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ystk-archive · 3 years

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First of all, big apologies to the six people above who asked me about this song over a month ago when it came out. I understand what Nakata meant when he said he only knows a song is finished when he hits his deadline – I could’ve easily let this sit another week and came back and messed with it more lmao.

If you want the short and simple of it: it’s nice, with all that piano it’s sort of reminiscent of jelly (aside from the WOF thing which I’ll, uh, get into below), it’s great to see Toshiko in one of their MVs again (and Nakata directing which hasn’t happened since ’07) though I’m not wild about the video per se. I guess in a broad sense I would say I like it, it’s a return to form for him and infinitely more enjoyable than anything he’s done with his “officially solo” material, but I could also fully understand if someone thought it was boring.

For my actual thoughts on it...

Hikari no Disco (ひかりのディスコ; Light Disco) as a whole package is sort of unusually mired in nostalgia. It’s got all that densely layered, classic style Nakata’s best known for which has been largely absent from his other projects over the past six years of CAPSULE (god I still don’t like the all-uppercase stylization) being in live-shows-only mode. As a piece of music it has an endearing sense of comfort and awe; it amuses the listener with odd little vocal modulations (my favorite is at 2:02), pointed percussive moments, and a strong piano backbone that work in tandem to give it character and charm. It even eschews the club-ready rinse-and-repeat of Nakata’s past compositions for capsule in favor of something very traditionally pop: an actual, proper break right before the song’s climax. Maybe it’s not a stretch to say all the tiny flourishes and embellishments in Hikari are a pure reflection of Nakata finally finding some kind of reason to go back to capsule – the overly bombastic (and loud) way the track opens feels like a curtain unveiling, like somebody pointing to capsule and going “hey, look at this!”

Though there is a bit of an elephant in the room here and that would be the recurrence of the motif from WORLD OF FANTASY (the repeating pattern of twelve-ish notes) which defined that track ten years ago. For the person who mentioned him recycling material, he did say in his Real Sound interview that he deliberately sampled it, but despite my agreeing with him in that it’s a good motif I have a few issues with its reappearance in Hikari. It’s such a specific and memorable facet of a previous track in their discography that its inclusion here feels like a sister song has been created rather than an entirely new work. Not only that, but Nakata went one step further with this callback and basically reimagined the entire music video for WOF as well. He’s definitely not a stranger to self-reference within his music but it normally seems to occur under incidental circumstances, and since historically capsule isn’t a music unit that does a lot of looking back, it comes across strangely for longtime listeners. Nostalgia and sampling oneself aren’t inherently bad, the problem here is that it doesn’t do enough to transform its inspiration point into a solidly new work. I spend both the song and music video just thinking about WORLD OF FANTASY and comparing the two in my mind.

Which, speaking of new works, you probably don’t need me to tell you this brings absolutely nothing new to the table for Nakata’s standard. I’m mixed on whether or not I could call this a detraction, because on one hand I’ve believed for years that he could stand to break out of his comfort zone musically and really try wholly different things (CAPS LOCK is an example), but on the other hand I recognize that capsule’s first new track in six years may not be the place to expect that. I think my concerns right now are for an album that’ll be too self-referential and maybe too focused on being something people remember liking from over a decade ago. (I mean, even their new artist photo is a goofy MORE! MORE! MORE! reference. Love the gloves, though.)

Lyrically Hikari is even more nostalgic, verging on the same type of sweetness present in past capsule songs like FRUITS CLiPPER’s dreamin dreamin and FLASH BACK’s Eternity. I often find myself fixating on the line “この身体にまだ / 慣れてないけど” (“Though I’m still not used to this body”); it strikes me as a strange thing to say in a song that’s otherwise teeming with sentimentality and familiar words (disco, stars, sparkling, landing, lights). Is the speaker meant to be an alien that got turned into a human? Are they now a 41-year-old grappling with age? Am I reading into things here? To answer the person who asked what the song “means,” it’s really up to your interpretation and how you relate to it. For me it’s a song about the lights of the city at dusk, the lights of the club and, just maybe, the lights inside all of our hearts. (That was awful. I’m kidding.)

The music video is an anomaly in that it is apparently Nakata’s return to the director’s seat after a fourteen-year absence from helming this aspect of capsule. While video direction isn’t exactly his forté, nor has it ever seemed like a passion of his, I’ve always enjoyed the outside-the-box approach that yielded visual works like Retro Memory’s stylish, static angle lounge singer concept and Glider’s quirky portrayal of the afterlife, or something. Despite what I said earlier, Hikari is equally helped by the immediate parallel the viewer will draw between it and the music video for WORLD OF FANTASY – it’s almost as if (note: he did not say this! I’m speculating!) Nakata revisited WOF and felt dissatisfied by director Tani Atsushi’s “night drive through Tokyo but make it Blade Runner on a budget.” As someone who never particularly cared for that MV, I have to praise what Hikari does differently with the same basic premise. Here, Toshiko is shown through a neutral lens that chooses not to highlight her body as she gets into a Honda Prelude, an older car almost utterly devoid of the cool points earned by WOF’s Lamborghini. The core of Hikari’s intrigue is in anachronism: the car is from the 1980s, but the road Toshiko is driving on didn’t exist at that time, so when does the music video take place? They carefully include a shot of Tokyo Tower, a symbol of pre-2010s Tokyo, and exclude the much newer Skytree. There’s also the appearance of the cassette tape from which the single’s cover art and central nostalgic ethos are derived. Where WOF followed expectations of an ultra-sleek futuristic cityscape, Hikari is subversive in only the way something with Nakata’s direct involvement could be. It does it all with an unsteadily amateurish camera, a fixation on the unfocused glittering lights of the city, and an intense 3D-effect filter that brings to mind Sugarless GiRL, his last directorial work.

Though as charmingly set up as Hikari is, the video – and Toshiko – ultimately go nowhere. Not that capsule’s music videos were ever particularly story-driven (the animated sci-fi trilogy notwithstanding), nor do they need to be, but there’s a one-note sameness that permeates Hikari and leaves me wanting more. This is especially glaring in the way the video ends with in-car audio and prolonged silence, suggesting something is about to happen, but nothing does. As the music itself ended I found myself desperately hoping for a visual conclusion to go with it: maybe she’d answer a phone call, or arrive at her destination and get out, but the MV just sort of...stops. Legend has it she’s still driving to this day.

Overall the music video does its job better than any other capsule MV between 2010 and now, and the musical nostalgia here is a fun diversion even if it isn’t exactly introducing new ideas. I’m presently just confused about the status of the album (and whether something as jarringly old-school as Utsusemi will get tacked on there) but capsule’s not really followed consistent scheduling since they moved to Warner/ASOBISYSTEM. Maybe next time they drop something I’ll be more conscientious of the timing of answering questions about it though, lol.

#messages #capsule #Hikari no Disco #i really wrote ~1000 words about this...#and i didn't even say everything i could've said #oh well

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samuel-de-champagne-problems · 2 years

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Just because I haven’t sent one in a while

and just because I found the caption both funny & thirsty

And since I know we both love Taylor parallels

i have the sneaking suspicion that tumblr elves ate like 4 asks I sent throughout the month but oh well I guess these tumblr elves have to eat somehow.

He's so cute it actually pains me!!!

ahh AND THAN HE LOOKS LIKE THAT?!? And I'm expected to act normal and not drool?? Okay that's reasonable. I find it kind of funny that my favorite Spencers are season 1 and than late seasons Spencer, because he's so different in the way he looks but really he's still smart, sweet Spencer.

AHHH I love the lyric parallels!! Personally my favorite is the motif of dying for your love, or rather the depths you'd go to for your lover. A lot of the time we'll hyperbolically say "I'd die for you" Taylor uses this a couple times across (at least) three different albums, Debut, Lover, and Folklore. Each time it changes a little bit.

We start at: "And I know you wouldn't have told nobody if I died, died for you/Died for you" Taylor Swift, Cold As You

And then go to: "Crazy to think that this could work/Remember how I said I'd die for you?" - Lover, False God

And finally end up with: "All these people think love's for show/But I would die for you in secret" Folklore, Peace

I don't, I just really love these parallels!!

#grecy 🩺#thank you grecy!!#you always make my day so much brighter :)#asks

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k1rishiki · 3 years

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i am curious, as someone who’s only exposure to arthurania was reading jane yolen’s young merlin as a child, would you mind saying why hnoc is a bad adaptation? i’m super curious but no worries if not <3

this has been sitting in my inbox for months bc i kept telling myself i needed to write a full essay with proof from medieval lit to make myself feel smarter. however, since i’ve recently lost all credibility bc i can’t articulate points to save my life, and since i’ve realized that i could answer this in a just a couple paragraphs, now seems like the right time to answer this ask. sorry for the wait.

under a cut bc length

also warnings for mentions of racism bc this is hnoc we're talking abt and sexual assault bc this is med lit we're also talking abt

the basic problems are pendragon polycule itself, the story beats of the album, the fridging and lack of characterization of morgan le fay, the clear influence of pop culture arthuriana, and whatever the fuck happened with gawain/e.

pendragon polycule is... just not a good take. there’s a bit in the lancelot-grail abt arthur viewing lancelot like a son (and lancelot not giving a shit abt him). also arthur knew his parents for years before lancelot was even born. plus lancelot just Doesn’t care abt him and i can’t stress this part enough. arthur repeatedly tries to have guinnevere killed, mostly in the lancelot-grail, and guinn didn’t really have any say in marrying him bc she was a teenager. lancelot and guinnevere is a lot better but that’s not saying much. guinn doesn’t exactly treat lancelot too well... like at all, BUT it’s not intrinsic to their relationship and is completely caused by medieval misogyny and i’m all in favor of modern retellings saying fuck that. but also lancelot has multiple pseudo-canon boyfriends (this is med lit after all), and one pseudo-canon husband so like... there were better options. (also lancelot’s husband is basically in a lavender marriage with guinnevere’s maybe girlfriend who most authors just eventually forget abt as the story progresses).

this next one is a problem with a lot of modern arthurian works bc the inclusion of elayne of astolat is too much to ask apparently. the grail quest isn’t tied to the fall of camelot, it just happens to be one of the last grand adventures the knights of the round table have. the event that traditionally sets off the fall is the death of the maiden of astolat/the lady of shalott/elayne of escolat/she has a lot of names, her story has a few variations but usually she either is cursed to stay in a tower and weave and only be able to see the outside world through a mirror positioned across from her window, until lancelot rides by and she rushes to see him out of the actual window and her mirror shatters, setting off her death, or she lives with her father and brothers and takes care of lancelot bc he was injured for a time and she gets to go on adventures to find him and she’s friends with gawaine and she dies bc lancelot rejects her and this version’s a lot more fun but also more happens which makes it harder to explain. the way her story ends however, is that she dies after she makes arrangements for a glorious boat to drift from astolat to camelot carrying nothing but her dead body and a letter explaining that she died of love for lancelot du lac and the court mourns the death of such a beautiful and young maiden (her age varies a lot but i’ve always read her as a young teenager at most). but the important thing is, camelot is doomed from the moment she washes up on its shore bc she’s an omen of the end and has symbolic meaning and all that, the maiden of astolat washes up on camelot’s shores, the court mourns the loss of a maiden in her prime and she marks the end of camelot’s prime as well, morgan le fay reappears after being presumed dead and warns arthur of guinnevere and lancelot’s affair, aggravaine and modred conspire to bring lancelot and guinnevere’s affair to light, they succeed but lancelot escapes, guinnevere is to be burnt at the stake and lancelot rescues her, killing aggravaine, gaheris and gareth (gawaine’s brothers) in the process, gawaine drags his uncle and camelot to war bc he was driven mad due to the loss of his brothers, lancelot accidentally kills gawaine, his best friend and maybe boyfriend (i have RECEIPTS), and gawaine forgives him on his detahbed while lancelot and guinn rejoin arthur, meanwhile modred, who practically had the throne handed to him, usurps and invites the saxons in, camlann happens, and camelot is destroyed. no where in there is the grail quest.

