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avoutput · 5 years

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Mercy || Battle Angel Alita

Many of my manga firsts happened in my middle school library. I think the strangest aspect of their selection, looking back, is how adult some of it was. I can’t recall if there was a rating system to them, but it seemed as though there might have been a list of approved novels, but not a list of approved comics, especially foreign comics. This is how I encountered Battle Angel Alita. The misinformed education system’s ignorance was my bliss. Either that, or some crafty librarian wasn’t afraid to get fired. And in their defense, it wasn’t like the translated manga had a wide breadth of work to offer. Possibly inspired by the success of Akira in the late 80’s, the spectrum of shipped anime was limited to teen serials like Ranma, re-imagined after school shows like Robotech, hard shonen like Dragon Ball Z, and finally violent sci-fi like Sin or Kite. The 90’s American anime scene was dominated by the hyper violent, cyber punk, dystopian scene. Sometimes this would include giant robots or maybe super huge or powerful guns. But the one thing they all had in common was a connection to the fragility of life and the strength of will to sustain that life. Better than most anime of its era, Alita taps into the indomitable human spirit by taking the broken shell of a conscious being cobbled back together by goodwill and an undying belief in the power of life.

How does Battle Angel Alita stand up after being in Hollywood limbo for over 20 years? The first thing I noticed was the bones of a film that could have been made all those years ago. Despite being a computer generated tour de force, you can almost taste the practical effects they would have used all those years ago. In fact, when it comes to the character models, most of whom are computer generated to one degree or another, they so completely clear the uncanny valley, you’d think Evil Kenevil himself made the jump. Even more impressive is that many set pieces are real, tangible objects with a clarity that surpass CG juggernaut films coming from the Marvel camp. Robert Rodriguez has accumulated a talent for directing green screen reliant films from his time with the Spy Kids franchise and fine tuned the perfect mixture of real and fantasy with films like Predators and Planet Terror, both on completely different ends of the spectrum. I can’t think of the last time I was this impressed, but I had mixed to low expectations going in, just to give you a balance.

While the backdrop helped drive the film, the acting really took it home. Rosa Salazar as Alita really drew me in. She was able to balance amnesia, innocence, anger, suspicion, strength, weakness and hope all while standing in the front of this incredible graphic space that wanted to pull your eyes in a million directions. It should go without saying that Christoph Waltz pulled his weight. An empathic delight in any role, even when he takes his turn as a villain in other films. His natural gravity lends strength to his other cast members. Jennifer Connelly’s character Chiren is a little more subdued than her story should allow for, but she still stands out with her signature calmness. The story doesn’t do Mahershala Ali any favors, but he still breaks through and pierces the screen with an icy, villainous stare, though he doesn’t get as much screen time as I would have liked. Keean Johnson does a fine job, but he comes off as pretty boy generic, which is really just a problem with his place in the story more than anything. Lastly, Ed Skrein as Zappa almost feels effortlessly entertaining. He really just chews up his role and plays a line between dangerous and clownish perfectly. I will be coming back to this movie for many reasons, but he is going to make it fun all on his own.

Where the movie becomes a bit muddled is in its tone. But, all good cocktails have “muddle” right in the recipe. And that is exactly what Battle Angel Alita is, a mix of Rodriguez movie making mentality. Its cheeky, gorey, funny, dark, and and totally for and not for kids. This was one of the hardest PG-13 ratings I had seen in years. Decades. I had to double check the rating when I left the theater. Back in the 80’s, the heyday of the blockbuster action-adventure film, they didn’t always have the 13 an older marker. Not necessarily because of that, but nonetheless, films that weren’t intended for children were adopted largely by them. Good examples include Ghostbusters, Indiana Jones, and even Aliens (seriously click that link, it’s a 1992 Aliens toy commercial). Battle Angel fills a very similar place, although with a specific misalignment. In Jones and Busters, there is no sense of catering to younger viewers, but possibly in capturing the spirit of Japanese culture and ignoring the western barrier between adult and child, the film adopts a childlike nature in some scenes, and a literal deadly focus in others. This jarring presentation is a unlike anything I have seen in the recent past. It was like they took Terminator 2 and mixed in the Wachowskis’ Speed Racer with a hint of Spy Kids and a dash of From Dusk Till Dawn. Alita is an unbalanced cocktail of childlike wonder and violence that goes down hard, but delicious regardless.

