedly rubbed Shadow's head as he closed his eyes, allowing his thoughts to drift.

Weeks had passed since he last saw you, but you were never far from his mind. He had toyed with the idea of reaching out to you, of asking how things were going, but the thought was quickly dismissed. It was inappropriate on multiple levels. You weren't in each other's lives anymore, and he shouldn't have known about the case in the first place. So he resigned himself to living in his mind, replaying that night over and over, wondering if he should have asked you to stay, if he should have offered more help.

There was a knock at the door. 

Azriel jumped at it, head twisting over his couch to look at his entrance. He pushed himself up, lifting Shadow from his lap as he made his way to the door. The cat emitted a discontented sound as he settled back into a lying position.

His heart fluttered with anticipation as he made his way to the door, a small glimmer of hope now flickering in his chest. Could it be that his prayers had been answered? That you were here again, unable to stop thinking about him just like he couldn't stop thinking about you?

Azriel took a deep breath as he reached for the doorknob.

He prepared to muster up a smile, running greetings through his mind, knowing himself well enough that he’d stumble at seeing your face once more. But as he swung the door open, his face fell flat.

"Rhys.”

Rhysand offered him a smile, but it lacked its usual warmth, troubled lines etched into his features. His posture was tense, his shoulders squared. There was a stiffness to his stance, a subtle rigidity that made Azriel’s stomach drop. 

"What is it?" Azriel asked.

Rhys met his gaze, eyes filled with a darkened sense of worry. There was a glint of apprehension in his eyes, as if he were hesitant to speak. He swallowed.

"It's Y/n," Rhys finally said, "She's missing."

✹ ✶ 𖧷 ✶✹

this idea appeared to me in a dream and i had to write it... will it ever come to fruition? who knows??? but i do love a good haunting of the narrative.... az finding us....az being thrown back into a world he thought he left behind...... lord its such yummy angst

so lmk if you’re interested in being tagged in a part 2 :)

permanent tag list 🫶🏻: @rhysandorian @itsswritten @milswrites @lilah-asteria @georgiadixon

@glam-targaryen @cheneyq @darkbloodsly @pit-and-the-pen

azriel tag list: @thisiskaylin @serrendiipty

[randomvarious]

1990s Trip Hop Playlist

Been six months since I added anything to this fly-as-fuck playlist, and this week I've got a bunch of heady, spaced-out, and super stoned treats for you all. For this update, I ended up drawing from three separate releases: Ninja Cuts: Flexistentialism, a terrific comp from 1996 that was put out by premier UK trip hop, hip hop, downtempo, and future jazz label Ninja Tune; French native Kid Loco's brilliant DJ-Kicks mix from 1999 that was put out by Germany's !K7 label; and a varied South African comp that was put out by national indie label Fresh Records in 1998 called ReRooted: Beatz From da Ground Up.

So let's highlight some sweet goodies from all of these then. First up, "Junkies Bad Trip" by London Funk Allstars, a quintessential piece of head-nodding mid-90s boom bap dope that sounds like it's waiting for your favorite New York rapper's favorite New York rapper to spit some crazy fire over it. When it comes to instrumental trip hop and hip hop-type shit, there's really nothing in my mind that tops something like this tune right here; a big sonic bluntski with two pretty iconic samples in it: one from Baby Huey's "Hard Times," which gives the song its frenzied, metallic, whistling stabs, and has been used in a whole bunch of other rap tunes too; and a funky guitar riff from James Brown's "Blind Men Can See It," which was also famously used in Das EFX's 1992 classic, "They Want EFX" as well. Currently at around 252K plays on Spotify.

Next, something really cool from that ReRooted comp by a band from Cape Town called Naked, who only ever put out one album, 1998's Bone Needs Flesh. Here they offer up a tune called "Wash Your Hands (Stone Cold remix)," which employs this really unique blend of chopped-up vocals, heavy breathing, and sharp, acidic bass stabs, as a couple different effects are applied to frontwoman Kaolin Thompson's voice. This one seems pretty damn obscure, as it's currently sitting at under 1,000 plays on Spotify. It's terrific, though.

And for some pure fuckin' THC-induced nuttery, there's "Attitude Adjuster" by Essex, England's own Tom Tyler. Appearing on Kid Loco's DJ-Kicks mix, this 1999 leftfield stunner's marked by a very imposing, dissonantly wobbly, and bleating horn sound, with a dubbed-out drumbeat beneath it, and all of it anchored by a super chill and steady synth pad to mellow and balance the whole thing out. A simply bananas piece of music that was made to satiate your crusty-eyed inner insomniac at 3:46 in the morning. Currently at a little over 4,000 Spotify plays.

9 Lazy 9 - "Turn Me Loose" Jazz Con Bazz - "Wayz of Life" Luke Vibert - "Get Your Head Down" Up, Bustle & Out - "Ninja's Principality" London Funk Allstars - "Junkies Bad Trip" DJ Vadim - "Theme From Conquest of the Irrational (Remix by The Prunes)" Pelding - "One" Naked - "Wash Your Hands (Stone Cold remix)" Boards of Canada - "Happy Cycling" Tom Tyler - "Attitude Adjuster" Kid Loco - "Flyin' on 747"

Now, something else I should mention is that the YouTube version of this playlist includes all of these songs too, but a bunch of the versions that are specifically from Kid Loco's DJ-KIcks mix are as they appear on the mix itself, which is a little different from how they sound unmixed on Spotify, except for the set's sweet and serene closer, "Flyin' on 747."

But in addition to that, this YouTube update also comes with some songs from that DJ-Kicks mix that aren't on Spotify at all too, like something from a London collective called Common Ground, whose 1998 song, "Dark Soul," has some piano-and-string bits that might remind you a little of something like the theme song from Succession—a show that came 20 years after this very song dropped—but this tune, like so many others in this update, is also very fucking stoned; it has this Mike Oldfield Tubular Bells-like opening, some plonking xylo, and some slow and incremental, scale-climbing vocals to mark its 'chorus' too. An absolute, unheralded banger as far as I'm concerned, and currently only nearing 1,900 plays on YouTube across a couple different uploads.

Emperors New Clothes - "Dark Light (Underdog Mix)" Grantby - "Grimble" Tongue - "Culture Consumers" Common Ground - "Dark Soul" Stereotyp - "Slo Jo"

And this playlist is also on YouTube Music.

So with this update we're now at 46 songs that clock in at 4 hours and 5 minutes on Spotify, but over on YouTube, we've got 76 songs that clock in at 7 hours and 2 minutes! So if you want more dank 90s trip hop than you know what to do with, then do yourself a favor and pick the YouTube one.