morgan le fay is honestly the most questionable part of the album bc there’s not a single text where she dies. like.... at least with eurydice in udad she died in the original... there’s no basis for morgan dying. also she is NOT modred’s mother and anyone who tells you otherwise is a liar, she interacts with him once in the vulgate bc she had three of her nephews over and that’s IT. it’s a horrible take which originated in the mists of avalon by marion zimmer bradley who is an honest to god monster for reasons i don’t want to trigger tag this post for. also she’s one of the most dynamic and thought-out characters in the entire canon and they just made her a watered down morgause (modred’s actual mother, morgan’s sister, canonical milf)... there was no reason for it to be her apart from the fact that she’s more well known......

pop culture arthuriana is,,, one of my least favorite things. no, morgan wasn’t modred’s mother, no, morgause wasn’t abusive but her husband sure was implied to be, no, aggravaine didn’t kill his mother, that was gaheris, he loved his mother, you’re only saying that bc he has a reputation as the “evil” orkney, no, the once and future king is not a good descriptor for arthur, stop making me read it, no, morgause wasn’t the one to initiate the thing with arthur resulting in modred, no, lancelot and arthur weren’t friends, no, tristan wasn’t a self-centered asshole, tennyson is a fucking liar, no, galahad didn’t have sex or want to, he’s one of the first ever explicitly asexual characters out there, no, galahad’s conception was NOT consensual, lancelot was tricked, and no, elayne of astolat wasn’t galahad’s mother, she’s implied to be younger than him. those are just the big glaring ones, but i swear it’s bc of arthuriana’s reputation as a mythology and the connotations belonging to that word (no one true canon (which is true but there are still things that just AREN’T canon, not completely written down, passed by oral tradition) that causes ppl to see mediocre modern texts and go “oh. well this is abt as close to the original as i’m going to get” and don’t bother to look into so much as malory (who i only name bc he’s one of the most well known medieval authors with the most commonly used storylines, don’t read malory kids, he’s a mediocre-at-best writer even by medieval standards). the big perpetrators of modern arthurian tropes are the books the once and future king by th wh*te, who is a shitty person and lets it bleed into his writing (which isn’t like... nice to read or anything, seriously why do ppl love this book so much it doesn’t have redeeming qualities), and the mists of avalon by marion zimmer bradley (it’s poorly written, the story is a mess, and mzb is honestly a monster and one google search will tell you that), and unfortunately the writings of tennyson, which are mostly good but he clearly didn’t read the povest (a later text that’s also my favorite, known for significantly improving ppl’s opinions on tristan, isolde and co.) before deciding he hated both tristan and isolde and he has HORRIBLE takes on them. high noon over camelot is SEEPED in pop culture arthuriana and i think it would have been so much better if the band had read so much as a SUMMARY of the events of le morte. it’s evident in the song “the once and future king” bc it’s,,,, literally named after one of the worst books in existence. it’s shown in the morgan le fay thing, and it’s shown in the pendragon polycule thing. and hell, i think you can even explain away the lack of elayne of astolat with pop culture arthuriana, bc ppl have had bad takes on her ever since th wh*te combined her character with that of ela*ne of corbenic, and the band probably went “huh, let’s write lancelot’s abuser out of this” and they would’ve been right to do so if that’s who elayne of astolat was.

the final big issue is gawaine, the closest thing the genre has to a protagonist, he’s pretty much canon bi and, in some texts, arospec, he’s a dashing knight of great reknown and he derails every romance to steal hearts, commit murder, and make out with every knight and lady mentioned. and in hnoc he’s... racist. that’s it. it’s,,, almost completely unfounded by the arthurian canon and shows a major misunderstanding of his motivations (like i said earlier, he wants to avenge his brothers bc there’s a reoccuring motif of how much the orkneys value family). i say almost bc in one text it’s his motivations for killing palomydes but i’ve never heard it mentioned by name bc that’s just what it’s known for. most arthuriana fans just look away from it except when critiquing hnoc but that one text is an outlier, shouldn’t be counted, and i highly doubt the mechs made hnoc gawain how he is bc they found this text. it’s just a bad text.

hnoc has,,, quite a few more minor issues, such as villainized ladies of the lake (their ONLY crimes were sealing away merlin bc he tried to assault teenage nimue/ninniane (proto-nimue/vivianne from the vulgate), and that one time vivviane/ninniane kidnapped adopted baby lancelot), assigning brain to merlin (y’know,,, the predator who helped arrange the [redacted] of arthur’s mother and tried to assault a teenager,,,) although merlin is portrayed in a positive light throughout modern arthuriana so i don’t think they knew, giving a song to pellinore, who my perception of has been forever altered bc i was introduced to him through malory and the explanation of torre’s conception, which you can just look up “sir torre arthurian” to find out abt if you can’t just Guess, if they wanted a song abt the questing beast palomydes was Right There AND has been associated with the questing beast for longer, but once again i don’t think they knew.

also namedropping a bunch of knights in the fiction is... it Suggests a bigger world full of all these other stories but they just don’t work bc the world of hnoc wasn’t designed in a way where the appearance of half these characters would make sense. like,, tristan is referenced as dying in the grail quest in the same sentence as bedevere (one of the characters who is known for almost always surviving), but tristan Isn’t one of the knights who dies on the grail quest, his possible deaths (ignoring the potentially happy ending of the povest for a second) are either being murdered by his uncle, king mark (bc mark married tristan’s gf to try and get tristan killed and also to spite him), bc he was driven into a fury bc of tristan and isolde’s affair, or he’s injured and only isolde (the best healer in the world) can save him so he sends for her and if the ship he sent for her is supposed to fly white sails if she’s there, or black sails if she’s not, and the ship flies white sails but his wife (also named isolde) says it’s black sails (the why depends but usually comes down to jealousy), and so he gives up bc he thinks all hope is lost and usually succumbs to his injuries, either way isolde dies of a broken heart over his body. there’s no way for the tristan and isolde story to play out like it’s supposed to in the world of hnoc, just as there’s no way for any story with gawaine (and Oh Boy are there a lot of stories with gawaine) or pretty much anyone else, without severely altering the canon.

of course, there are still parts of hnoc i like a lot, most of the music i adore and i just like the idea of space cowboys and the secret good hnoc that lives in my head. and it has one of my favorite characterizations of galahad, even though galahad hnoc is nothing like galahad arthuriana. it’s not GOOD but i like it and it’s fun to turn my brain off too, and i’ll always value it as my introduction to arthuriana.

also there are modern arthurian tropes i do like such as characters being genre-savvy/knowing they’re fictional/knowing they’ve done this before (which hnoc does wonderfully!) and bedevere-as-the-storyteller (everyone say thank you lord tennyson).

WOW that was longer than expected, i feel very passionately abt this, when i was planning to write a fully sourced essay i meant to include a bit at the bottom with recommendations to get into better arthuriana and i think i’ll keep that in this post.

if you like hnoc for the arthurian music i’d like to suggest heather dale’s arthurian music to you, she does occasionally fall into the trap of modern arthuriana (some parts of lancelot and arthur being close, morgan as modred’s mother), sometimes she’s just wrong (galahad at lancelot’s trial, a lot of tristan and isolde), and her stuff is kinda straightwashed sometimes (sir gawain and the green knight, for example) but i’d be lying if it wasn’t catchy, and it’s not quite as bad as hnoc adaptation-wise. culwch and olwen is pretty accurate (albeit abridged bc culwch and olwen has SO many tangents), as is lily maid (it’s abt elayne of astolat!).

if you liked hnoc for king arthur... in space! then may i recommend to you my own fanfic? it's not posted yet but the second i finish writing the first chapter i'm going to make a Big Deal out of it that'll be impossible to miss!

if you want to learn abt arthuriana through tumblr-osmosis like i did at first, i’d like to recommend the love of my life @acegalahads, first and foremost (it’s me on a sideblog i’m just obsessed with myself), and i can’t recommend my arthuriana mutuals over there, @/gringolet, @/merlinenthusiast, @/jcbookworm, @/elayneofshalott, and @/elaineofascolat (the elayne urls have been popular recently), also i know for a fact that my mutual-in-law, @/itonje makes great arthuriana posts that i look forwards to whenever i open the tag.

here are a few good reference posts, a quick guide to the characters, a guide to characters of color, and a much more comprehensive intro to arthuriana post with even more texts linked to it.

if you want to ease into med lit, i’d like to introduce you to pre-raphaelite poetry, alfred lord tennyson and william morris are my favorites, although tennyson can’t be trusted with tristan and isolde. the poem the lady of shalott is basically a rite of passage for arthuriana fans, although when it comes to tennyson’s writings abt elayne of astolat, i prefer lancelot and elaine, which is part of his much larger story, idylls of the king. for morris, don’t trust what he says abt aggravaine killing his mother, but my favorites of his are sir galahad, a christmas mystery, which sounds like a shitty disney sequel, and palomyde’s quest, which i blame for my love of palomydes (that and the one bit of the povest where he asks tristan to be his greatest enemy and that he wants nothing more, gay ppl,,,,).

if you want to read abt lancelot and his husband, there’s the lancelot-grail cycle, which i believe was taken off of archive dot org and i think i found it on @/tobeisexhausting’s blog but don’t quote me on that.

the povest, which was a religious experience for me and i can’t reccomend enough if you want to like tristan and isolde, is here, i don’t know who scanned it but i think i found it on @/lanzelet’s blog

the dutch texts are just good in general, here’s a link to their section of a(n unfinished) site for hosting various texts by my former mutual @/reynier (who’s no longer on tumblr). i’d like to recommend lancelot and the white hart specifically bc it’s mainly just just gawaine being gay for lancelot.

if you want older works, here’s my scan of the history of the kings of britain, and here’s culwch and olwen and pa gur.

oh wow this is even longer than i thought it would be so i’m going to wrap this up by saying that i always love to talk abt arthuriana more than anything if you have any questions or just are curious!

#med lit on main #asks #hnoc #the mechs #romeo.txt

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andhumanslovedstories · 4 years

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Recent country songs that have made me literally gay gasp as a gay woman, in order of how much they make me want to write an essay on gender and queerness

HONORARY MENTION BUT JUST BECAUSE I THINK THIS IS TECHNICALLY AMERICANA NOT COUNTRY (but genre is fake) AND THIS SONG ISN’T RECENT (2014 and I’ve been listening to it faithfully since then) BUT I ONLY RECENTLY LEARNED IT’S A COVER AND THAT’S MADE ME RECONTEXTUALIZE IT: “Murder in the City” by Brandi Carlile, a cover of The Avett Brothers where she changed the words “make sure my sister knows I loved her/make sure my mother knows the same” to “make sure my wife knows that I love her/make sure my daughter knows the same” which fucking. fucking gets me. Especially since the first time that I heard this song, I assumed it was from a man’s point of view because of that line, and then I learned that Brandi Carlile is a lesbian and I was caught up in my foolish heteronormitivity, and then I learned it was a cover and thought oh okay I guess the song is originally from a man’s pov and it’s cool she covered, and then I learned she changed those lines to make a song that already feels deeply personal to her to explicitly include her love for a woman and the family they’ve made together. And that’s just. It’s all just a lot.