In a time of transition, where people are unsure of their next paycheck or where they will be in 5 years, Alita’s story offers us a beacon of light. It shows us we can be broken, changed, unable to produce in the way we used to. We can evolve, find our passage, and make change in the spirit of good. Robert Rodriguez also creates a new space for Anime fans. That Anime can be translated to the big screen, altered, and still entertaining and insightful across the border of both time and country. If you have read any of my work, you know I have a special place in my heart for the translation of video games and anime, so this really hit home for me. Like El Mariachi, From Dusk Till Dawn, and The Faculty, I will be re-watching this movie for years because of the ingenuity of everyone involved in all of these films.

~* 9/10 *~

#Film #Review #Battle Angel Alita #Alita Battle Angel #Alita #Rosa Salazar #Rober Rodriguez #Christoph Waltz #Jennifer Connelly #Mahershala Ali #Keean Johnson #Ed Skrein #Jackie Earl Haley

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secretradiobrooklyn · 4 years

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SECRET RADIO | 9.19.20

Secret Radio | 9.19.20 | Hear it here.

1. Mêlomê Clément & Orchestre Poly Rythmo do L’Antique Cotonou Dahomey - “Houe Towe Houn”

I have seen no fewer than 4 spellings of the man’s name, but my favorite version is Meloclem, which is apparently his nickname. Clement is credited with arranging many (most?) of T.P. Orchestre’s songs. This one is credited to him as Chef d’Orchestre, Guitariste-Accompagnateur-Chanteur-Compositeur. I just find it completely engrossing as it shifts between drone and jammer. The guitar solo is so searing and lost in its own world… and when the vocals come in, more than halfway through the song, they weave around the drone like a spell.

2. Annie Philippe - “C’est La Mode”

French pop is so stylistically severe — it is a big production in which the singer is just one small but central part of a much bigger undertaking. The video, shot in 1966, is oddly composed mostly of scenes of her shooting the video, and not the results of those shots. It’s amazingly self-aware, and it does a beautifully effective job of creating a larger-yet-more-intimate-than-life portrait of Annie Philippe.

https://www.youtube.com/watch?v=9Hau_yvzriY

3. The Funkees - “Akula Owu Onyear”

This is the sound of Nigeria in the ’60s, and African expat London in the ’70s. The language they’re singing is Igbo. Apparently The Funkees began playing together in the Nigerian Army in the midst of the Nigerian Civil War, and then kept going after the war ended. Nigeria borders Benin, and I find it fascinating that they both seem to have very developed but very different rock sounds going on at that time. The keys voice makes me think of Marijata’s amazing “No Condition Is Permanent,” which came along a decade later and two countries over.

4. Yehouessi Leopold & T.P. Orchestre - “Davi Djinto Super No2”

Yehouessi Leopold is the drummer for T.P. Orchestre, which I assume means he plays the trap set. When you listen to the song from that perspective, where the drummer is the writer and his priorities are ascendent, it makes the song even richer. I really hope that his vocals parts — sung, spoken, laughed — happen from behind his kit.

You can hear them call out “Papi” right before the guitarist, Papillon, lights into one of his rhythmic lead passages. He builds these cascading patterns that repeat but progress at the same time. He’s certainly one of the most beautiful guitarists I’ve ever heard in my life (especially in combination with their rhythm guitarist, who I believe is Maximus Ajanohun), and this song is a great example of his playful, endlessly rhythmic style. Headphones highly recommended because the guitar spends a fair bit of time hanging out on the right side.

These long T.P. songs are such a pleasure to sink into — they give each section a prolonged consideration, and yet they’re constantly moving through new ideas, phrases, and relationships. At one point a series of peacock cries pass through the song. They arrive at the song hooks almost like they’re equally revealing and discovering them. When the horn hook arrives halfway through the song, it feels like the party just took a shift, moving from a great evening with friends to a legendary night at the peak of summer.

This song is as much for Kevin Bowers as anyone.

5. Jacques Dutronc - “On nous cache tout, on nous dit rien”

“They hide everything from us, they tell us nothing” - Such great tones all over Jacques Dutronc records, from the rhythm guitar distortion to the amazing live drum sound. The song is somewhere between a complaint, an accusation, and a bitter joke.

6. Ranil y su Conjunto Tropical - “Vuelo a Saturno”

Meanwhile, Perú has had its own party going on. Ranil stayed mostly out of the cities and mostly along the Amazon river, playing electric music and producing and selling his own records. You can hear the Cuban rhythmic influence but run through a very specific and weird personality.