And if 7 hours and change or 4 hours and change sounds like way too overwhelming of an amount of trip hop for you to handle, I've got a bunch of this broken down by year too:

1994 Trip Hop: YouTube / YouTube Music 1996 Trip Hop: Spotify / YouTube / YouTube Music 1997 Trip Hop: YouTube / YouTube Music 1998 Trip Hop: YouTube / YouTube Music 1999 Trip Hop: YouTube / YouTube Music

More trip hop next week, but from a certain locality 😎.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[pterrorgrine]

every rage against the machine song

[guitar riff that incites bloodthirst]

THROW A BRICK AT A COP [fills derived from riff]

THROW A BRICK AT A COP

THROW A BRICK, THROW A BRICK, THROW IT

THROW A BRICK AT A COP

GO OUTSIDE AFTER THIS CONCERT AND

THROW A BRICK AT A COP

[guitar riff]

[stripped down rhythmic part]

Throw it, throw it, throw a brick

Throw it, throw it [x2]

[rap part]

parabolic motion of a ceramic block

impact to the skull and it makes a body drop

slap chop coppers with a steel file knife

life flight fellows down the thin blue line, AAAAUUUGGHH

THROW IT, THROW IT

[riff but more atonal and with weird electronic noises on top]

THROW A BRICK AT A COP, THROW IT

THROW A BRICK AT A COP, YEAH THROW IT

COP ON THE STREET RIGHT AFTER THIS CONCERT YEAH

THROW A BRICK AT THAT COP

[spoken] here's a bunch of bricks we brought, everybody take a free brick for later! UNH!

[funk dance break]

[quiet part]

masonry unit

blue reign of terror

construction material

for the new era

aaaahhh, masonry unit

blue reign of terror

construction material

FOR THE NEW ERA, AAAAUUUUGGGHHH

[riff now fully polyphonic with vocals]

THROW A BRICK AT A COP

THROW A BRICK AT A COP

GO OUTSIDE AFTER THIS CONCERT AND

THROW A BRICK AT A COP

yeah!

[dustedmagazine]

Prize Horse — Under Sound (New Morality Zine)

Photo by Adam Udenberg

Prize Horse have the dramatic down on Under Sound, their debut album. Living largely in the mid-tempo until prodded, each song more or less evokes the bracing dread of turning your eyes to a darkening sky. Jake Beitel’s guitar churns and sheers, his vocals wistful and reverberant, with the hint of a keen. He’s met with the stomp and shimmer of Jon Brenner’s heavy, cymbal-happy drumming, all of it underpinned by the stream of Olivia Johnson’s subtle but substantive bass. The band’s performance is honed and adept, the sound intense. There are moments, especially early in the album when the playing can seem almost lackluster for the chops, like the Minneapolis trio has another gear that isn’t being touched. The whine of feedback that ends both the title track and “Your Time,” for example, hints at a greater possible rupture, a more chaotic roil that gets cut off.

Track five, “Leave It,” pushes things further, if not quite to the point of collapse. It’s a welcome demonstration of the band’s ability to pull a big complex sound from simple materials. Here, clean guitar chords and a simmering rhythm section give way to the reeling feedback. With just over a minute left, Beitel’s sustained notes start to wail, before Brenner’s cymbal battering and Johnson’s booming notes build the crescendo they’d previously only hinted at. Something similar and even more chaotic happens in the boiling over of the next two songs. “Reload” and “Rev.” Both end hard-charging and weighing a ton — “Reload” also starts that way — with Beitel’s shriller, looser riffs threatening to keel over against the ocean waves of Brenner and Johnson’s playing.

But it’s on track eight, “Stone,” that Under Sound truly erupts. Over, but just barely, Brenner’s furious drums, Beitel’s vocals find a new buoyancy, a comfortable place to writhe and, finally, to howl. Once the powerful urgency of the drums bind your attention and the vocals find their ceiling-raising space, then so too does Johnson’s bass, emerging from and then returning to the frenzy without missing a literal beat.

The louder Under Sound gets and the more the band embraces their intensity and abandon, the more clearly the playing comes through, and the more vital and engaging the album becomes. If the first half often leaves something to be desired, the second half fills that want, and then hints at more. The ninth and penultimate song, “Know Better,” doesn’t scrimp on instrumental force, but adds more melody, a higher brightness to Beitel’s voice. In his long, almost ambient chorus lines, and the music rushing under it, the band find yet another way to transcend a formula they’ve clearly mastered.

Alex Johnson

[lovejustforaday]

2023 Year End List - #2

Ooh Rap I Ya - George Clanton

Main genres: Baggy, Chillwave

A decent sampling of: Trip Hop, Dream Pop, Synth Pop, Vaporwave, Breakbeat

Okay okay so yeah I'm very late to the whole George Clanton thing. Look you guyz, vaporwave and its adjacent scenes have never really been my cup of tea due to the general over-saturation of super amateur "vibes" artists with no songwriting chops. The gratuitous Japanese has also always reeked of pretentiousness to me. But there's almost always at least one diamond in the rough.

And I know that Clanton is really more regarded as a chillwave artist, and I know that there's a meaningful distinction between these genres, especially since the term 'chillwave' is at least a year or two older. But I guess in my own mind I just kinda put him in with the former, so he wasn't particularly high on my list of things to check out.

That is, until I saw those peculiar genre tags on his latest record and the general praise it got on my favourite insufferable hipster website rateyourmusic.com (sue me bitch). Baggy and chillwave together? Now THAT was something I had to hear.

And it just so happened to turn out that his stuff blew me away completely. Even upon my first listen, this LP had basically already skyrocketed to the number 2 spot on my year end list and managed to hold on for the rest of the year.

Every note off of Ooh Rap I Ya is drenched in a multicoloured neon slush that tastes like pure fifth gen console nostalgia (yes that's the only thing I can recall about the 90s tyvm). A portal to a dimension floating in a solution of sheer serotonin, with groovy baggy rhythms and gooey, acid-y synths. Layers upon layers of unabashed awesomeness condensed into thirty eight minutes that feel like hours of non-stop raving that still somehow ends all too soon.

There's been way more than enough homages in the 21st century paying tribute to 80s synth pop and its related genres. I'm glad that someone out there finally decided that the early 90s British baggy scene and its related "Madchester" club culture deserved a work of similar celebratory fondness. Not that I'm honestly too well-versed in it myself, though hearing this certainly makes me feel like taking that genre deep dive next year.

But like all good throwback revivalism, this record doesn't just rehash the era that it's paying tribute to. There's a lot of contemporary production techniques and ideas being applied here, and it's all filtered through a very post-internet 2.0 chillwave online aesthetics lens. And while sonically it feels incredibly optimistic, the lyrics have definitely been injected with some of the generational existentialism of its time.

Moreover, this basically just kicks ass more than 98% of anything else released this year. The songwriting is tight, the riffs are infectious to no end, the sound design is simply godlike, and Clanton's trippy pretty boy vocal styling blends seamlessly into this genre. It's just some good fucking timeless music that happens to be heavily influenced by a very time-and-place sound.

"Justify Your Life" has a very particular vibe, as though it was written from that headspace you get when it's 2:00 am and you should be tired, but instead your mind is hyper awake and you're up just kinda reflecting on everything over the last six months. The whole thing rides on the wave of a breezy looped guitar feedback sample, taking little plunges into deep plasmatic psychedelics during the chorus. Very chill and daydreamy, but also a little agitated and melancholy.

The torrential, churning feel-good chaos of "Punching Down" is almost enough to make me feel sick. So sugary and whimsical, you'd be totally forgiven if you missed George's lyrics dissing on the subject of the song, who might just probably be himself. The combination of rubbery arcade synths and a blown out drum machine pattern absolutely buries this song in a totally orgasmic collage. Someone shook the soda can and let it spray all over the damn place. Makes my brain go all fuzzy.