3) “Fooled Around and Fell in Love” by Miranda Lambert featuring Maren Morris, Elle King, Ashley McBryde, Tenille Townes and Caylee Hammack, because the first time it came up on my spotify, I saw the title and was like “hey dope I like this song” and then I heard the first line was still “I must have been through about a million girls” and I realized none of the words or pronouns were getting changed and I was getting the song I’ve always wanted and deserved: a high production value, high energy, big girl group tribute to being a lesbian fuckboy who Fooled Around And, oops can you believe it, Fell in Love.

2) “If She Ever Leaves Me” by The Highwomen, sung by Brandi Carlile who is, as mentioned, lesbian, but since I’m apparently still chugging my comp het juice, I was still trying to figure out if this song--a classic “hey buddy keep walking, she’s my girl and she’s not interested” song with an interesting element of the singer being aware the relationship might not last anyway--was gonna be explicitly queer. And then there’s the line, “That's too much cologne, she likes perfume,” and I was like OH HOHOHOHOHOHOHO!!!

This is immediately followed by the lines “I’ve loved her in secret/I’ve loved her out loud” which is also deliciously queer in this context, with this singer and that juxtaposition, but the line that really fucking got me is my favorite of the song: “If she ever leaves, it's gonna be for a woman with more time.” This is two women in a complicated relationship. This isn’t just a “keep walking, cowboy” song, it’s a song that uses that framework to suggest a whole ass “Finishing the Hat”** relationship, and that’s so interesting to me. Like a song that isn’t just explicitly about two women in love but one that conveys very quickly a rich history between the two of them. And in a genre where the line “Kiss lots of boys, kiss lots of girls if that’s something you’re into” was revolutionary representation.

(Fun fact, “Follow Your Arrow” was partially written by Brandy Clarke, another country lesbian! Another fun fact, so is basically every other good country song. Brandy Clark, please write a big lesbian country anthem, I know it will immediately kill me on impact.)

To quote one youtube comment, “”lesbians how we feeling??” and to answer by quoting some others, “As a closeted baby gay in the 90s, who was into country, this song would have changed my life”, “I just teared up. So many happy tears, as a gay woman raised on country music, this is something that's definitely been needed. Thank you Brandi. Thank you highwomen”, “This song means more than I can say in a youtube comment”, and “Lesbians needed this song :)”

It’s me. I’m lesbians.

**ANOTHER HONORARY MENTION EXCEPT IT ISN’T RECENT AND IT ISN’T COUNTRY SO I GUESS THIS IS JUST A MENTION, BUT I AM INTERESTED IN THIS SONG--“Finishing the Hat” by Kelli O’Hara. A very good Sondheim joint, that’s about making art, the costs of its obsessive and exclusive nature and the incomparable pleasure of putting something into the world that wasn’t there before. It’s such a traditionally male narrative that I’m thrilled to find a wonderful female cover of it. I’m not even fussed about her changing the gender from the lover who won’t wait for the artist (except that the shift from “woman” to “one man” sounds so clunky) because there’s value turning this song into a lament of the men who won’t love artistic women. But I do also wish she’d also recorded a version that kept the original gender so it would be gay. OKAY BROADWAY TANGENT OVER, BACK TO COUNTRY.

1) “Highwomen” by The Highwomen, ft. Yola and Sheryl Crow. I can’t even express the full body chills the first time I heard this. Like repeated, multiple chills renewed at every verse of the song. This really closely parallels my experience with “Fooled Around and Fell in Love” up there, because when I started it I was like “oh dope I know what this cover will be” and then the lyrics started and I was like “OH MY GOD I DIDN’T.” In the case of “Fooled Around” it’s because I was amazed that they kept the original words. In the case of “Highwomen” I fucking transcended because they changed them.

So I grew up on Johnny Cash, obsessed with a couple of his albums but largely with a CD I had of his greatest hits. (Ask me how many times I listened to the shoeshine boy song. Hundreds. Johnny Cash told me to get rhythm and I got it.) And my FAVORITE was “Highwayman” from the country supergroup he was in, The Highwaymen. The concept of the song is that each of the four men sing a verse about a man from the past and how he died. It’s very good. The line “They buried me in that grey tomb that knows no sound” used to scare the shit out of me. I didn’t expect to have a song that targets so specifically my fear of being buried alive in wet concrete.

(If you haven’t heard the song, by the way, listen to this version to properly appreciate it as a piece of music. If you have, watch the fucking music video holy shit this is a work of art oh my GOD.)

So I was predisposed to love this cover before I even heard it. But then I heard it. And they rewrote the song to be about historical women. And it’s like. There’s layers here okay.

Neither the Highwaymen nor the Highwomen are signing about famous people. This isn’t a Great Man tour of history, it’s about dam builders and sailors and preachers and mothers and Freedom Riders and also Johnny Cash who flies a starship across the universe, as you do.

In the 1986 version, it’s a song about the continuity of life--the repeated idea is “I am still alive, I’m still here, I come back again and again in different forms.” The highwayman is all the men in the song. He reincarnates. The song is past, present, future. The title is singular, masculine. The same soul, expressed through multiple voices, multiple lives.

In the 2019 version, the title is plural, feminine. Highwomen. This song is about women. Each verse asserts the same motif as the 1986 version--“I may not have survived but I am still alive”--but there is no implication of reincarnation. Each woman is her own woman. This version has a final verse that the previous versions lacks. The singers harmonize. It’s not a song where one voice replaces another, the story of this One Man progressing through time. It ends in a chorus of women saying “We are still alive.”

We are The Highwomen Singing stories still untold We carry the sons you can only hold We are the daughters of the silent generations You sent our hearts to die alone in foreign nations They may return to us as tiny drops of rain But we will still remain

And we'll come back again and again and again And again and again We'll come back again and again and again And again and again

Another fun fact! The first time I heard them sing “We are the daughters of the silent generations” I died! But luckily I came back again and again and again.

This is a song about the continuity of history. It asserts that women’s historical lives matter and that they continue to matter, long after they died. This is a song about legacy as well, the legacy of nameless women who worked to protect the ones they loved and make the world better. They don’t die by chance. They are all hunted down by political violence, by racism, by misogyny, for stepping outside their prescribed roles. But, as Yola (who btw fucking CRUSHES THE VOCALS ARE YOU KIDDING ME?????? HOLY SHIT MA’AM) sings as a murdered Freedom Rider, she’d take that ride again. And at the end of the song, she joins the chorus but does not disappear into it. Her voice rises up out of crowd. And the crowd calls itself “we”. These women are united but not subsumed into being One Woman. This is about Women.

And then, outside the song itself, there’s the history of this song about history. It’s originally by Jimmy Webb and was covered by Glenn Campbell. This cover inspired the name of the supergroup that covered it, the group with Willie Nelson, Kris Kristofferson, Waylon Jennings, and my man Johnny Cash. And it’s like holy shit! What an amazing group to collaborate! Hot damn!

Then, it’s 2019 and here’s The Highwomen with Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires. The name is obviously riffing on The Highwaymen. Shires set out to form the group in direct response to the lack of female country artists on the radio and at festivals. And they name themselves after a country supergroup, and they put out this song, a song connected to massive names in country music, and they center all of this on women and womanhood and the right of women to be counted in history and to make history and to talk about the ways we have mistreated and marginalized women, in a group that started because one woman was like hey! we’re mistreating and marginalizing women!

I just think this is neat! I think there’s a lot here we could unpack! But this post is 100 times longer than I was planning and work starts in a bit so uh I’m gonna go get dressed and listen to The Highwomen on repeat for the next hour, “Heaven is a Honky Tonk” is another fucking bop that improves on the original, it would be dope if they’d collab with Rhiannon Giddens, okay byyyyyyyye

#don't even know what to tag this bc for one there's way too many links for this to show up in any tags!!#country music #long post #surprisingly long post!#feel free always to rec female country/americana/folk/bluegrass to me esp if it's gay

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stuonsongs · 3 years

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My Top 10 Favorite Songs of All Time - 2006 Edition

2021 Editor’s Note: I was looking through some old files and found this thing that I wrote sometime in the summer of 2006 at age 22. For all I know, it could’ve been 15 years to the day! Looking back, I’m not sure how many of these songs would still make my top 10. Don’t get me wrong, I still love all of these tunes, but I’m sure you know how it goes - You get older, you get exposed to more things, and your idea of good music expands. Anyway, I thought it might be nice to share with anyone who still uses this site. I present it in its original format without edits to my writing. I ended up writing full posts in this blog about some of these songs if you go through the archive.

Stu’s Top 10 Favorite Songs…Ever

Let’s start with some honorable mentions. These were so close, and I thought about it for so long, but they had to be left off.

Honorable Mentions

All Summer Long – The Beach Boys

All Summer Long. 1964. Capitol

This song has been described so many times as being “the perfect summer song.” When you listen to it, you can’t help but smile from the opening marimba intro, all the way through. It just screams “summer” and it hurt me to leave The Beach Boys off my top 10.

Bleed American – Jimmy Eat World

Bleed American. 2001. Grand Royal

So full of energy, so rocking, and so what would’ve been the most recent song on my list. I wanted to keep it in the top 10 just so I could have a song from the ‘00s, but it wasn’t meant to be. When the chorus kicks in, I can’t help but headbang.

Marie – Randy Newman

Good Old Boys. 1974. Reprise

Randy has said that a lot of young composers pick “Marie” as their favorite Newman song, and I can see why. The idea of a guy having to be drunk to tell his wife that he loves her is pretty funny, and throughout the whole song it’s just the beautiful melody with tons of strings, all to a tune about a guy ripping on himself as he comes home drunk to his wife.

Does He Love You? – Rilo Kiley

More Adventurous. 2004. Brute/Beaute

I guess this is newer than Bleed American, so it would’ve worked too. This is another more recent song that it killed me to leave off the list. The outro is an arrangement of the main tune with a different chord progression performed by a string quartet. Very beautiful. Also when Jenny Lewis screams “Your husband will never leave you, he will never leave you for me,” I get chills every time.

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So here it is. After a long day’s work, I’m finally finished. It actually turned out much different than I was thinking when I first started. The number one wasn’t really even in my top five when I started, but I slowly realized I loved it so much. I also left Ben Folds (Five) off this list completely, and I don’t know, I just feel the whole catalogue of Ben is so solid, none of the songs stick out to me that much. But anyways, here it is! After the break of course…

Stu’s Top 10

10.

(Love Is Like A) Heat Wave – Martha and the Vandellas

Heat Wave. 1963. Motown.

This one beat out “Bleed American” just barely. The reason being that somehow, despite being nearly 40 years older than Bleed American, it still has so much energy that it kills. Dan Bukvich once told our Jazz Arranging class that you can boil all the oldies you hear on the radio down to three categories: 1) Great Song. 2) Great Performance. 3) Great Arrangement. This song is one of the great performances. The handclaps throughout, combined with the driving baritone sax behind everything and constant snare drum action will keep anybody with blood running through their veins dancing all night long.

Bodhisattva – Steely Dan

Countdown to Ecstasy. 1973. MCA

This song is my Freebird. It’s just a basic blues progression song at its core with some minor changes at the end of the form. The real kicker that drives this song home is the three minute guitar solo in the middle that isn’t nearly as rocking as Freebird, but it is highly proficient and takes me to places that just make me want to play the song over and over again. I have no idea what this song is about, probably Buddhism, but hey, this once again proves that lyrics rarely matter and the music itself is the core.