7. The Velvet Underground - “Foggy Notion”

I always find it amazing that, just as the Beatles were busy building the structure of Western pop music and exploring its creative possibilities, the Velvets were exploring its destructive possibilities. They throw together airtight pop structures around Moe’s relentless drums and then start slashing em apart with their guitars and Lou’s totally-serious-and-also-totally-just-fucking-around vocal approach.

8. National Wake, “International News”

1979, the first interracial punk band in apartheid South Africa, singing about exactly that. In the movie made about the band, the audience looks like a place where black and white people can dance together, which was likely also a first. So the band becomes a political and social movement just by existing and drawing an audience.

I mean, just look at them: https://www.youtube.com/watch?v=ze5yn6KneJg

9. Gnonnas Pedro, “Dadje Von O Von Non”

This song was how we discovered “Legends of Benin,” the album that made us realize that a whole world — an unknown number of worlds — exist beyond what we’re already familiar with. This track has the undeniable backbeat of Western rock and funk, but placed in a completely different relationship to the vocals than I’d ever heard before. And the guitar sound is so hypnotic, repeating endlessly in the left ear. It’s the songwriting structure that I keep coming back to as a listener: linear and cyclical at the same time, where each section feels endless but is always turning into the next version in the evolution. It sounds so hip to a frequency I was not even aware of until this track.

10. Kevin Bowers’ Nova, “Breaking for Conversation”

I have danced at every Nova show except one, I believe, and that was only because I was still parking during the end of the first set so I could catch the second one after work. This album is a drummer’s fantasy, sometimes thunderous and sometimes delicate. Paige sings in Nova along with our friend Mike Aguirre — shout out to Big Mike and his half-year-and-counting quarantine adventure in Anguilla! — and the whole band is composed entirely of musicians about whom I feel awe. St. Louis Internationalé!

Shadow Music of Thailand

11. Stereo Total - “I Love You Ono”

A companion piece with “Ringo I Love You” from last broadcast. Pure confidence and fun in an absolute perfect tone for the content.

Highly worthwhile video: https://www.youtube.com/watch?v=bqok3-Q_1lk

12. Philippe Katerine - “La banane”

I have no idea what the joke is here, but I like it. The lyrics of the chorus are “just let me eat my banana on the seashore, naked.” There is a version in English by Katerine, if you want to know what he’s talking about, though you can ready every word and still not know what he’s talking about. A live performance does not clarify anything: https://www.youtube.com/watch?v=PLoteLHr05s

13. T.P. Orchestre Poly-Rythmo de Cotonou - “Minkou E So Non Moin”

This is included on Analog Africa’s “Echos Hypnotiques” T.P. collection, and it’s the only track I’ve heard from them with a wah pedal. Makes me wonder what the circumstances of that pedal were — was it just passing through? It couldn’t have been available to them long term, they would surely have used it more. I love the whole path that the guitar takes in the center of the song, and how that gives way to a one-note percussion solo.

14. Mai Na Lork Gun - “Kampee Sangthong”

We found this buried in a record called “Thai Pop Spectacular.” I love how it sounds instantly familiar, and then as the lyrics come in it’s clear you’ve never heard this song before. As far as I can tell this is an original song, not a Thai lyric written over a French or American pop song. The singer sounds so sincere!

15. Ariel Pink - “Alisa”

Paige has been preaching Ariel Pink for years, but I’ve never felt the connection. To me, there’s a layer of… what is it? Irony? Self-conscious weirdness? Something that usually puts me off. For whatever reason, this track has many of the same attributes but draws me in rather than keeping me at arm’s length. My favorite element in music right now is how much information a song can transmit even when you don’t know the language, and this song does that in a different way, using words I know and audio reference points I know, but stacked up in a way that remains unknowable.

16. Assa Cica - “Se Na Blo”

17. Duyên Phận Con Gái - “Mai Lệ Huyền (A Girl’s Destiny)”

There’s such a complete understanding of not just rock but funk in these songs, and I have to wonder who was showing these musicians the ropes. Were they learning from records? From G.I.s stranded in Vietnam? The drums are so tasteful — everybody is. But how long could they have been listening to rock at that point, or have had access to listening to it? There had been Western troops in the region for years, and the primary influence was probably French pop. It still seems amazing that a Vietnamese band could have such confidence and command in a foreign idiom like this.