"I Been Young" is a quarter life crisis anthem that's musically somewhere halfway between INXS and Chapterhouse. Very boy band meets neo-psychedelia. The lyrics are poignant in a way I think all of us are destined to feel at some point. But there's also a kind of bittersweet, triumphant silver lining at play here, as in "yeah, life is pretty fucked, but look how far you've come!". Clanton does the great big beautiful chorus thing in a way that I've heard very few artists really manage to pull off so cool and effortlessly. Those colossal piano chords are purely divine. No other song this year comes quite so close to the sentimental, end-credits energy that this song manages to emanate from its very core. Insanely potent, and plainly one of the greatest songs of the decade so far.

"You Hold The Key And I Found It" has me swimming downwards in slow motion. This is for the point of the night at the rave for when you're beyond blasted, and you're kind of just absorbing your surroundings, with every second being its own little eternity. More vaporwave than anything else off the record, but this is a brilliant example of the genre's potential when the songs have the right amount of pulse to them.

"Ooh Rap I Ya" glows like little flourescent fishies swimming in an aquarium. Little bit of a new jack swing meets trip hop vibe on the beat here which makes it extra comfy and danceable. Those "ooh rap I ya"s during the bridge that give the album its title are just so sexy and snappy; I believe I've caught myself singing it at random at least a dozen times in the last month alone.

The sluggish closer "For You, I Will" is insane. This. Song. Is. Massive. I can't get over how utterly consuming it sounds, like impenetrable walls being erected towards the sky that obscure the nature of reality. This one simply must be heard on headphones to get the full experience. George Clanton employed the help of Hatchie 💖 to do the backing vocals on this, which I personally thought was a really cute addition seeing as how her 2022 record Giving The World Away was basically the only other prominent LP of the last few years (or decades, more likely) to pay a lot of homage to the 90s baggy sound.

For as consistently brilliant as the album sounds to my ears, I do admit I have one gripe with this record that I just couldn't look past to give it a 10.

The gripe is that "F.U.M.L." to me is just a weaker, simpler take on "I Been Young". I guess the whole ultra-teenage upbeat pop punk "let's chant gleefully about being edgy and depressed" has never really been my thing either (Looking at you Wheatus, grrrrr), no matter how many layers of nostalgia or even irony you try to bury it under. Maybe an uncharitable take, it's still a pretty decent song and production-wise it's excellent, but I have basically no fondness for it when compared to anything else on the LP.

But anyhow, shut the fuck up already Bradley cuz this record is goddamn amazing. Ooh Rap I Ya has very quickly become one of my favourites of the decade - heavily grounded in the psychedelic baggy sounds it derives from, while managing to be so incredibly forward thinking in its maximalist production and songwriting. George Clanton just landed himself at the top of my list of artists to be on the look out for new releases in the next few coming years.

9/10

Highlights: "I Been Young", "Punching Down", "For You, I Will", "You Hold The Key And I Found It", "Ooh Rap I Ya", "Justify Your Life", "Everything I Want"

[doomedandstoned]

Philly’s HIGH LEAF Lift Off with ‘Vision Quest’

~Review by Tom Hanno~

The Philadelphia stoner merchants in HIGH LEAF are preparing to drop their debut album on May 5th! The band, whose lineup consists of lead guitarist Patrick Fiore, Corey Presner on vocals and guitar, bassist Brian Schmidt, and drummer Dean Welsh, have created eight tracks that are influenced by grunge, stoner metal/rock, heavy psych, etc. These songs have all of the traits that are commonplace in the genre while still offering up something that feels fresh and exciting, yet familiar as well. That album is called 'Vision Quest' (2023), and it is the reason we've gathered here today.

Their first single ever is "Green Rider", opening the proceedings with a big bong hit followed by a long exhale. The fuzz factor of that first riff may make you think of a hazy, smoke filled room containing four stoners creating music for other stoners. There's an obvious Sleep influence going on, though with a vocal approach that is varied and incredible. Corey has bits and pieces of his influences that come through in his vocals, but he turns them into his own style without mimicking any of them.

LISTEN: High Leaf - "Green Rider"

"Vision Quest" sees High Leaf delving into their more psychedelic side for a great majority of the song, fortifying it with bluesy stoner sections, a Pink Floyd-esque feel, and ending the track with a grungy stoner metal vibe that features vocals influenced by the legendary singers that came to prominence in the '90s.

"Subversive" has a vocal style that will appeal to fans of Alice in Chains and Soundgarden, while the music pulls from both stoner and grunge genres. This is a powerful track that is packed with beefy riffs, and a solid rhythmic backbone. It is one of, if not the best song on Vision Quest, so anyone with an ear for this genre will absolutely love what High Leaf laid down here!

"Dead Eye" marks the halfway point of Vision Quest, steamrolling its way in with a fat sounding riff that is superb! As with the other tracks, this features more of Corey's excellent vocals, and the ultra thick riffs that are a staple of the High Leaf sound. It's not the best song on this record, but isn't weak in any way either.

"Hard to Find" continues on with the high quality music that the first half of the record displayed, with the difference being that there is a hard rock vibe that harkens back to the '80s and '90s. Corey also brings in an even more diverse display of his talents, and while this isn't my favorite track, it is my favorite performance of his. Pat pulls off a perfect lead on this track too, it's completely suited to the song and shows that he's got the chops needed to create memorable solos.

"Painted Desert" begins by briefly showcasing the drum and bass skills of Brian and Dean before the guitars enter. There's a serious Layne Staley meets Scott Weiland sound within the vocals, while the music is the stonerized version of Pearl Jam-esque grunge that you didn't know you needed, but will want more of after you get it. It's a quick track that's absolutely killer from beginning to end.

"March to the Grave" and "The Rot" are the final tracks on Vision Quest, and they both have all of the elements that High Leaf has given listeners since the "Green Rider" single started playing. Of the two I found that I prefer "The Rot," it's a bit more diverse sounding musically and vocally, but both songs are excellent examples of what this band can do.

Vision Quest is a stunning debut record in every way. These Philly stoner diehards are as talented as their music exhibits, and are sure to win over even the most stubborn music fan with their take on the genre. This simply means that you will find something to love even if you aren't totally sold on stoner music, as the fuzzed out riffs will work their way into your subconscious and refuse to leave. So head to Spotify to check out their lead off single as you wait for it to become available on Bandcamp. Enjoy!

Vision Quest by HIGH LEAF

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[goodbysunball]

In the summer dust

Live from June 2023, already, and still steadily accumulating plastic to shield me from the sun. Here are four more things you can listen to instead of Elon Musk and four more things you can buy instead of groceries. Crank 'em 'til that stomach rumble is drowned out.