Zanzibar – Billy Joel

52nd Street. 1978. Columbia

This song reminds me of long car rides on vacations down the west coast with my parents growing up. They used to play a tape of 52nd Street, or at least their favorite selections, constantly on these trips. I didn’t hear this song again until early in my senior year in college and remembered why I loved it so much. The song has a heavy jazz influence, displayed in the breakdown where Jazz trumpeter Freddie Hubbard does a solo. The best part of this song though is at the end of the 4th line of each verse, Billy does this “Woah oh oh!” thing that just makes me want to sing every time. It was between this and “Miami 2017 (Lights Go Out On Broadway)” which is also a great song, but the “Woah oh oh!” is too much for ol’ Stu boy.

Rosalita (Come Out Tonight) – Bruce Springsteen

The Wild, the Innocent, and the E Street Shuffle. 1973. Columbia

Early Bruce Springsteen records have something that very few other artists can ever pull off without sounding cheesy or forced. It has this undeniable sense of urgency, like the world will fall apart and life will crumble through your fingers if this one moment in time doesn’t work out the way Bruce describes it. There are so many early Springsteen songs that just set a scene of “We have to get out of this town right now girl before it kills us, no matter what any of our parents, friends, anybody has to say.” There’s a line that kinda sums it up: “Well hold on tight, stay up all night ‘cause Rosie I’m comin’ on strong. By the time we meet the morning light, I will hold you in my arms. I know a pretty little place in southern California down San Diego way. There’s a little café where they play guitars all night and all day. You can hear ‘em in the back room strummin’, so hold tight baby ‘cause don’t you know daddy’s comin’.”

I’ve Got You Under My Skin – Frank Sinatra

Songs For Swingin’ Lovers! 1956. Capitol

This song falls into the category of great arrangement. This Cole Porter classic tune was arranged for Sinatra by Nelson Riddle. The story goes that he was still copying down parts for the players while riding in the cab to the recording studio on the day of recording. After the players ran through it once with Frank, they stood up and applauded. The Baritone sax takes control here, outlining a Db6/9 chord throughout the intro. Of course, Frank’s vocal delivery is spot on and goes up and down in all the right places for the biggest emotion impact. It’s amazing how a song with no real chorus can be so good.

A Change Is Gonna Come – Sam Cooke

Ain’t That Good News. 1964. RCA Victor

This song was not even going to be on this list, but then I ran across it while scouring my collection of music and remembered how good it was. Then I listened to it and was blown away by the level of detail that went into this arrangement. Sam’s vocals soar above the mind blowingly beautiful arrangement. The lyrics to this one actually add to the tune itself, speaking of wrongdoings in the world around him, and how social change is on its way in the form of the civil rights movement. The song flows with such ease out of Cooke that one might forget the weightiness of the content, but the song’s content is just so heavy that it’s impossible to deny it.

Whatever – Oasis

Whatever EP. 1994. Creation

This song was released as a Christmas present to the U.K. from the Gallagher brothers and company. It never appeared on any full album, only being released as a single, and amazingly, it blows away anything else they’ve ever done. Think “All You Need Is Love,” but with tons of rocking energy and a snide, nonchalant attitude. The chorus speaks, “I’m free to be whatever I, whatever I choose and I’ll sing the blues if I want. I’m free to be whatever I, whatever I like, if it’s wrong or right, it’s alright.” Not exactly poetry, and the song isn’t exactly breaking any new ground either, but the song is absolutely perfect in every way, and it was going to be my #1, but perhaps the only reason it’s not at number one is because I’ve played this song so many times that at the moment, these next three are beating it, but who knows how I’ll feel in a few months. This song also pulls the same “outro performed by a string quartet” thing as “Does He Love You?” but even better. It’s so simple, but I can’t get enough of it.

Mr. Blue Sky – Electric Light Orchestra

Out of the Blue. 1977. Jet

This is obviously the best Beatles song that the Beatles never wrote. The staccato guitar during the verse combined with the strings present in just about every ELO song combine to make a force that is undeniably catchy and musically challenging at the same time. This is really what makes ELO so good. I didn’t discover this song till probably Nov. 2005, and it was one of the best days of my life. I didn’t want to include two songs by the same artist in my top 10, but if I did, I probably would’ve added “Turn To Stone” on this list too because it is almost as awesome as this one. It’s a shame that just like Billy Joel, most critics at the time hated ELO for being overly creative musically (they called it pretentiousness). These days we have acts that really are pretentious (see Radiohead), but everyone loves them, even critics. I’m not knocking all Radiohead, just most everything post OK Computer. Sorry, got a little sidetracked there.

Only In Dreams – Weezer

Weezer. 1994. Geffen

This has been my favorite Weezer song since about a month into me picking up Weezer’s debut album back around early 2000. It has this ostinato (a repeated motif over and over again) in the bass throughout most of the whole song, never even really resolving to the Gb major chord (excluding chorus, which never really resolves) that it wants to until the end of a 3 minute contrapuntal guitar duet when everything dies out except the bass which just retards on its own until it finally plays the single Gb we’ve all been waiting for. The song on the whole up until the guitar duet is pretty tame, but once those contrapuntal guitar lines start intertwining, my ears perk up every time. I can sing both lines at separate times upon request and when the drums finally kick back in fully at the climax of the song, I let out a sigh of relief or bang on my car wheel in exultant joy, whichever is more of an option at the time.

All Is Forgiven – Jellyfish

Spilt Milk. 1993. Charisma

I always loved this song from the first time I heard it, but I didn’t realize how much I loved it until maybe April 2006. I found out about Jellyfish first semester of college in the Fall of ’02 and heard this song, and knew it was great. The constant tom-tom driven drums, the fuzzy, almost white noise distorted guitar, and the half time bass throughout. It was great. Then in April I put it on my mp3 player for the walk to school, and then I listened to it for about two weeks straight. Seriously. It runs into the next song entitled “Russian Hill” which is almost as good, but because it’s a separate song, I couldn’t include it on the list, but in my mind, they always run together and are basically one long 9 minute song. The ending just gets more and more white noise filled until you can barely take it anymore and then it just cuts off completely into the slow acoustic intro for Russian Hill. It’s perfect in every way. I think this would fall into the category of great song. And the way the song builds up right to the middle of the song and then cuts out completely except for some very VERY faint xylophone noodling, and then busts back in with some feedback directly into guitar solo. Man I love this song.

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anikkis-fantasirealities · 3 years

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“LiVELY Legacy of Japan’s Lionized Anisinger”

➀ Personality Profile ┊ ˢʰᵉ ʷʰᵒ ˢʰᶦⁿᵉˢ ᵗʰʳᵒᵘᵍʰ ˢᵒⁿᵍ ᵃⁿᵈ ˢᵗʸˡᵉ··· ˢᵐᶦˡᶦⁿᵍ ˢʷᵉᵉᵗˡʸ ʷʰᶦˡᵉ ˢᵃˡᵘᵗᵃᵗᶦⁿᵍ ˢᵘᵖᵖᵒʳᵗᵉʳˢ·

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ꒰⁺˚₊·₍₍loading...₎₎ ㅤ ✎...۪۫❁ཻུ۪۪ -ˏˋ 🎤 ˊˎ-

ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ

༘✶ ㊉㈦〘 ⅯⅯ 〙⋆｡˚𓆟 ༉ ║ Posted : ０６/１５/２１° ｡༄ ‧₊˚ ๑ ㅤ ㅤ ㅤ ㅤ •ଓ.° ｡❍ ㈩㊇

- - ——— ꒰ An article by Nicole “Nikki” Elaine S. Chua of NEU-IS ꒱

ㅤㅤ ㅤㅤ₊·͟͟͟͟͟͟͞͞͞͞͞͞➳❥ ࿐ྂ—͙❬₊° ᶦ ᵃᵐ ᵃ ᵇˡᵒᵍᵍᵉʳ ᵃᶠᵗᵉʳ ᵃˡˡ·“= ‹⸙͎

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

youtube

ㅤㅤ ㅤ❝ Madamada iku wa yo~! ❞

ㅤㅤ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ㅤ ㅤ- LiSA (Rally Go Round)

ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤ.ılı.lıllılı.ıllı. ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤᴺᵒʷ ᵖˡᵃʸᶦⁿᵍ﹕ᵍᵘʳᵉⁿᵍᵉ ⁻ ᴸᶦˢᴬ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ0:11 -◦————— 3:59 ㅤㅤ ㅤㅤㅤ ㅤㅤ〔 ↠ⁿᵉˣᵗ ˢᵒⁿᵍ ╵╻↺ ʳᵉᵖᵉᵃᵗ ╻╵⊜ ᵖᵃᵘˢᵉ 〕 ㅤㅤ ㅤㅤㅤ ㅤㅤㅤㅤVolume: ▁ ▂ ▃ ▄ ▅ ▆ █ 100%

Lush, loose—lofty and lovely. Lucent and lavish—lustral, laid-back, & luxuriant. Luminous. Legendary. Limitless. Light hearted and letter-perfect. There is not enough words for me to describe her overflowing talent for music, and the impact she has created for tech-savvy usernames cheering on their favorite idols & animations alike. Nowadays, most millennials and Gen Zs go neck-to-neck with their clashing interests of two international sensations: one known for the funky beats of charismatic boys dancing in synchrony, and the other, notable for moving illustrations of all kinds of stories that allure the imagination. Yes, let’s admit it, my generation has fallen in love with the influence of K-pop and anime, though I cannot blame anyone because of the fun & happiness they bring. Do you agree with me?

Well, even if you cannot agree or relate with me, I’m sure you would be able to find this article interesting! This personality is not someone of looming authority nor power—she is not a lady from the West, nor the Northern isles or even the Southern seas. She is here: the Rising Sun’s pride and honor bestowed by a sharp katana slaying all evil. It is where that familiar tune of hers is empowered with the narrative of a young man and his breathing techniques—a tale beloved by many anime fanatics. Yes! I’d like to introduce to you, one of Japan’s famed singers of all time: 𝙇𝙞𝙎𝘼! Make your entrance, please!

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ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ 【今日もいい日だつ】 ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ❝ Today is another great day! ❞ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤ- LiSA ╰╼|════════════════════════════════════|╾╯

My life is truly music-inclined, even if I have two left feet and a raspy, rough voice. Those foreign lyrics ring out in my head, every time I enter through the gates of Japanese culture and enter my fantasy I know so well. I mean, cool right? I can still remember how I first embraced her beginning chords in January 2020, when that song, Gurenge, was heard throughout the spacious stadium of the New Era University college department. It was the opening ceremony for Intramurals 2020, and as soon as the melody played, the crowd sang along in a noisy type of harmony.

𝙂𝙪𝙧𝙚𝙣𝙜𝙚, it means “red lotus” in English—the title of the Japanese opening theme for the animation called, “Kimetsu no Yaiba,” or more acclaimed as “Demon Slayer” by millions of anime ethusiasts across the web. I wondered what that range of vocals wanted to tell me. Those beautiful notes and the intensifying instrumental that accompanies such an epic story. Slowly, I understood why she is adored by many people, rain or shine, sun rays to lunar silhouettes. Now, here I am writing with everlasting conviction, to share everything I know about her—the reasons why that captivating rhythm, those inspiring words, and the pleasant emotions, made me sing along. So, let’s rest for a while, and I’ll tell you more about LiSA, behind the reflection of that worn out blade.