18. France Gall - “Jazz â Gogo”

I’m pretty sure Jeff Hess’ Afternoon Delight on KDHX put us onto this song years ago.

19. The Fall - “Petty Thief Lout”

As a fan of the Fall for over two decades now, I often find myself — or Paige and I find ourselves, because she’s the same way — on Fall-only kicks for days at a time. And even as it’s happening, I find myself asking: WHY do I love this music so much? What is it about Mark E. Smith’s squealing, spitting, hyper-British scorn that I find so endlessly appealing? Why must my pop have some fundamental discord built into its bones? I think much of it is the mystery — why on Earth does he make those decisions? As far as I know he writes the lyrics and none of the instruments, and has hired and fired more bandmates than most people play with in a lifetime… and yet the songs are instantly familiar as Fall songs through the decades. How can that be so? I think the fact that the songs continue to elicit more questions than answers is the heart of the enduring fascination.

20. Tribute to Elsie - “Elle Est Tres Gris”

Pollen was high that day. This was a voice memo recording from two years ago. Paige was singing “Les Feuilles Mortes” but with improvised lyrics about our dear, sweet, 20 year-old Elsie cat. Paige wants me to note that her French grammar has improved in the two years since this recording, and she would for instance obviously not use the word “vieux” and would use the word “veille.” Et al. Farewell Elsie, we love you very much.

Paige says: The French is terrrrrible. I kept saying “que” when I meant “quand”. This is a private voice memo from two years ago, sung to the old grey lady herself. I will never win a rap battle, and it’s hard to remember now, but alcohol may have been involved. Elsie passed at twenty years old this month. She was her own character and never let her guard down. That’s how she made it to 20! We appreciate her all the way.

21. Bob Marley - “Judge Not”

This is a short-haired, R&B-obsessed Bob Marley from his very first demos. The band is all in matching suits, playing very much in an American style. You can definitely hear even in this pretty straight ahead song the way that the band was reinterpreting the essential rhythm of skiffle and early rock into a new strum pattern. Marley’s voice is both very recognizable and not yet iconic — not unlike the early Fela Kuti & His Koola Lobitos recordings that we’ve been digging on lately.

22. Teddy Afro - “Bob Marley” live

There’s a cabbie in NYC we depend on for getting to the airport. His name’s Bobby, and as far as we can tell he’s a one-man cab company. He loves to fire up Teddy Afro videos for us to watch on our trip. Bobby is from Sudan, he says, and Teddy Afro is Ethiopian (you’ve very likely heard his huge hit, “Atse Tewodros,” at Meskerem if you’re ever there). He says he has no idea what the lyrics are, but he loves how the songs sound. Hearing a guy from Sudan enjoying this music across a language barrier was a very helpful reminder to us to listen for good music no matter what language it arrives in. I look forward to riding in Bobby’s cab again as soon as the virus is out of the way.

23. Michel Polnareff, “Love Me Please Love Me”

24. Nam Hong, “She’s a Lady”

“My mother told me to be a lady. And for her that meant: be your own person, be independent.” - Ruth Bader Ginsburg

25. Tax Bacon, “The Star-Spangled Banner”

Tax Bacon is a leftist political punk band who formed out of frustration at the 2016 Democratic primaries. Some people never got over 2016, and some people never got over June 2016.

I think this song is for Ruth Bader Ginsburg. I don’t feel patriotic right now — I feel connected to the people whose values I recognize, and Ginsburg was a founding father in that definition of American spirit. We are very sorry to see her go, and this song is meant to send her off. We’re going to have to do this next part without her.

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patheticphallacy · 5 years

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This is part of my Music Monday series on my blog, where I talk all things music, from recommending songs to discussing my favourite music videos to compiling playlists based on prompts.

Summer is over!

I don’t want to say finally, because being off University has been pretty great, but I’m also so relieved the weather is going to get cooler. The weather fluctuated between INCREDIBLY HOT and ACTUALLY IT’S QUITE CHILLY in July and August and I just want it to be over please oh please.

So for Music Monday I figured I should do a little wrap up of the music I’ve enjoyed! I’ve made about 5 new music playlists for absolutely no reason at all other than I have no self control, and I keep having to edit down my 2019 playlist due to impulsively adding songs and then realising two weeks later that I honestly didn’t really love the song that much.