BIG|BRAVE, nature morte LP (Thrill Jockey)

Their lineup now solidified over the course of the past few records, BIG|BRAVE picks up right where they left off on 2021's underrated Vital with nature morte. The record snaps open with Robin Wattie's vocals, and it's a harbinger of things to come: she's solidly up front flexing her vocal range, seemingly more confident and in control than ever. While still glacial and capable of whittling rock to dust, nature morte feels more accessible, in part due to Wattie's performance, but the guitars are more airy, allowing the soft, bright colors of the cover to bleed into the performance. There's an actual groove at the midpoint of "carvers, farriers and knaves," and my favorite track, "the one who bornes a weary load," begins with the post-rock atmosphere by way of '00s screamo. Of course, the band's bread and butter is still this absolutely crushing, cavernous one- or two-chord riff augmented by feedback, crashing drums and Wattie's vocals elevating to a full-on roar; they just utilize it more sparingly. What else has changed over the last two albums is how the band approaches the build-up to these climaxes, and how they can sound as disciplined as they do unpredictable. On "the fable of subjugation," for example, the band leads you face-first into a cold metal wall after the relatively calm textural intro, an un-subtle reminder to stay focused. When the loud part kicks in on "a parable of trusting," it almost sounds like vintage BIG|BRAVE until the guitar chords start to meander and sway, a simple and unbearably powerful show of restraint amidst the onslaught. This is a room-flattening/room-silencing record, the quiet parts captivating and the loud parts leaving craters behind when they strike. But in other ways, this feels like the band becoming more comfortable and confident expressing through texture and mood. To me, the trajectory of BIG|BRAVE feels much like Thou's over their first few years (from Tyrant to Summit, for instance), in that the two groups remained as heavy as ever while becoming more interested in creating an atmosphere, and not just churning endlessly in the sludge-y murk. I'm not big on where Thou went with their sound in recent years, and it could be that BIG|BRAVE is heading down a similar path; but for now, I'll enjoy nature morte and the sound of a band at the peak of their powers.

Disintegration, Time Moves For Me 12" (Feel It)

Fantastic debut from this new Cleveland trio, featuring the inimitable Haley Himiko from Pleasure Leftists, as well as Noah Anthony (Profligate), and Christopher Brown from Cloud Nothings. Disintegration operates in this darkwave/almost-EBM space, and it's solid ground for Himiko to sway and prowl over. The title track has her absolutely going off over an arpeggiated beat, and the acrobatics she pulls out on the chorus hit home every time. The slower tempo of "Carry With You" is another showcase for her vocal range; the combination of the heavy backbeat's gravity and the chopped treated vocals sounds like the track's being pulled under by its own weight. The record closes with "Make a Wish," which sounds like it could've almost been on the last Pleasure Leftists album, Himiko's vocals soaring over the airy, slicing backing track. The four tracks here are over too fast, an almost cruel tease; even "Hit the Face," the only track not to feature Himiko's vocals, connects on some animal level and gets the knees pumping and neck twisting, the coda not nearly long enough. Highest recommendation; please invite me to any party that's gonna be blasting tracks from this 12".

Glittering Insects, s/t LP (Mind Meld)

Total Punk sub-label Mind Meld is back with a vengeance this year, releasing a new Lavender Flu 12" and this debut Glittering Insects LP. The band features vets from Atlanta's underground: Greg King, Ryan Bell and Josh Feigert, who have recording solo and in bands like GG King, Uniform, Predator, etc. Can't say I'm all that familiar with any of their previous output, though it's been in my periphery for years. In any case, none of that prepared me for how powerful the meeting of the minds would be on Glittering Insects. This is very scuzzy, satisfying Am Rep or Dino Jr.-style rock with flecks of black metal ("Kratom Portal," "Calcified Time") and plenty of noise obscuring the vocals and the ground. The first five tracks, from the caustic noise of "Nuclear Rivers" to the tremolo-picking overlaying creaky keyboards on "Labyrinth Funnel," set the stage for what's to come, which is basically a survey of guitar rock from the past 30 years or so. The second track, "Silent Dream," is my favorite song of the year so far. The main riff gets stuck in my head for days at a time, and the slyly catchy vocal melody just barely pokes out amidst the din. Elsewhere, the band churns out menacing noise rock on "Peatgurgling"; attempts a Rudimentary Peni impression on "Obscure World After Death"; and reaches guitar worship heights currently only achievable by Cheater Slicks on the instrumental "Glittering Insects." My very minor quibble would be that "Dream Journal 12/8/21" doesn't quite fit and kicks me out of the dusty, thrilling orbit the rest of the record pulls me into, seeming much less complete than the rest of the album's tracks. It's just about the shortest track, and had I not listened to Glittering Insects many times over already, I probably wouldn't think to mention it. No matter - this is some real deal, clenched teeth exhilaration, a tour de force with the chops, energy and just the right amount of reverence to match its ambition.

HUH, You Don't Need Magic LP (An'archives)

An'archives has been busy the past few years, selecting the Japanese sub-underground sounds that pass muster and bringing them to the masses in beautiful editions. HUH is yet another new-to-me outfit, though apparently they've been around since 2007. The duo of Kyosuke Terada and Takuma Mori is based around guitar and drums, it sounds like, but there's a healthy dollop of electronics (as there must be) and warped, free vocalizations. If that sounds like Lightning Bolt to you, you're in the ballpark, but the band more often goes for low density: stretching out slow, twisted grooves ("Greenish Fog In You") or restrained relative calm recorded by haunted equipment ("Lousy Smirky," which kinda sounds like it could've fit on Sharpen Your Teeth). There are a couple freak-outs that show HUH paying fealty to their Rhode Island forebears, of course - go no further than the raucous "Spilled Beer" for your fix. What's more interesting is that there is a palpable joy on You Don't Need Magic; one that, to me, rarely comes across on most guitar-drum duo records. They emphasize exuberance over aggression, appear to harness the complete freedom from expectation, and possess the wordless communication between two musicians operating on a plane above most. You Don't Need Magic impresses on a number of levels, and if the way "Bitter Summer" rips apart at the halfway point to close out the album doesn't have you flipping the record over for more - you may need magic.

[pika2482]

AOTD 1/2/2024 - The Heights (Knox Hamilton)

[All albums are rated subjectively based off my own enjoyment]

7/10

This album's genre is Indie Pop-Rock: Not quite Indie enough to get on some Hip Local Millennial/Gen Z Restaurants playlist, but not quite Pop or Rock enough to get onto Mainstream Radio. It's that weird middle ground between the three genres, the type that you would hear in a Bar Salon while you get your hair cut.

That's not to say the music is soulless or bad. It was fine, even great at times. The production was up to chops, the choruses were catchy in the majority of songs, and the vocalist sounds pretty damn good. It just feels like this album is a case of a Copy-Pasted formula from song to song. Not nearly as bad as Imploding The Mirage was, but noticeable enough to turn me off to the album towards the end.

The Highlight song for me Has to be How's Your Mind, taking place half way through the album. While it's the same formula as the rest of the album for the most part, it feels like the math just... clicked better with this set of chords, melodies, and lyrics. The production is fantastic, the instrumentation choices are perfect, and it's chorus is among the most catchy in any of my playlists; with it's massive open and airy sound and smoothly layered vocals, but keeping it's pulse moving forward even while it's bass and drums are pushed out of hte spotlight. Give this one a listen by all means! Back Porch also stood out for being the only song to really catch me off guard with it's 90's style guitar riff that I feel I'll be coming back to.

The downfall has to be the aforementioned Formulaic approach to each song. Yes, it makes each song feel like they're part of the same whole, but I feel that Knox Hamilton just stuck to it too closely thorough each song (With the exception of Back Porch). He played it safe, and doing so created a collection of Good songs. North of "Alright" and "Meh", but unfortunately south of "Awesome" and "Amazing".

Overall, not a bad listen. I can recommend one or two songs but there was only one song of True note, and even then it was only an 8.5 standing out of mainly 6's and 7's.