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

LiSA, or Risa Oribe in real life, is a Japanese singer, songwriter, and lyricist from the Gifu Prefecture—in the small city of Seki. She is 165 centimeters tall, which is quite tall for a Japanese woman. She is known for her multiple song hits used in Japanese animation titles such as the Fate series and Sword Art Online. Though, did you know that she also sang for the music-based anime series, “Angel Beats!” as one of the main characters who so happened to be a vocalist, as well? This was LiSA’s professional song debut in the music industry, which she lunged into when she was given a chance to step onto the reknowned arena for some of Japan’s history makers: Nippon Budokan! As a kid, Risa Oribe was taught lessons in piano, dancing, and singing, which continued onto her junior high school years. After auditioning in the infamous Budokan, she held onto the dream of becoming an artist on the next journeys she would walk on outside her hometown.

Believe it or not, the name “LiSA” is an stylized acronym, consisting of confident letters that possess unique dignified meaning from one another. The stage name is adopted from a blast from the past, of the times Risa Oribe had travelled to Tokyo to form a band. “LiSA” stands for, “𝙇𝙤𝙫𝙚 𝙞𝙨 𝙎𝙖𝙢𝙚 𝘼𝙡𝙡” which may sound weird for English speakers, nonetheless, its significance still pulls my heartstrings all in all. Prior to becoming the individual singing artist, “LiSA,” Risa Oribe has always been a part of bands ever since high school—one of them being a cover band of indie rock music, “CHUCKY.” Despite the risk of working with the band in exchange for her accredited certificates from university, she continued to reach for her ultimate dream career as a singer. Unfortunately, “CHUCKY” only lasted for three years, and this is what led Risa Oribe to test her luck in the capital of Japan—persevering for that aspiration, because there’s no turning back now!

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ㅤㅤ 【じっと見つめた　キミの瞳に映ったボクが生きたシルシ】

ㅤㅤ ❝ As I stare intently into your eyes, ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤmy reflection there is the proof I exist, ❞ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ- LiSA (Shirushi)

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LiSA’s musical influences are, surprisingly, internationally respected musicians of the English language. Some of these prominent figures in her life are Avril Lavigne, Green Day, Paramore, and Rihanna. She is well-known for memorable hyped performances filled of power and passion. Sometimes, if people are granted the opportunity to be mesmerized by remarkable skill, she is also able to play the guitar and key harmonica in her concerts. She can sing in Japanese, obviously, but her words weaved with melody extends into Chinese and English perception, too. As a songwriter, she personally wrote some of her produced masterpieces like “Shirushi” and “Rally Go Round.” Though, perhaps you’ve never would guess that LiSA had a voice acting debut in 2015, too! Don’t get your hopes up because she did not give life to any anime characters, but instead, she became the Japanese voice of Madge Nelson in the film, “Minions.” I know, don’t get me wrong, it’s a shocking difference from the person LiSA is famous for.

However, for Risa Oribe, it was not something to be shy about, for she absolutely loves Minions! For avid fans of LiSA, they would often spot sightings of Minions merchandise in her social media accounts. It’s a fact that wouldn’t make you think that she can be that intimidating performer on fire, once she leaps onto stage. She still has that gentle vibe, especially when she raises her arm to greet the audience with a simple peace sign. The dark packed venue would chant along the bridge instrumental, rapidly waving their lightsticks until the song performance is finished. It’s as if the stars have landed in a small part of Earth during the night fall, to take a day-off head banging to the beat of rock. LiSA’s concerts deliver the message that “𝙇𝙞𝙫𝙚 𝙞𝙨 𝙎𝙢𝙞𝙡𝙚 𝘼𝙡𝙬𝙖𝙮𝙨,” as it is the running title pinned to her lives from then to now.

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

Speaking of which, here’s a fun fact! Did you also know that LiSA’s albums all start with the letter L? From “Letters to U” and “Launcher,” to “Leo-Nine” and the recently revealed “Ladybug,” each album has a motif that follows her musical style. LiSA’s original songs tell stories of hope, determination, and love. Ever since she released her first solo single debut, “Oath Sign,” for the anime, “Fate/Zero,” her name would never vanish from the music charts of new singles and albums in Japan. Songs like “Crossing Field,” “Catch the Moment,” and “ADAMAS,” of “Sword Art Online” were also noteworthy for their impact on LiSA’s career as a singer, not only for Japanese animations, but also for Japanese TV dramas and live-action films. Her very own, “Homura,” for the anime film, “Demon Slayer: Kimetsu no Yaiba: Mugen Train” have even outstretched to the Billboard charts across the Pacific ocean!

Today, she has celebrated her 10th anniversary in the music industry—a realization that it just seems like yesterday when she got to meet her fans in different countries, go on tours to perform everyone’s favorite anime songs of hers, and made her mark as an “𝙖𝙣𝙞𝙨𝙞𝙣𝙜𝙚𝙧” of the Rising Sun. That is why she is, indeed, an artist with a lively legacy to our current era—a personality deserving of a profile article from yours truly. It’s been great having you with me in this article, and I hope you were able to find admiration for LiSA and her work! Thank you for reading! I’ll see you again in another blog where my fantasies become realities! A Nikki reminder: don’t always go with the flow, and be yourself! Good day!

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ㅤㅤ ㅤㅤ 【生き残ったこの世界で　新しい　眩しい　 ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ 開けを迎えに行こうか】

ㅤㅤ ㅤ ㅤ❝ In this world I live in, there will be a new glow, ㅤㅤ ㅤㅤ ㅤㅤ for now let’s welcome the new dawn! ❞ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ - LiSA (dawn)

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· * ✫ * ⊹ * ˚ . . 　　· ⋆ * . * . . · . · . * · . · · + . ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤㅤ· ** ˚ . . + 　　· ⋆ * . * . . · . · . *

ㅤㅤ ㅤㅤ. . + 　· ⋆ * . * . . · . · .˚ ⊹ · * ✧ ⋆ · * . · . · · .. . .

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤ· + ㅤㅤ ㅤ ㅤㅤ ㅤㅤ· * ✫ * ⊹ * ˚

ㅤㅤ ㅤ ㅤㅤ · ** ˚ . . + ㅤㅤ　· ⋆ * . * . . · . · .˚ ⊹ · * ✧

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ⋆ · * . · ㅤㅤ . · · .. . . · + .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ. · + . *

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ⋆ * . * . .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ㅤ . · ·

ㅤㅤ﹙dedication. ﹚ ୨˚୧ ˚ ༘♡.↳ ₊˚‧

This blog is dedicated to my sister, who is a big fan of LiSA. I am grateful that you’ve made me sing with her, forevermore.

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

ㅤㅤㅤㅤㅤㅤㅤㅤ﹋﹋﹌﹌﹌「 🎀 」﹌﹌﹌﹋﹋

ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ┊彡 Credits

➥ Cover Edit

➫ Background

➫ Stand-out LiSA holding a microphone stand

➫ Sitting LiSA

➫ Butterfly themed LiSA

➫ Kimono LiSA

➫ "Brave Freak Out" promotional picture

➫ "Only ≠ Lonely"

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ GIF

➫ "Gurenge" Music Clip ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ First Blog Divider

➫ "Datte Atashino Hero" Music Video

➫ "KiSS me PARADOX" -LiVE is Smile Always ～PiNK & BLACK～ Live

➫ "No More Time Machine" Music Clip

➫ "LEO-NiNE" Limited Edition A Album Cover

➫ "LUCKY Hi FiVE" Single Cover ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Second Blog Divider

➫ Raising Arm LiSA

➫ "ASH" Single promotional picture

➫ "Unlasting" promotional picture

➫ "ADAMAS" article by Billboard

➫ "Shirushi" Music Video ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Third Divider

➫ Red-themed LiSA

➫ "Letters to ME" Music Video

➫ "Surprise" Music Video ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Source of Information

➫ LiSA Wikipedia page

➫ LiSA’s Discography Wikipedia page

➫ Every Anime Song by LiSA fan-video compilation

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ ㅤㅤ﹋﹋﹌﹌﹌「 end. 」﹌﹌﹌﹋﹋

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ ⭆ Back to Homepage ⭅

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ ㅤㅤ ㅤㅤ Next Blog ⇨

#NEU-IS PH #Creative Non-fiction #Feature Article #Blogging #Personality Profile #aNikKis Fantasirealities #LiSA #Anisinger #Youtube

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prinsesa-ng-musika · 4 years

Text

My Reactions to Boreas (the EP) by The Oh Hellos ❄

I recorded my initial thoughts on audio so I know exactly what came to mind. Post-recording thoughts in parenthesis. Under the cut because of length.

1. A Kindling, of Sorts -already heard this in 08.21.20 but whatever

-still very much love it

-you build a kindling to start a fire meanwhile this song builds up until all the rest of the instruments join in and that's so cool

-still adoring the torches motif + dry branches motif

2. Cold

-wait this intro is so cute

-wow i like this song

-this so christmassy

-which is fitting since it's ber months already haha

-the greek mythology allusions!!!

-this song is a tyler + maggie duet and honestly i like that already

-(in reference to the fourth verse) this gives me grow vibes (idk why i said that lol probably because of "chokes it back"

-this motif sounds familiar omg but i can't place it??? (two listens later: WAIT it's passerine aaa love [you know your ear is bad when you can't even recognize your fave toh song's melody smh])

-the mention of patricians and the rich is such interesting imagery (in retrospect: especially in relation to eurus!)

3. Lapis Lazuli

-TYLER we stan a king 👑

-hey i like the song!

-this song hits this song hits this song hits (for context as i was listening [and even currently] i was not in a good place bc Family Issues)

-what is a rayleigh (yes i'm uneducated pardon me)

-oooh this song's about truth that's neat

-blue as the color of truth while it's also usually the color of nobility or loyalty hmm🤔

-(in retrospect: THE DEAR WORMWOOD CALLBACK AAA)

-this gives me constellations vibes!

4. Rose

-i found the song that's most explicitly christian related and as a catholic and a lover of the song passerine i am Getting Ready (i based this on the bio and annotations on genius)

-this is the passerine of boreas isn't it

- "my mouth don't taste of metal" reminds me of "my palms and fingers still reek of gasoline" in the sense that they mention a body part, a sense, and a flavor/smell

-is this why boreas (the song) is themed around sacrifice as well, because rose starts the concept about suffering and sacrifice first?

-oh is this a reference to sleeping beauty?