FAVOURITE SOLO ARTIST

My favourite solo artist this Summer was probably Sigrid. Generally with solo artists I get into one or two of their songs, and while those songs list in my favourite songs, the artist generally isn’t a new top favourite.

I’ve been a fan of Sigrid since 2017, and I finally felt like I was in the right space to listen to her new album Sucker Punch, which ended up solidifying her as one of my new favourite solo artists. She has a really intriguing voice and I love that you could dance to over half of this album because of how upbeat it is. There’s something to be said for lyrics that aren’t complicated, are easy to understand, because sometimes that makes them all the more relatable for a listener.

I also love how so much of her music is inspired by more than just romantic issues. There are crushes and friendship songs, songs about breaking free from toxic friendships– something that helped me as I reconcile with some of the more toxic elements of relationships I’ve had in the past– and there’s also a song inspired by not only Studio Ghibli, but also her attempt to control her image in the media, which is something I always love in music. Artists can be publicised so much we forget they are real human beings, and hearing their music about their public image is always humbling.

FAVOURITE BAND

(Take This To Your Grave isn’t here because it wouldn’t fit, don’t fight me)

2008 Connie and 2019 Connie have one thing in common, and that’s their intense adoration of rock bands that formed in the 2000s. I’ve always been a fan of Fall Out Boy since I was little, but it’s only the past year I’ve actually started listening to all of their discography properly and begun appreciating what they’ve come out with.

This might be divisive, but I honestly think Fall Out Boy, of the ol’ rock/punk rock scene, have had the most consistently good albums since their debut. I think other bands have had decent albums and, in some cases, bad ones that only have one or two good songs in my opinion (Paramore’s self-titled album, I’msosorry), but not ones that have absolute hits.

Fall Out Boy are always great for me, every song on their albums that I’ve heard so far, and that’s why they are my favourite band of the Summer. They’ve changed with the times and the kind of music that’s popular in the moment without ever losing what made their earlier music so great. It’s just all very idiosyncratic, from the music videos to the content to the actual song titles, and I love them.

ALBUMS I LIKED

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Doom Days // Bastille

While doing some research on this album, I discovered that the concept for Doom Days is that it follows different points in the night at a party, a party that has a lot of “turbulent emotional chaos”. This explains why I love it so much.

In general, Bastille are a band that put a lot of thought into their music, and I think some really visceral imagery can be created from the concepts they shape the album around.

The titular song is actually my favourite of the album. It describes escapism from modern anxiety, and how, no matter how fucked the world is, you need to shut off sometimes. I struggle a lot with this– I constantly describe my own anxiety, something that I struggle with a lot, as having an IV line of straight modern horror flowing into me that I can’t disconnect from– and I think, as a song, it confronts modern fear– from climate change denial to porn addiction– without ever demonising those who make the decision to shut their brains off from it sometimes.

I think the Peter Pan reference especially reaffirms this. Yes, Peter Pan himself is a symbol of innocence, but at its core, Peter Pan’s narrative is about a girl who finds escape from the ‘real world’ long enough to figure out the issues of adulthood and growing up without losing herself along the way. In a way, that’s what this song, and the rest of the album, enforce. Escapism is good sometimes.

Third Eye Blind // Third Eye Blind

God of Wine has been one of my favourite songs for god knows how long, and after listening to a really bizarre mash-up of Welcome to the Black Parade with Semi-Charmed Life, I finally figured I should give the rest of the band’s music a try.

I’ve started with their self-titled first album, just because it’s easiest as I make my way through their discography, but I kind of stopped on this one. I just really love it. It mixes different sounds, sometimes crossing several in one song (Narcolepsy has an ending that jolts you out of your seat), with grim lyrics reflecting on suicide and mental health conditions, crystal meth, and sexual abuse.

Fun story: Semi-Charmed Life was very familiar to me before I’d even listened to the album, and when I researched into it, I realised that was because it was used in trailers for The Tigger Movie and, as a massive Winnie the Pooh fan and YouTube user, I had most definitely seen the trailer when I was younger and not put the pieces together. These trailers were obviously recalled because the song is about crystal meth, but I just think that’s a fun look into how little people actually pay attention to lyrics!

Sucker Punch // Sigrid

I’ve obviously discussed Sigrid in length earlier in this post, so I won’t say as much here. My favourite songs on the album are Basic, Don’t Kill My Vibe, and Business Dinners.