Favorite Songs: How's Your Mind, Back Porch

Least Favorite Songs: We Get Back, Never My Love, Rightfully So

[bluerocket]

EXURSIONS - C418 -

This is such an amazing album for a lot of reasons, it’s outerworldly soundscapes or it’s blood pumping synthesis, it has something for the old school Minecraft fans and the recent fans of c418

First off the title track, a lush soundscape of twinkeling harmonies and something that calls back to volume alpha.

Cold summer picks up the pace, featuring a sinewave arpeggio that drones throughout and a thumpy bass drum really reminding you that the world of this album isn’t without dance music, this only foreshadows of what to come.

Txl reminds me of a sci fi Buddha giving life to many, it’s retro synths create a minimalistic but soothing atmosphere.

Tingle is the first heavy song on the album with a strong sub bass throughout and a pulsating rhythm interspersed with electric guitar and crackles of the outside to round this off as a first look into this albums better songs.

Beton was the first song created for this album, and it is amazing, opening with a calming set of reverb filled synth lines which then abruptly change into dancefloor shaking sawtooth synths that are sure to get your head moving, this cuts back into a slower section before building back up with vocal chops and a true c418 synth line, this song is really good.

Ams is a well deserved break after the electro jungle of beton it sports a solo piano playing something out of volume alpha, it’s soul transporting you away into a dream or wherever you feel like, it’s a track for the soul as it prepares you for c418s opera

Thunderbird is the Magnum opus of this record, a slow start soon builds intensity untill the kicks of beton Greet you to a genius baseline and chord stabs which are sure to send you into electro heaven, the track continued to build before cutting off with a reverb filled exit as Ams piano fades in but you barely get time to soak it in before the riser begins and you are thrust down the rabbit hole and into the land of hard baselines and pure banger before slowly breaking away, it’s 13 minute run time served it’s purpose.

Aviva is just ama with more bass, not much to say other than poggers.

Figure 8 starts slowly, strings guiding you to the eventual best drop and oh boy does this drop this fucking DROPS and before you know it you are in the land where no treble exists, just bass, and that is perfect. After synth is added back in the sound is full again before a cold summer like sound takes over the sound starts to build before drop 2 electric boogaloo, and it’s pretty good.

Fake triplets is a time only in triplets, c418 saw a crotchet and told it to fuck off. The bass drop is like figure 8 but more tron esc, with undeniably catchy synth riffs and a bit of handspan just so you remember who you are listening to. It does this a couple more times but to be holes I get lost.

Nest is like taking a microphone and holding it up to Daniel rosenfeilds Brian, chaotic electronic and catchy

Home is a desolate soundscape of concrete mscheinery which dominate the musical landscape

Atx got its name from the airport, and it’s music did too, with rhythm and noise coming from everywhere before slowly slowing down as the airport in your mind closes.

Leak starts slow, but with a small swelling synth building up untill BOOM the bass kicks in and so does your heart, the blood flowing like the lead of the song, never letting go of the hold of the song this song never lets up, and with its voltage inspired leads I wouldn’t even want it too. It finally slows to open the gate to my favourite song on the record

The president is dead opens with distorted vocals before a synth line begins caked in space, it is a street through the soundscape before the riser leads you in to the first drop of delay and goodness before the three cymbal hit and bam the stereo feild opens up into a space filled with stars and planets before the bass line returns like a warning tone on a ship or some sort of dubstep ringtone. Before the three cymbal hit crashes you doen to earth as you settle back from your musical voyage, but only halfway through ofcourse, the three cymbals open you up to a deep and strange like expanse of sound where not even god can save you, before building up into something incredible, and then dying down into a thumpy bass line

Hope is a quiet subdue ending, that sends you drifting the ocean of data and a stary sky of led bulbs, a fitting end to an amazing album

9.5/10

Fav - The president is dead

Best song - Thunderbird

C418 has created a album for the ages and such a beautiful soundscape. Bravo.

[doctor-fancy-pants]

Finding pieces of yourself that you thought you'd lost

I have no idea why, but after several years of not doing so, somehow this year I started writing songs again. After shipboard karaoke reminded me that it’s not just Broadway While Driving, I can actually sing and people like it, I’ve been thinking about recording something.

That being said, I never developed the “ah this song is in this key and should have these chords” skill, as that was Shayne’s job as our lead guitar, and he was VERY good at finding the bones of a song if I sang him a melody line.

He’s a metal guitarist and has the requisite chops for that — mostly what I’m after is a folk/rock vibe, so we parted ways musically many years ago.

Meanwhile: I played bass and sang. I was… okay?

(I am much better now, vocally - but from memory this gig at the Old Bar in 2009 went pretty well. That's Grace the Bass, by the way. Easy action Ibanez that didn't brutalise my hands to keep the strings down. And yes, that is my hair colour under stage lighting. Rach has pretty much nailed it in my Sea Witch profile pic.)

I played bass because no one else wanted to and I figured if I was going to pick up a stringed instrument, low end and four strings seemed easier. Also bass riffs are super fun ("Baby, I got you on my mind...").

I set all that aside when the band disbanded and the PhD got painfully intense.

I never developed the skillset of figuring out the root-note-harmonic bones of a song - so I figured I was probably not a good songwriter. Like. At all.

But the songs have just come at me this year, and old songs I wrote that I’d forgotten about, and those I always remembered…

And this is the space between Xmas and New Year. This is the time between finishing the voyage and finding the threads of my terrestrial existence.

This is the perfect time to drag out my acoustic and my bass guitar, dig out my tuners, and tune them both.

A perfect time to pick up “what is a song I know that is easy to play” so I can learn enough basic guitar to help with songwriting.

(the easiest option for me would involve the piano, which I can actually play. Again, not a virtuoso, but I muddle through. However, my great grandmother’s piano is still up on the mountain.)

A perfect time to grab some bass tabs for songs I know because that will give me a jumpstart since at one point I could, in fact, play bass.

(side note: Adele is extremely fun to sing, but there are two songs on the first album that seem to be carried by bass lines, and that has my attention.)

A perfect time to do all this and not feel self-conscious because normally there’s a voice in my head that tells me not to do this.

That voice can fuck right the fuck off. I don’t expect anything amazing to come out of my songs. I just want to have a record of them. I want to be able to play it for someone and say “I made this, and I am happy with what I’ve made.”

That voice that tells me I’m not a musician and never have been…?Jesus fkn christ I can’t actually play guitar and haven’t tried in years and my fingers still found the frets for the chords I do know without even fucking trying. There’s something there.

And in terms of practice and physical skills, I think about playing Beat Saber, and how I’m fucking good at a rhythm dance game, because I’ve played hundreds of hours.

That reminds me I can acquire physical skills.

At least, I can when the voice in my head - the one that says I look ridiculous- shuts the fuck up. Because who the fuck cares if I look ridiculous? I might as well just lean all the way in and get somewhere.

I haven't done any Beat Saber bragging in a while, but I managed to get through BTS Not Today on Expert+ and score an S on the first try, which is not too shabby.

And I’m going for achievable goals: not aiming to be a virtuoso. I just want to be able to find the structure. I want to piece together the parts of the song I don’t have, and build it up the way it deserves.

Breaking that down further: I know I need interim goals to learn new skills. It’s why I had trouble trying to teach myself coding — I need an immediate use-case, and I didn’t have one.

So: I’ll learn a song I know.

Magpie (Mountain Goats) is a set of chords I already know - bam.