-oh Yikes

-oh is the "hangman" supposed to be the hanged man like in tarot cards? i love that symbolism of sacrifice and martyrdom

5. Smoke Rising Like Lifted Hands

-mm okay so i think i still prefer akos more

-but i do like how it gives the vibe of smoke rising

-i think cause of the upward progression of notes?? (i'm not very good at analyzing music by ear sooo feel free to explain to me why it Sounds Like That)

6. Boreas

-skipping mostly bc y'all already know what my thoughts are (search "the oh hellos boreas" on my blog and scroll up a lot)

-but one significant thing is that this is the song i started crying at

-and it continued until glowing

7. Glowing

-(in retrospect: oh what is that morse code??? i later learn that it doesn't mean anything [kloud bdix tho 🍉]. however, i absolutely freaking ADORE the concept of "a message trying to get thru in the midst of darkness" 💙💙💙)

-i like the tune! as in, the overarching one that goes up-down-up

-THE "IN THE END" FROM THE FIRST PLACE CONNECTING WITH "IN THE END" FROM BOREAS I'M 😭😭😭

-not sure but i kind of see lines pertaining to the day of judgment/the second coming/afterlife?? maybe i'm focusing too much on the first part but that would be interesting

-*insert audible crying noises*

-i *sniff* like *sniff* this *sniff* one

-rose + boreas + glowing and their mentions of sacrifice... i appreciate that

-the journey across this 20 minutes is beautiful... we decayed and then we went numb and then we sacrificed ourselves and then we were brought back to life... and that's where ideas come from 😭😍💚💙🍉❤

Okay, on first listen, it's either Boreas or Glowing that's my current favorite BUT I need to relisten so it's fair as I've listened to Boreas ten times already and have only listened to others once (I have now listened to Cold thrice, and am getting more endeared to it and its simple, repetitive melody) but this was such a pleasant album to listen to. It's my first time reacting to an album on the day it got released and with no prior knowledge about it, and it was a great experience. Love y'all passerines, stay glowing 💙

#the oh hellos #boreas #berry shares #mine #tyler heath #maggie heath #a kindling of sorts #cold #lapis lazuli #rose #smoke rising like lifted hands #glowing #music #folk music #boreas ep

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doomedandstoned · 3 years

Text

Doors To No Where Drop Rowdy Grunge-Punk-Desert Spinner ‘Darkness Falls’

~Doomed & Stoned Debuts~

Review by Billy Goate

Before us is the latest record from Santa Cruz heavies DOORS TO NO WHERE, a band new to these pages but which has played alongside many of our favorite West Coast acts, including KooK, Worship, and Year of the Cobra. As May is Mental Health Awareness month, it's good timing to be introduced to 'Darkness Falls' (2021). "This came to me during the pandemic," says frontman Marc Lewis. "I was watching so many folks struggling from all walks of life. Struggle isn’t biased -- it can hit anyone."

The album lyrically was a concept album in a way on the topic of mental health and its impact. I'm truly passionate about this and want it not to be such a taboo thing to talk about or seen as a sign of weakness.

Composed during the pandemic's most clutching moments and recorded with Aaron Cooper of Pylon Productions, the album features longtime collaborators Marc Lewis (guitar, vox), Marc Prefontaine (bass), and Pete Testorff (drums).

"Lie, Lie, Lie," dashes off to a furious Foo Fighters pace as we begin the record, with Pete Testorff's fervor and panache paving the way for Marc Lewis to deliver the three word chorus with all the snarl of a man who just wants to break his rusty chains and run.

"The riff in Lie, Lie, Lie," Marc tells Doomed & Stoned, "was written off something I heard Pete doing one night during sound check. He was playing his whole kit and then doing those snare hits you hear at the beginning of the song."

There's some nice give-and-take between Marc Lewis' guitar and Marc Prefontaine's bass that betwixt the introduction and chorus. I didn't pick it up at first listen, but it definitely grabbed me the next several spins through.

The grungy lyrics match the pissed-off spirit of the music, as the song mourns the loss of a common reference denominator for truth, warning that in its absence there is division, calamity, and ruin. "Together we rise, together we fall." Marc amplifies these powerful moments for us:

This track centers around the idea of false power and how someone could start to believe their own lies and self-hype, while others could fall for it. It can become a toxic relationship or even a cult kind of thing.

It may be hard to remember this far into this surreal "pause" in our world's history, but we too were afraid, alone, and angry for much of the pandemic's wake -- especially in those uncertain early moments when we followed the spread of this strange disease from China to Italy and onto the shores of Seattle and New York.

Darkness Falls by Doors To No Where

The aptly named "Fade" comes next, presenting at a doom's crawl with a sombre arpeggiated motif that summons the spirit of Trouble and Saint Vitus. Or you might hear a twisted, doomed-up variation of Metallica's "Enter The Sandman" in that low-end omen. "Fade was built of the rolling riff and bend," Marc explains. "I wanted it fat and raunchy." Certainly Pale Divine and Dirty Grave come to mind as I seek to match the mood with bands of similar spirit.

Then comes the pained chorus: "Run, run baby," which Marc illuminates in a very personal light:

"Fade" is about a friend of mine who is no longer with us. She was a larger than life personality that was loved by all. She played the personna and role of the happy-go-lucky person. She thought that's why people loved her and why they were friends. She was actually really struggling with mental health and depression though. She would behave in a way that she thought people wanted her to behave, while she was actually suffering. Those around her did not realize her pain or that their influence was making things worse. For years she would self-medicate with drugs and alcohol and that was celebrated by those around her.

I had started to see signs of her pain and tried to reach out. Unfortunately, I was too late. Any time anyone would reach out for help, she would disappear. The chorus line “disappearing one” is a reference to her pushing away and hiding from help. When she passed (sucide) everyone spoke of how special she was and how much they loved her. I was angry and sad. Why didn't more folks try and help her? My perspective was that coddling her addictions and self-medicated escape helped her to the grave.

The lyrics “We all love to see you fade, but don’t you go away” and “We all love to see you soar, but don’t you fade away” are references to the idea that sometimes humans are selfish in their relationships. Meaning that someone may give me the attention and things I need without me being aware of the sacrifices the other person is making.

"Worship The Machine" is another hefty doomer, with some wild guitar noodling contrasted against a rhythm that is quite machine-like as it dances stoically along its predestined chordal path. "Worship The Machine was written to be heavy and groovy," the band notes. "We wanted it to have a certain feel that pushed hard, while still having that chugging along kinda vibe." Closing in on the three-minute mark, Pete turns loose on the drums like a man possessed and the intensity continues when the rest of the band joins in, taking us right across the finish line to a crashing conclusion.

Darkness Falls by Doors To No Where

"I wanna live, but I'm dying" are words I can certainly relate to, not just in 2020, but in 2021, where the lingering impact of such a global (and personal) disruption is still very much a struggle on the daily. Turns out, my intuition was not far from the lyrical intent: "This song is all about the addiction to social media and how it corresponds with one's self esteem, mood, and self-worth. The social media world has become this giant machine and some are literally addicted to it. It creates this tool of status. I think it has truly impacted how people feel about themselves and others."

"Got Mine" is up next and this one is the most punkish track yet. It reminds me a lot of Soundgarden's periodic forays into punk, with songs like "Nazi Driver," "Never Named," and "Kickstand." On this point, Marc is clear: "Got Mine is influenced by the fact that I love old punk rock. I love the energy and the attitude. We wanted it to be loose but with tight stops and control." As to its meaning, we're told:

This song is about a revolution with the main character being selfish and self serving. So the character is done with the revolution or fight once their needs and wants are met. They are not really looking out for the cause or to tackle bigger issues for the good of humanity. They are actually looking for what is best for them. The chorus refers to a cold heart and lack of empathy.

Darkness Falls by Doors To No Where

All you lovers of southern sludge will dig "Policy" with its Goatsnake meets Acid Bath groove and sassy guitar lead. Speaking of Soundgarden, I really dig the Kim Thayilesque breakdown and stinging solo two-minutes in, though some may draw parallels with Crowbar here. These are all, of course, points of reference to try to do the near impossible: put the emotional experience of one listener (e.g. yours truly) into words. In the end, it's up to you to listen and find a favorite of your own. For my money, "Policy" is where it's at. Check out the fantastic dual guitar interplay two-and-a-half minutes in! Down, eat your heart out.

"Policy" is another riff I wrote to play off of a groove I heard Pete do during warm ups. It's got a swing to it but punches hard. Almost a heartbeat if you will. The solo was a direct result of playing the drums.

This track touches on letting toxic people go from your life. At what point do you stop investing in someone's negative energy? Fool me once, shame on you. Fool me twice, shame on me. It is the idea of surrounding yourself with people that want you to be the best version of yourself.

Up next: "Who Died", which summons all of the band's talents. Beginning with bursts of rapid-fire guitar picking set against a zombie-like beat and chorus, the song has something of a swampy feel. "I won't follow you!" Mr. Lewis shouts defiantly. I wasn't sure where the song would progress from there, and almost thought it was concluded at the false stop barely two-and-a-half minutes in. But the song rallies and the band pulls out its full force, with what sounds like the addition of the synth to present a layered effect that amplifies the intensity. I think this could have been developed even further, but sometimes brevity is the most appropriate option for a song.

"Who Died" was written off the chorus and intro. Zeppelin kinda riff. It's all about feel and giving the riffs room to breathe. This track is about the concept of thinking for yourself and not being an easy victim of mental or physical abuse.

The reverberating echoes of organ-sounding keyboards greet as "New Monster" takes its place next. We get our footing pretty quickly with a kind of "We Will Rock You" bass motif, but the song gets stranger and stranger as the seconds tick off. As with the previous track, there is a sudden atmospheric shift accompanied by furious strumming and ending on the swirling guitar theme we started with.

"Here we are, same ol' thing, round and round, 'ever again...I wanna run, I wanna breathe, I wanna live." This is, for me, perhaps the most relatable song on the record, lyrically speaking. This one especially gave off strong Prong vibes with its strong vocal lead, robust drumming, strong bass play, and industrial guitar feel.

"New Monster" was written in isolation and was originally an acoustic song. Even though the tempo is upbeat it's a dark and murky riff. We wanted the end out of the breakdown to hit hard. I imagine it building like a wave in the ocean.

Another track focusing on mental health with the idea of perseverance and to keep fighting, "New Monster" is the idea of not being perfect is actually perfect. We are all just floating on a giant rock in space and going through this thing called life together.

Darkness Falls by Doors To No Where

At last, we reach the record's namesake "Darkness Falls" -- the gem of this eight-pronged crown of thorns. I've always thought it was a great name. Darkness Falls is also the title of a 2003 movie about a malevolent tooth fairy, though I see no compelling reason to connect the film with either the song or record. I may not be too far off the mark, as Marc Lewis explains:

This concept came to me during the pandemic. I was watching so many folks struggling. All walks of life were struggling. Struggle isn’t biased and can hit anyone. “Please, please shine for me” and “Please, please glow again” reflect on how badly I wanted things to be better. For things to be ok. How I wanted those I love to be happy, safe and loved.

As it stands, Doors To No Where does a superior job of fleshing out the notion of "Darkness Falls" than previous contenders in any medium. The song stirs up a smokey, mysterious Near-Eastern ambience. Four minutes in and it's confirmed: there is indeed a synthesizer at play on Darkness Falls but its hypnotic effect in this song is interrupted by a screaming riffstorm and a gut full of churning bass. This song would make a great companion to "What The Hell Have I" by Alice in Chains. It also pairs well with Portland band A//TAR, whose metaphysical music we've also debuted in these pages.

"Darkness Falls" is special for another reason: Bob Balch of Fu Manchu and Big Scenic Nowhere was a guest on the album closer. "Him and I worked together on the track," Marc reflects. "He is a pro's pro and added so much to the vibe of the song. His playing and tone are phenomenal.

The new album Darkness Falls by Doors To No Where releases to the public on Friday, May 21st via Desert Records (pre-order here). This is its world premiere c/o Doomed and Stoned.

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Doors To No Where · DARKNESS FALLS

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Featuring Marc Lewis (Guitars/Vocals), Pete Testorff (Drums) and Marc Prefontaine (Bass). Doors To No Where have been making music since 2010. Their sound is heavily influenced by Santa Cruz and the local beauty it offers along with the rich history of music. Doors To No Where have been called a stoner rock band but also touch on elements of punk, doom, metal and even grunge.

Growing up on a skateboard and surfing has played a huge part on the influences of the sounds Doors To No Where like to include.

The band has toured in and been honored to share the stage with bands like, Mondo Generator, Fatso Jetson, Fu Manchu, The Melvins and many more.