FAVOURITE SONGS

Arms Unfolding // Dodie

Oh, our fire died last Winter

Heavy Metal Heart // Sky Ferreira

I describe the chorus and instrumentals of this as the musical equivalent of a headache, and I stand by that. Sky Ferreira’s voice is great, and I love the chaotic noisiness of this song.

Django Jane // Janelle Monáe

I actually only just listened to Dirty Computer. I tend to prolong listening to things until well after the hype surrounding them dies down, and I’m glad I did, as I’m not sure if I would have enjoyed the album otherwise.

I’m With You // Avril Lavigne

Can you tell I grew up goth? I remember memorising the lyrics to this when I was in year 3.

The Archer // Taylor Swift

Definitely the best song to come out of Taylor Swift’s latest album so far! I love the juxtaposition in the lyrics. I also wrote a whole post assigning her songs to Shakespeare Plays, if you’re interested in that sort of thing!

goodnight n go // Ariana Grande

I… don’t have much to say about this? It’s one of three songs I actually like off Sweetener.

A Brand New Day // BTS&Zara Larsson

Everytime the first notes of this song play I get immediately hyped. I love the instruments used in this song, and I think the voices and sounds of the different collaborators in this (V and J-Hope, and Zara) all compliment each other really well.

Nightmare // Halsey

I Smile // DAY6

DAY6 were sold to me as a Korean rock group and I immediately jumped on that. I really love their album Sunrise.

Doom Days // Bastille

Someone You Loved // Lewis Capaldi

This has some iffy messages, especially concerning the idea of your partner– or a sole person– as a sort of therapist instead of pursuing other avenues (i.e. actual, paid-for therapy) to help you begin to tackle emotional issues. I do love Lewis Capaldi’s voice, though, and I think there are more ways to look at the song than just that. Remember kids: it’s okay to ask for help from loved ones and there should be a quid pro quo of support, but if your emotional issues are that bad, please seek professional help!

Kataomoi // Aimer

Baby Don’t Stop // NCT U

After how much time I’ve spent crafting paragraphs about music I love and trying to remain somewhat intelligent, I’m breaking that here: this song is just sexy. That’s the whole reason I love it. I’m sorry.

Ça Ira // Joyce Jonathan

This is a really fun song, it kind of reminds me of Sara Bareilles, only French. The fact that the music video is staged as her going on blind dates with people of all genders is also really adorable and not something I see a lot of in music videos!

FAVOURITE MUSIC VIDEOS

Spring Day // BTS

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I spend most of my time attempting to deconstruct every music video BTS have ever come out with, but Spring Day is almost the be-all-end-all for me. There’s so many layers to this music video, from the philosophical references– The Ones Who Walk Away From Omelas by Ursula K Le Guin is a direct inspiration for the music video– to its context within the general BTS ‘Universe’ they’ve created with their music videos. I know this isn’t considered a direct part of the BTSU, but it is to me, and I love it. I really love the music video for Lights as well!

Nightmare // Halsey

youtube

This is a fact not many people know about, but I desperately wanted to both be in a rock/heavy metal band when I was younger, and also date someone in a heavy metal band. So all of those black and white sequences of Halsey as the frontwoman for a rock band are honestly my favourite thing ever. I love the messages of this song; I know people are divisive over their opinion on Halsey, but I’ve always loved her honesty, so I really love this song.

Kataomoi // Aimer

youtube

It’s a very quiet music video and I love that! People can do a lot with smaller budgets and minimal people partaking, I think this music video is beautiful. My best friend actually recommended this song to me with the assurance that Namjoon from BTS talked about it before.

Winter Bear // V

youtube

Speaking of quiet music videos: THIS. It’s soft and mostly uses shots and clips V got himself walking around and touring, including a few Jimin got for him. I’m very much on both ends of the spectrum concerning music videos: I love so many large-budgets videos, but I also love ones that are minimalist and filmed on smaller budgets (if you don’t count the cost of what Taehyung is wearing, obviously).

What have you listened to this Summer? I’d love some music video recommendations especially, I think it’s amazing how carefully people can form stories and messages without ever using speech, especially when the imagery isn’t overt and you can do research into shots used to understand what it could mean.

Thank you for reading!

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Music I Enjoyed This Summer This is part of my Music Monday series on my blog, where I talk all things music, from recommending songs to discussing my favourite music videos to compiling playlists based on prompts.

#bastille #fall out boy #music #music monday #playlists #sigrid #summer music #third eye blind

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