More immediately: Need a capo and some picks, because I have no idea where mine ended up. Fortunately those are very cheap items, and there’s a music shop in Upwey, very close at hand.

One step (fret? Semitone?) at a time.

-Doc out

[bronskibeet]

"'The Man Don't Give A Fuck' begins with a distorted scream, which gets clipped from the mix inside of two seconds, replaced by […] singer Gruff Rhys, murmuring about living under a cloud, about feeling like the TV is staring back into him. He's trying to articulate an emotional state he can't quite name, something that exists past hopelessness or maybe on the other side of hopelessness. But after a minute he gives up, screams again, and the rest of the band comes crashing in, like some kind of Mad Max chop-shop assault vehicle roaring out of a cloud of desert dust, with that "Show Biz Kids" sample flying like a battle flag and Donald [Fagen] singing You know they don't give a fuck as if strapped to the front grill as a human hood ornament.

The band presses down harder and harder, every instrument a hammer hitting the word Don't at once. The guitars fill up the mix, until the feedback and distortion become a geyser lifting Donald higher and higher. It feels like they could ride this riff forever, for eight minutes, for ten, or twenty […] They have to channel it into a comforting template, into something that resembles a deliberate performance, a show. But the song has other plans. It wants to go back to being a geyser. By the time the second vocal-harmony part comes in, the guitars are revving back to life, getting ready to chase the bass and drums, and before long the sound is swelling into a storm that the Super Furry Animals are trying to outrun, and when the main riff comes back in, the music isn't a geyser anymore. It's a wave and the wave is everywhere, a tsunami hurling boats miles inland, blasting beach-town infrastructure into splinters, like maybe later they'll find Donald's body in a tree somewhere and marvel at it, how he could possibly have gotten all the way up there, so far from where he started out."

— Alex Pappademas, from Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan

[joycececilia143]

Viva Las Vengeance

Yes, I admit it, I am a hug P!ATD fan and have been since the early days in 2006 when I was a 16-year old girl who had no idea who she was yet as a person. Panic!'s/Brendon's music has helped me through some of my darkest times, most recently at the end of 2018.

I'll spare all the details, but basically I was ready to give up on EVERYTHING, until my coworker - whom I'm still thanking for her help to this day - took notice of my precarious mental state and told me to take a breather, find a video or a song I liked and just come back to myself for a few minutes before continuing my work.

I quickly fell down the rabbit hole that is Panic! at the Disco's entire discography when one song in particular resonated with me so much that I managed to drag myself out of that pit of despair I was in and found my way back to the surface.

The song I'm talking about is Emperor's New Clothes, of which I now have 2 tattoos dedicated to this song. But I digress.

What has been baffling to me is the horrible backlash P!ATD's comeback album Viva Las Vengeance has been receiving. The "reviews" on here alone are such a stark contrast to how I've experienced the album so far. So I figured I'd throw in my own 2 cents and give a little review of my own.

This is purely my own opinion and I am in no way trying to disrespect anyone else's opinions just because I am a fan of the album, nut I thought I'd share. So here goes.

Viva Las Vengeance

I have to admit, I was skeptical when I first heard this song. It was unlike anything Brendon had ever done before and at first it felt like it wasn't "Panic!", but just Brendon doing a solo project.

As I listened to the song a 2nd, 3rd and 4th time I started paying more attention to the lyrics and that's where I found the essence of Panic!, of Brendon's songwriting and composing abilities that I had loved so much on Pray For The Wicked, which is one of my favorite albums ever.

I have to admit the song does give a glimpse into the rest of the album's overall theme, which is Brendon showing off his vocal chops in every which way he can. I agree with people saying it sounds like he's straining his voice too much, but if you've ever been to a live show of this band, you know that that's kind of what Brendon does and loves to do.

As an opener to the album, it's an upbeat song that gets you moving and for me it was something that got me pumped about this new direction Brendon has clearly decided to take his music in.

Middle of a Breakup

Contrary to what I've seen on here as far as opinions on the song go, this is one of my favorites on the entire album. Its uptempo beat, the guitar riffs, the lyrics... It's just a bop in my opinion. Even non-fans in my social circle say this song is amazing. I don't give a s*** about the lyrics "not making sense", I mean, have you heard Uno, Dos and Tré by Green Day? Barely any of those make any real sense lyric-wise but Billie Joe is still one of the best song writers in his field in my opinion.

All I know is that I'm gonna be dancing my little booty off when I watch him perform this song live this February.

Don't Let The Light Go Out

This is my absolute favorite on the entire album. From the very first listen to watching the accompanying video, I was hooked. I'm a sucker for a rock ballad-type song and the lyrics are right up my alley: angsty and a hint of a love story behind it.

One thing I will agree on with most of the reviews I've read on here is that the song is just a tad bit too high. While I still feel like Brendon is one of the greatest male vocalists of our time, even I think the chorus could have been sung in a slightly lower octave. We all know Brendon has an amazing vocal range, so in my opinion he has absolutely nothing to prove. I love the fact that he sings this song in his full chest voice and not in his signature falsetto. Nevertheless, I have seen a few live renditions of this song and I am still not sure whether or not he sings it fully live. From what I've noticed in these live performances, the verses and the bridge are 100% live vocals, whereas the chorus always sounds just that tad bit too "perfect". Even though I know he can hit (ridicilously) high notes in his full chest voice, I am a little skeptical about him doing it live in this particular song.

This is one thing I will be paying particular attention to when I see the band live on tour in a few months, not to criticize him for it, because I have experienced his live vocals in person up close and personal a few times, but just because I have been wracking my brain about it since the first live performance I saw of this song LOL.

Local God

Honestly my least favorite one on the album. I feel like this one doesn't really fit in with the rest... I can't explain it, I just don't vibe with this song as much as with some of the others.

As for the supposed "Ryan bashing", I honestly don't think it's that deep to be honest. Was Ryan's name the first one that came to mind when listening to this song? Yes, I'm not afraid to admit that. But I honestly don't think Brendon was trying to be malicious about anything here.

I think so many things happened during the pre-split days and possibly even after that that we are not aware of and that have not been made public for a reason. We can speculate all we want, but in the end the only people who know the full truth are the guys in the band and their team at the time.

I've only heard B's side of things - as far as he's been willing to share things about what happened - and I know that the split really hurt him. Regardless, I'm sure it hurt the others too, but because B's the only one left in the actual spotlight - figuratively speaking - he's the only one who gets heat for it because he put out a song that could possibly be about a former bandmate. This is like "Ryden" all over again and I wish everyone would just move on already.

T-Swift is most famous for her songs written about ex-lovers and former friends and nobody even bats an eye anymore. Just because we don't expect a certain thing from Brendon, doesn't mean he's not allowed to express himself through his music.

Star Spangled Banger

Good song, catchy lyrics, great melody, but sadly, with a title like this I kind of expected more of this song. I guess I was expecting more of a rockier, edgier, more uptempo song than what eventually made it onto the album.

But again, I admire Brendon for writing and releasing the music he wants to write. I love the song nonetheless, but again, with a title like that, I had definitely expected a little bit more from this track.

God Killed Rock And Roll

Total Queen vibes here. And I know what most people are thinking: "There's only one Freddie Mercury" and that is absolutely true. No one can do it like Freddie and no one ever will.

That being said, Brendon has never claimed he wanted to be the next Freddie Mercury, in fact, he reached out to Brian May (based on an article from an interview with Brian asking about Queen's influences on Panic!'s music).