Doors To No Where will be releasing 'Darkness Falls' (2021) via Desert Records on May 21st 2021. The fourth studio album features eight tracks and a special guest appearance from Bob Balch (Fu Manchu). Staying true to their roots, 'Darkness Falls' is a combination of desert rock and punk influences. The band tracked and recorded the album in the unusual quarantine times of Covid-19.

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#D&S Debuts #Doors To No Where #Santa Cruz #California #grunge #desert rock #punk rock #heavy metal #Desert Records #D&S Reviews #Doomed and Stoned

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elenamcwrites · 4 years

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folklore - a reading

If you’re a swiftie (officially not capitalized now), like me, you’ve probably been experiencing the mystical reverb and spiritual reckoning that is folklore. You’ve also probably been reading plenty of reviews and analysis articles--there are some stellar articles out there already.

Listening to the album is like lying in a meadow over the course of a summer day, afternoon thunderstorm, and the harsh sunset that comes afterwards, spiraling through memories and contemplation. It’s the best of the worst feelings you’ll ever have, and you can’t stop.

So, compulsively, I had to share my own interpretations and thoughts as I listen to the album again for the 7th time.

the 1 - Starting out with just piano, and then turning into what feels like a casual bop, the attitude of this song starts out very ‘I Forgot That You Existed’. And we hold onto that cavalier, ‘oh well’ attitude until... UNTIL. “If my wishes came true, it would’ve been you.” That line starts the slow ache that builds through the end of the track and makes this song much more more layered and complex than the first song of Lover. Perhaps this is a more honest version of the same feeling. Swift digs deep into that nostalgic feeling, letting us vibe to the wistful wishing at the same time. And of course, there is foreshadowing in the lyrics--film, graves, rose, chosen-family, painting. All of these reappear later on in various songs on the album, and some have been themes from earlier albums, too (especially graves).

Highlight lyric: “In my defense I have none // for digging up the grave another time.”

cardigan - We start with a beat that sounds reminiscent of “high heels on cobblestones,” and it emphasizes this early imagery. Being young is one of the major themes of this song, even though it’s also part of the triptych of songs about a love triangle. The nostalgia feels more specific to young love generally than to the specific lover, asking us to wonder why we judge the young perspective so harshly. The song is an anthem to how much she knew about love, including the pain of it, despite what people say. Swift has shown a special appreciation for the wisdom and raw experience of youth, and this song is another classic defense of the teenage experience. The metaphors in this song are classic Swift, and the structure of this song is reminiscent of ‘All Too Well’--the chorus lyrics change just a bit each time, and we get a powerful, gut-punch verse at the end.

Highlight lyric: “I knew you’d haunt all of my what-ifs // the smoke would hang around this long // cause I knew everything when I was young.”

the last great american dynasty - ‘The Man’ was probably Swift’s first real feminist anthem, directly stating how sexism affects her career and the perception people have of her. But this song gets at feminism from another perspective. First of all, she’s telling the story of Rebekah Harkness, who was the heiress that lived in her Rhode Island mansion before her. She was a trouble-maker in her town, blamed for her husband’s death and for ruining the calm status quo of the old money neighborhood. It’s completely apparent that Swift relates to this experience, and she likely knew some of this story before she purchased her home. In telling the story of a powerful, interesting woman, Taylor is rebelling against the patriarchy in a slightly subtler way than her previous songs--though she still makes her point pretty clear. Swift cares about the herstory of her home, and she’s made this story iconic by including it on her album. It’s like she took the idea of ‘Starlight,’ but instead of retelling a happy love story, she used her powers for an even more important tale. Now, there are also two potential connections to note: Rebekah also went by Betty, and her maiden name was West. Just remember that. And of course, the theme of the mad woman returns later as well.

Highlight lyric: “who knows if I never showed up what would have been // there goes the most shameless woman this town has ever seen // she had a marvelous time ruining everything.”

exile - I like to imagine this song as the follow up to ‘The Last Time,’ from Red. Both are duets, and they both have relatively simple, but strong chords as the primary musical backdrop. Where ‘The Last Time’ depicts a relationship at the cusp, moments before their final conversation, ‘exile’ is post break-up. She’s out with someone new, and we understand this is an unspoken conversation across a room. And the vibe of the songs fit with this progression perfectly. ‘The Last Time’ feels like anxious desperation, but exile feels heavy and depressingly final. We revisit the film motif, and there’s some potential connection to the archived ‘If This Was A Movie’. Now, is that intentional, or does Swift just really like movie imagery? Does it matter? The build in this song is arguably the best on the album, which I think is partly due to the style of the musicality, and partly because it’s helpful to have a lower voice to mix it up. This song sounds the least ‘Swift-esque’ to me--reminds me of Damien Rice most of all--but it still fits beautifully into the album. Also, lots of callbacks in here--town and crown are used a LOT in her prior albums. A few examples: “You traded your baseball cap for a crown” in ‘Long Live’, “They took the crown but it's alright” in ‘Call it What You Want,’ “Staring out the window like I’m not your favorite town” in ‘False God.’ Now, again, these could just be words that she loves to use (they also rhyme with a lot), or there could be some deeper connections. I’m guessing it’s somewhere in the middle.

highlight lyric: “second, third, and hundredth chances // balancin' on breaking branches // those eyes add insult to injury”

my tears ricochet - I’ll admit this song had to grow on me a little bit. Why? Well, I don’t love revenge-ballads. But, this is much more complex than LWYMMD, and like the rest of the album, it centers the more vulnerable side of her anger. This song is 100% about Big Machine Records and Scooter Braun. The funeral is for her--or the version of herself that died just before Reputation--and she is back as a ghost (or another version of herself) to haunt those who caused her death. It’s slow, moody, haunted... Everything you want from a bitter funeral march. The best part of this song is that she doesn’t solely pass blame. She shows off her self-awareness, which has become more common in all her music since 1989, but still very clearly places responsibility on Scooter for her ‘stolen lullabies’ (i.e. her masters). Swift claims this song is about young love gone wrong--but, death is a pretty intense metaphor, and given that she blatantly used it (for the first, and maybe only time?) to talk about her career, I don’t think anyone is buying it.

highlight lyric: “I didn’t have it in myself to go with grace // and you’re the hero flying around saving face”

mirrorball - Maybe I’m just a biased toward romantic and nostalgic songs, because I don’t love this one either. (I’m sorry!) But, here’s what I’ll say: this song is still exquisite. It reminds me of the reverb-radio-vibe of the late 80s songs, but with the astral, saccharine flavor of the rest of the album. If you condensed the Miss Americana documentary into a song, this would be it. A reflection (get it?) of fame and her desire to be everything to everyone--to be well liked, to be the center of attention. The coolest thing about ‘mirrorball,’ to me, is that she hasn’t written a song quite like this before. It’s sort of a manic-pixie-dream-girl version of herself. Swift is telling us that she knows who she is, and that comes with seeing the less ‘pretty’ side.

highlight lyric: “I’m still a believer, but I don’t know why // I’ve never been a natural, all I do is try, try try.”

seven - Can you say haunting innocence? This is a great song for half-attentive listening in the sun, and it could almost be a lullaby. In Swift-lore, the theme of childhood shows up every so often, like in ‘Mary’s Song,’ ‘The Best Day,’ ‘It’s Nice to Have a Friend,’ and ‘Christmas Tree Farm.’ This one is definitely the most dreamy, and it is also tinged with that darkness that consistently underlies all the tracks on this album--“Are there still beautiful things?” Imagine a sepia filter, and that’s kind of what this song embodies. Some fans have wondered about this song as a possible hint to bisexuality and/or relationships with women in general. (See Kaylor fan theories if you want to dive deep.) I can see this--the childhood friend has braids, which could imply she’s a little girl, and they ‘hide in the closet’. However, it seems more likely to me that this is coincidence. Lots of kids play in their closets, and if the song is about the friend’s father being angry all the time (and maybe abusive?) hiding in the closet also makes literal sense. I think the imagery in this song is some of my favorite on this album.

Another interesting point that I haven’t seen discussed so far is that Swift names this song ‘seven’ spelled out, yet uses the number ‘1′ in the first track title. The only other track she uses numbers in the name is ‘22′, which is about being 22. So, she could be trying to push past the idea that ‘seven’ is just about being 7 years old--though I do think it’s about that, too. She could also be intentionally connecting ‘the 1′ to ‘22′ in some way. They are both a similar vibe, and perhaps they even refer to the same time period in her life. If we go with that theory, who was T dating at 22? The most likely candidate for that timeframe is Conor Kennedy, which was sort of short-lived, and didn’t seem to end with as much fire as many of her break-ups. So, it’s possible that it’s about him. Or, maybe she just wanted to make sure we knew that ‘the 1′ was a concept she doesn’t really believe in anyway, and didn’t want to grant it the full word ‘one’. Will we ever know?

highlight lyric: “Before I learned civility // I used to scream // Ferociously // Any time I wanted”

august - It seems clear to me that this is the second song in the love-triangle narrative. I’ve heard people claim this is ‘illicit affairs’, but those people obviously haven’t looked at the lyrics. The narrator says ‘James, get in the car,’ which is directly connected to the lyrics in ‘betty.’ But, even without that obvious link, the style of august fits in with the stylistic choices of ‘cardigan’ and ‘betty’. All three have strong instrumental tracks complementing the vocals, soft harmonies, and lots of wistful lyrics. ‘illicit affairs’ cuts much sharper and deeper, but more on that later. Combining the dreamy vibes of ‘seven’ with the slight bop of ‘the 1′, this track is sticky--easy to get stuck in your head. The only thing I wonder about this song is how old this narrator is meant to be. They’re drinking wine, and she references going ‘back to school,’ which sort of feels like a reference to the college experience. But, the betty and james characters make numerous references that feel like high school. So, maybe this affair took place in another city with a college girl? I have to wonder if this is Swift referencing some of the age-gap relationships she’s been in. Again, with Conor Kennedy, she was 22, and he was 18. She also supposedly crashed his sister’s wedding in August, and that was the start of the end of their short romance. I’m just saying...

highlight lyric: “Wanting was enough, for me it was enough // to live for the hope of it all.”

this is me trying - If ‘The Archer’ was Swift confessing to her bad habits after a couple early relationship fights, ‘this is me trying’ is a desperate reminder a few months into the relationship. The two songs are sonically very similar, and I didn’t love the vibe (sorry, again!) the first time. But, I do love the artistic continuation. ‘this is me trying’ slows us down even more than ‘The Archer’ did, with a drum line that is almost like a heart beat, and it feels much less hopeful as a result. The lyrics are also some of the darkest I’ve heard from Swift--”I got wasted like all my potential” and “could’ve followed my fears all the way down.” My heart almost can’t handle this song, to be honest. She also references films again, but my favorite imagery connection is her standing over the lookout, which calls back to Rebekah looking out over the sea in LGAD.

highlight lyric: “and maybe I don't quite know what to say // but I'm here in your doorway”

illicit affairs - This song has that ‘All Too Well’ ache with a hint of ‘Death by A Thousand Cuts’ energy, and personally, I love it. You’ve got the busy instrumental strings underneath a simple, yet haunting melody line, and it’s that light, anxious tension that fits beautifully with the theme of the song. The lyrics depict the simple, small heartbreaking things that remind you of the pain you’re putting yourself through, which is reflected in the slightly surprising, soaring note at the end of the line in the verses. Whether you’ve actually been involved in an affair, these feelings show up in plenty of toxic relationships, and that universality is part of what makes the song powerful. The lyrics aren’t about pretty images, but that’s sort of the point. It’s prime Swift conversational lyricism, and you could pick out any number of lines that make a painful short poem all by themselves.