Back when Panic! did their version of Bohemian, Brian gave Brendon rave reviews on his vocals and the band's rendition of the iconic song. Brendon has stated multiple times that Queen has been a massive influence on him musically ever since he was a tiny Beebo. So to me it's only natural to want to showcase those influences in his own work.

While some of the songs do heavily remind us of Queen's music, not once did I think "this is just a blatant copy of Queen". Brendon always puts his own spin on things and this track is just another example of that.

This song in my opinion is more of a banger than the song with the actual word "banger" in the title. This is another one - while I do think he's going into the high notes possibly a tad too much - that I cannot wait to witness live and in person.

Say It Louder

This to me is an anthem. I can't explain it, it's just a genuine bop to me. This song resonates with me because it's basically saying "f*** everyone who tells you you can't be yourself". It's also sending a message to the haters to just knock it off with the negativity and honestly, they couldn't say it loud enough "to the people in the back".

Sugar Soaker

Ultimate. Bop. I know it's basically just a song about sex, but what song isn't in some way, shape or form about sex these days? I' m not a huge fan of the seemingly glamorizing of alcohol and drug use and the objectification of the woman being sung about in this track, but again: it's not all that deep.

There are songs out there - a few rap songs come to mind, but also a bunch of country songs I can think of - that literally speak about women as objects to serve only one purpose which is not what I think Brendon was doing here,

It perfectly fits the overall narrative of the album that decribes the inevitable fall from grace many rockstars sadly go through and the music video perfectly portrays that.

The bit at the end of the video where the dude - I forget his name; is it Butch Walker? - goes "You're barely alive, man!" and Brendon goes "You're barely alive, f*** you" is just a perfect example of B's humor and I absolutely loved it!

Something About Maggie

This is the song that makes the least sense to me if I'm being honest. I can see most of the other songs fitting into the narrative, but this one it's hard to get a grasp on... It's an okay song in my opinion, not his best by any means, but it's a good message behind it.

I'm assuming the abusive person in the song isn't the character he's playing in the storyline of the album, but at the same time maybe it is? I'm afraid to say it because I know Brendon wouldn't do that to his romantic partner (the man is too madly in love with his wife, our goddess and queen Sarah Urie jk, jk, I'm not that obsessed with this man LOL), or any person for that matter.

I'm fully aware of the allegations that have been thrown his way and the comments and statements he's made in the past and while I am in no way making excuses for him, I do fully believe that he is not the same person he was during the time of most of those alleged allegations.

Anyway, the song is good but I wish we would have gotten music videos for the full album so we could actually put together and follow the whole narrative behind it.

Sad Clown

This. This song. The first time I heard I watched the accompanying music video and while at first I was like "da f***?", the song kicked off and it has quickly found its way into my top 3 of the album.

I love the esthetics of the video ( I love when B does any type of choreographed routine like in Ready To Go back in the day) and how they mix the old-timey royal setting with something contemporary like the random dance battle between the men and women. I thoroughly enjoyed it.

Vocally, again, he hits notes I never thought were possible for a man to hit, but this time it doesn't feel forced. The high falsetto in this song is what he constantly does during live shows and it always seems to come out of him more naturally than his full chest voice does.

The "Vincero" that starts off the song is what my teachers used to call the "eyecatcher" in an essay or a presentation, or at least that's how I think of it. In fact, it caught my eye so much that I have it tattooed on my hand LOL. It's the motto I try to live by: "I shall win". No matter how hard life gets or what life throws at me, I'll always fight to come out on top.

All By Yourself

This song feels like an ode to the fans in some way. I think most of the fans, especially the ones that interacted with B on Twitch regularly, have felt or are feeling very alone what with COVID, people not understanding how one person, one celebrity, can make them feel so good and so seen, so understood and all of that.

"You can change the world, all by yourself", to me is B saying: "you are strong, you can change things all on your own, you don't need me or anyone else; all you need is YOU."

Fun fact: the way he pronounces the word "yourself" during most of the choruses sounds a LOT like the Flemish/Dutch pronunciation of the same word, which is "jezelf". That just caught my ear from the first time I heard this song. And just because I can't un-hear it anymore, I just figured I'd let you all suffer with me haha.

Do It To Death

Another favorite, albeit one that makes me sad. I feel like this is Brendon reflecting on the past 5-10 years of his life where it's been pretty much non-stop recording, touring, recording, touring and more recording and touring.

I've always been kind of afraid that he was spreading himself too thin (remember when everyone thought Brendon was dead at the end of last tour?) the past few years and this song kind of solidified for me that that fear was at least partly justified.

It does sound like the most Brendon thing to do to me: put all of himself into his craft and his performances until he literally has nothing left to give.

Do It To Death is an amazing song and I cannot wait - I know, here I go again - to see him sing this live. The visuals for the video are immaculate - as were the visuals for all the songs that got the video treatment on this album.

Overall conclusion

Overall the album - in my humble opinion - is amazing. Just like its 6 predecessors it shows Brendon's evolution, not only as a vocalist and a performer, but also as a composer and a songwriter. To me, he just keeps getting better as time goes on.

The man ages like a fine wine: gets better with age. I cannot wait to see what he does next, whether it be another Panic! album or something completely different (like, apparently being a father?!).

I do not care what all the haters say, I will always love and support this man and his music. I know it sounds like the biggest cliché in the world, but I do believe that if it weren't for my coworker/friend urging me to take that moment to myself 4 years ago, I would not be where I am right now. That is not an exaggeration, nor is it a cry for attention. It is simply the truth.

Panic!'s music has been a constant in my life for over 16 years and I do believe that it has helped me become the person I am today. I'm a long way from being "great" but I've realized that even just being "okay" is a step in the right direction.

NOTE: this post has been uniquely MY views and opinions. I do not mean to upset anyone by disagreeing with their thoughts on the album nor do I mean any disrespect to those who have decided to leave the fandom following all the drama from the past few years. I only ask that you extend me the same courtesy and even if you don't agree with my views and opinions, I ask you to please respect them the same as I do yours. Thank you for reading my first (long-winded) Tumblr post.

[oviraptoridae]

have you talked about the ai music sampling workflow anywhere? that sounds really cool :O

i haven't, as it's a much harder process to document-- it produces a lot of unlistenable noise, and since i run all this stuff locally on my own gpu instead of giving google my money, a batch of 8 60-second samples takes about 6 hours. i can give it a try though!

the basic process: while i was working on albedo, i'd take a 10-second snippet of a song i was working on, "prime" jukebox with that sample and tell it a genre (i left "artist" and "lyrics" blank, but it still tried generating vocals sometimes, which i loved). then i'd go to bed. the next morning, if the program hadn't crashed or run out of vram, i'd listen through the audio clips it spat out. most of them were garbage, but a few of them had some really interesting moments...

first 10 seconds are what i primed the generator with. a lot of these sounds ended up in "abyssopelagic".

after that, i went through the same process i do with any sample i use-- chop out the parts i like and edit them to fit the song or use them as a base for more involved sound design.

jukebox, to me, is a tool that's great for making material that can be transformed into otherworldly/dreamlike soundscapes. the vocals are especially good, if you don't give it lyrics and ask it to generate vocals you get the language that things in dreams are written in. the radio chatter at the beginning of "lighthouse" was another jukebox sample...

the sort of thing that scans as speech but is completely incomprehensible when you listen closer. (side note, i think it's neat how my brain latches onto some of the phonemes to try and categorize this as a language i've heard people speak before, but it's just nothing)

most of the ai stuff in albedo is used atmospherically except for the little "guitar riff" here-- i liked it so much it became the hook for a segment of "phthalo". the stuff it generates is pretty noisy and only in mono, so it can't really take center stage without a lot of work. i just heavily bandpassed everything and added reverb and delay to give it some space and smooth out some of the ai jank (you can also go in and edit the waveform in your sample editor or audacity to get rid of the weird sounds of, like, large objects hitting the floor that it loves to jumpscare you with)

the inspiration to use this came from albums by oneohtrix point never and em essex, both very cool electronic musicians who you should check out if you like my music, since they do the things i do but better!

[dustedmagazine]

Purling Hiss — Drag on Girard (Drag City)

This is the first record in seven years that Mike Polizze has released from his band Purling Hiss. Drag on Girard is full of fearsome guitar solos, an enormous sound from the rhythm section and sing-shout vocals that betray its alternative roots. In the record’s songs, Polizze is in no hurry to make an impact, allowing the music to grow organically, often spreading out into long-form improvisations. The rest of Purling Hiss consists of Kiel Everett, guitar; Pat Hickey, bass; and Ben Leapheart, drums.

The title tune is an example. Clocking in at over seven minutes, Polizze sings laconically in a narrow range, betraying an abiding interest in 1990s alternative rock. It is the guitar solos and big beats of the rhythm section that justify the duration. Indeed, if the song kept going, which it might well in live settings, it wouldn’t be unwelcome. “Shining Gilded Boulevard” has one of the best riffs among many memorable riffs, Polizze beginning the song with an extended guitar solo that is melodically generous and wide ranging, demonstrating abundant chops. Hickey digs into his bass, playing roots and ambling up the neck to craft a countermelody to Polizze. Leapheart’s drumming is thunderous, with periodic fills that punctuate the guitar solo. The coda brings together group vocals in laconic harmony. 

“When the End is Over” has a sinuous chord progression that accompanies Polizze singing a more melodic vocal tune. Duet guitars soar on the instrumental break, which is followed by two more verses by Polizze, punctuated by insistent guitar melodies. “Out the Door” begins with strident distortion from Polizze’s guitar, to which is added a warm rhythm guitar, melodic riffs, and pressing drumming, with Leapheart hitting double time fills with unerring precision. 

Pithy songs are well constructed too. The riff for “Baby,” as well as its two-minute duration, provide a slice of post-punk with sneering vocals and fierce guitar solos in the outro. Similarly, the ardent drumming, economical rhythm guitar, and anthemic vocals on “Stay With Us” create a hang that seems to close up early. 

Worth the wait? Absolutely. But Polizze should consider another Purling Hiss recording sooner. 

Christian Carey

[thebandcampdiaries]

Colm O'Mahoney & The Hot Touches present: Self-titled

Colm O'Mahoney & The Hot Touches are back with a brand new self-titled studio album. This is a quintessential rock record that captures the classic vibe of the genre. While the sound is refreshingly old-school and immediate, it is not all about nostalgia. The tracks on this record are indeed very fresh and intuitive, showcasing great songwriting and performance chops.

The song selection of this album is spot on because the set list is very tight and consistent, but at the same time, it is also very diverse, showcasing the broad range of the band. The single “Damage” was released a while back in April 2024, and it serves as a really good introduction to what people can expect from the full-length album. The song immediately stands out with its huge classic stadium rock sound. It's all about those big guitar tones, huge melodies, and catchy vocal hooks that bring pop elements to the mix without compromising the energy of what makes this pure rock single. 

The rest of the album is just as compelling and dynamic. There's room for harder songs, and there is also room for more reflective moments, highlighting the incredible versatility of Colm and his band. The album pleasantly embodies that grandiose, larger-than-life spirit of true rock 'n' roll music inspired by some of the greats of the genre. If you're a fan of artists like Guns N' Roses, as well as Queen or Led Zeppelin, you will immediately understand and connect with this music. At the same time, there's also a more down-to-earth dimension to these songs. While it is true that these tracks are reminiscences of the golden era of rock 'n' roll, when this was the sound of big stadium shows, Colm also managed to capture that more comfortable dynamic that makes this music so timeless, almost like catching up with an old friend. This is the perfect soundtrack to a night out at a pub, chilling with some friends and reminiscing the good times with a killer soundtrack in the background and a very uplifting, energetic touch that makes the experience all the more personable and memorable. This is rock music at its most authentic and visceral. It's all about channeling memories and connections between people and, most of all, thirst for fun and the power of some sick riffs!

Find out more about Colm O'Mahoney & The Hot Touches, and do not miss out on the band's self-titled release, which is currently available on some of the best digital streaming services.

[stealiesjam]

J. Mascis' "What Do We Do Now" Album Out Now 2/2/24

Text and photo by Paula Beltran. The world of post-punk alternative has not been the same ever since Dinosaur Jr. came alive with their own un-categorizable sound. Yesterday, J. Mascis, Dino's frontman, guitarist and vocalist, debuted another solo album under his eponymous name, continuing Dinosaur Jr.'s whimsical and elite garage sounds. The first thing that came into my head when I heard this album was, "there goes J, with his somber vocals yet uplifting riffs." Here are some notes I took while I was listening to the album: Enjoy!

Melody sounds like a psychedelic tropical dream.

Lyrics sound like a PMA goth anarchistic anthem.

The acoustic guitar along with the electric guitar are indeed something classic about J. In this album both guitars take center stage and are both highlighted in a pedestal of iconic artistic gold.

Of course, J. doesn’t stop with smooth sailing guitar riffs and chords, his drum work is indeed where we are now in a post-punk mood of Dinosaur Jr. classic juxtaposition of dreamy yet hard core influential beats.

J’s lyrics have a touch of Buddhism humor. He is very laid back but still the title of the album is a call for urgency. An urgency that fades away with the composition of the songs and his official music videos of “Can’t Believe We’re Here,” “Old Friends” and “Set Me Down.” J lives in a fulfilled world of happiness and he takes us all with him.

In “I can’t find you” he also takes a philosophical approach of letting go of what no longer serves him. In a way, similar to X's lyrics: “learn to forget.” However this time in a more much futuristic way. J. admits he doesn’t know an unknown person and that he doesn’t like him/her so he’s going to disconnect them and send them to an unfindable part of his brain.

Is the song “Old Friends” J’s anarchistic response to Rancid’s “Old Friend”?

In a way J. sings about destination unknown but with a PMA flow that takes us towards another year of great wise music being released.

Of course one of my favorite things about J’s style is his choice of graphic design. This time for the album cover we have two otters eating, or must I say, chopping, two fish. There’s an underwater diver watching them and we see J’s signature in a Milky Way dripping font. The otter theme can be seen throughout the album’s design choices. I guess the main theme for this album is water and the flow of nature.

According to J's website: This is J’s first solo album that features full drum and electric leads, although the rhythm parts are still all acoustic. What Do We Do Now features guest musicians, including Western Mass local Ken Mauri of The B-52s on keys and Ontario-based polymath Matthew “Doc” Dunn on steel guitar.