highlight lyric: “and you wanna scream // don’t call me “kid,” don’t call me “baby” // look at this godforsaken mess that you made me // you showed me colors you know I can’t see with anyone else”

invisible string - The primary love song on the album, this feels like a follow up to ‘Lover,’ maybe something she’d sing after being married a year or two. It’s sort of like ‘Mine,’ but much more mature, partly indicated by the pace of the song, which is steady and sure of itself. It’s also lovely to me that she’s returned to a bit of her country vibes--I ask you, would it feel like true end-game love for Swift if she couldn’t write a country love song about it? Back when she wrote country, all her happy ending songs were merely aspirational, and now they feel true. This is also 100% about Joe Alwyn, and to me, this is proof they have not broken up like some early reviews speculated. We also need to acknowledge that she’s past the Joe Jonas break up (um, good, that was ages ago) and is sending him and Sophie presents for their baby. I read a review that basically said this song seems a little too ‘all tied up’ for Swift, and that it doesn’t feel as genuine as a result. I sort of agree, but if we can take a sad song and accept that it isn’t how she feels 100% of the time, can’t we also do that with happy songs? Plus, she technically does say that it would be ‘pretty to think,’ which sort of implies it’s more a thought experiment than an actual belief. So, there’s that little twinge of sadness we needed to appease the folklore goddess. Oh, and of course, there’s a reference to Lover’s color scheme, saying time “gave me the blues and then purple-pink skies.” Which, many Kaylor hopefuls read as a reference to the Bi pride flag. To that, I just say... Maybe?

highlight lyric: “time, mystical time // cutting me open, then healing me fine”

Mad woman - My favorite thing about this song is the piano melody that happens in the background the whole song, working in concert with the main melody, but also completely independent (and haunting). It reminds me of one concept of madness--having multiple voices or thoughts going on simultaneously. But of course, it’s artfully and perfectly put together, which is the whole point. What could be perceived as madness is, in this case, what makes her able to create a masterful work of art. Now, this is also certainly a song about her masters, Scooter Braun, and Scott Borchetta. But it is also another feminist anthem. Women are taught not to be angry, not to yell, not to react with any emotionality otherwise we are discredited entirely. Swift directly calls this to attention by explaining that we’re angry for a reason--often antagonized intentionally until ‘you find something to wrap your noose around.’ She also makes the important point that women can also ‘hunt witches,’ and can be complicit in treating one another poorly. This is a reference to Scooter Braun’s wife defending him publicly against Taylor. Probably the most savage line is about the ‘master of spin’ having affairs, which she implies his wife knows about and seems to passively accept. But Swift doesn’t go too hard on her, reminding us that ‘no one likes a mad woman’, and that pressure is real. Could this ‘master of spin’ also be Scooter? I think probably. But I did read that some people are connecting this song to Hillary Clinton (she’s a scorpio, and the song references a scorpion sting), and that maybe Trump is the adulterer here... I feel like that’s a stretch, but I appreciate the interpretation.

highlight lyric: “What a shame she went mad // You made her like that”

epiphany - I suspect this song is directly related to how Swift is processing the current state of the pandemic. The atmospheric vibe with slow, clock-ticking beat in the background really feels momentous and poignant. Yes, she starts with images conjured from her grandfather’s stories of World War II, but she quickly seems to compare this awful battle to the doctors fighting COVID-19 on the frontlines in hospitals. The lyrics are simple, repetitive, and powerful. With so many ill literally struggling to breathe, the lines about breathing out really do hit especially hard these days. I can’t believe that wasn’t a thoughtful choice. The chorus is just barely hopeful, reminiscent of the numbness we all have to use as a coping mechanism to get through traumatic experiences. But it’s that little sliver of hope that makes the song even sadder--is that possible?

highlight lyric: “only twenty minutes to sleep // but you dream of some epiphany // just one single glimpse of relief // to make some sense of what you've seen”

betty - Give me all that Tim McGraw, Love Story, early Taylor pop-country. This song is definitely enhanced in part because of its connections to ‘cardigan’ and ‘august,’ but it stands strong on its own. It’s old news at this point, but James and Inez are based on the names of Blake Lively and Ryan Reynolds’s daughters, so it’s all-but-confirmed that their third daughter was named Betty. Written from the perspective of James, there is massive speculation out there about whether the narrator is meant to be a boy or a girl. There are reasonable clues on both sides, so I’ll just say this: I love Taylor, but she’s always been a little late to the party when it comes to socialized ideas of male/female. Because of that, I don’t think she’d have a female narrator riding a skateboard. I also feel from the style of narration--“I don’t know anything;” “just a summer thing;” “would you tell me to go fuck myself”--it does sound more like stereotypical teenage boy language than what we know as swiftie teenage girl language. What I do like about this song, though, is that because it’s written from James’s perspective, it does sort of leave a wider opening for personal interpretation than some of her other love-story-like songs. The reason I personally love this song is that it’s mostly about redemption and forgiveness. Everyone has wished someone who broke their heart would write this song about them, and so it offers catharsis. Plus, it’s the only song on the album that truly feels happy at the end--thanks, key change! It’s refreshing and heartening, and it’s good timing, too. After the heaviest song on the album, we needed it. (Oh, and there’s a callback to the broken cobblestones from ‘cardigan’. And then he literally mentions her cardigan. So.)

highlight lyric: “if you kiss me // will it be just like I dreamed it? // will it patch your broken wings?”

peace - The vibe of this song is like laying on your couch in the summer with light coming in through the blinds and the ceiling fan is going around just fast enough to keep the warm air circulating, but not really cool you off. This song has a hint of ‘False God’ style, a little jazzy, but otherwise, it’s a pretty fresh feel for Swift. The message fits this thoughtful, lightly antsy feeling. She’s basically saying she wants to start a family with Joe (no, I don’t think she is literally pregnant yet) and settle down, but there is no real ‘settling down’ with her level of fame. I also think that Swift truly enjoys making music, performing, and engaging with her fans, and she doesn’t want to leave that life behind any time soon. So, she’s asking him if he can make that work. It’s, again, a mature vision of what a long-term relationship can actually look and feel like. Not all of us can truly relate to the burdens of fame, but there are other ways we can be unable to ‘give you peace’. No relationship is idyllic forever in the way romantic love often makes it out to be, and this song gives us a more realistic, consistent example. And just in case we thought this was just a nice song, the whole ‘clowns to the West’ is another potential Easter egg. In the lyric video, east is not capitalized, but West is. Most likely, this is a dig at Kanye. If we want to believe Taylor wasn’t being vengeful, it could potentially be a reference to Rebekah (West was her maiden name). I lean toward theory one, although it’s kind of amazing that it works out such that it connects to both.

highlight lyric: “but I'm a fire and I'll keep your brittle heart warm // if your cascade ocean wave blues come”

hoax - (Phew last one--I don’t have access to ‘the lakes’ yet) Swift can’t end the album without bringing us all back to the raw emotional space she opened up within us. This song brings back similar piano lines from ‘mad woman’ and the image of screaming on the cliffside. Chronologically, ‘hoax’ feels like it takes place after or during the death of her reputation, i.e. the feud with Kim and Kanye, when she was still very vulnerable. Based on timeline, this seems likely to be either Calvin Harris or Tom Hiddleston. It could really be some combination of the two, since many songs aren’t really about just one person. My gut tells me it’s primarily about Calvin, since she’s referenced that they didn’t have a very faithful relationship--”your faithless love’s the only hoax I believe in.” Both relationships travelled a lot--“I left a part of me in new york.” I’m guessing she’s referencing the feud with Harris over her writing credit on ‘This is What You Came For.’ She takes attacks on her career as seriously as hurtful relationships, and since she’s referencing being torn apart by the media when she says that “what you did was just as dark,” I think it’s likely that this also has something to do with hurting her reputation. It’s another hauntingly beautiful song, and you can totally imagine yourself out on that cliff looking at the midnight sea as the piano line ends.

highlight lyric: “you knew the password, so I let you in the door // you knew you won, so what's the point of keeping score?”

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

Overall, the album is my favorite of Taylor’s so far for two reasons: 1) the continuity in both theme and sound is stellar, and 2) there aren’t any songs that I don’t like. Usually, there are 1-3 songs on Taylor’s albums that are either forgettable or too on-the-nose for my taste. I’m sure that is a product, in part, of having to craft songs for radio-play and for her amazing, cinematic live shows. Having given herself the freedom to make whatever music she wanted without thinking (so much) about whether they’d top the charts or be good for a stadium concert, she made an album without a single ‘pop just because’ track.

Now the real question is... What will she do with the remaining 6 months of quarantine???

#taylor swift #swiftie #folklore #album thoughts #folklore thoughts #ts #ts8 #tswift #who else was supposed to go to lover fest?

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greenlightmusicreviews2 · 4 years

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Hyperion - St. Lucia | Album Review • 7/10

Now Playing: Hyperion by electro-pop outfit St. Lucia.

I feel like where we fit in and where we're unique is that what we do is positive, but it's also not preaching to you or hitting you over the head with a message. I think it makes you feel positive.

- Jean-Philip Grobler (2018)

Bright, dancing keys - big, reverb-drenched drums - and bright, energetic vocals is how Hyperion, the third album from St. Lucia, electro-pop artist extraordinaire, begins.

“Bigger” is a heavy dose of the feel-good pop music that Jean-Philip Grobler - St. Lucia bandleader - is so intent on delivering. In his own words:

“I think that we need more positivity,” [Grobler] concludes. “Not in a brain-dead way where we don't acknowledge problems, but rather to show there's a way to overcome them. You can make reactionary music that is negative and aggressive, but I gravitate towards the things that feel more inspirational. Social change has often come from a positive force, not an anarchistic one. How can you make your life the most enriched positive thing that it can possibly be?”

Not every song sounds like the feel good hit of the summer, though every song does carry this quality of positivity. Even in darker sounding songs like “A Brighter Love,” where these dark, introspective synths glisten below Grobler’s lilted South African tenor, with partner-in-crime Patti Beranek offering her vocal talents in the chorus where the song “finds [its] way to a brighter love” complete with handclaps and sonic burps that remind me of Chi Ali’s repetitive uh - come on! on Black Sheep’s “The Choice Is Yours (Revisited).” On a similar note, the fourth track “Walking Away” is as aggressive as it gets on Hyperion which has the memorable line “the summer days are numbered.”

“Walking Away” brings me to the unabashed 1980s synth-pop influence that is all over this record.

I had a friend tell me once that the 1980s was one of the most influential periods for pop culture - especially for music, basically saying that a lot of what we hear from many artists today, you can pick out the influence from ‘80s musical trends. I don’t think that’s a totally unfair claim to make - I think a lot of rock acts from the 2010s certainly had a neo-hair/glam metal way about them; there is of course the Lady Gaga/Katy Perry comparison to Madonna; and the wave of synth-oriented acts like St. Lucia.

You can hear the ‘80s influence often in the musical themes and motifs. The triple-threat of “Walking Away,” “Tokyo” and “Gun” are all very reminiscent of that cool mix of new wave synth and funk guitar with some big nods to classic rock of the 1970s. Take a song like “Gun,” for example, the faux-horns and the triumphant dun-dun-dun-dun electric keyboard that would not sound out of place on a latter-day Phil Collins record, and with a chorus that is achingly catchy. In fact, a lot of the album’s best moments manage to combine an older, traditional pop styling with a bit of psychedelic moments that are taken straight from Dark Side of the Moon. In particular, “Tokyo” and “Gun” both feature these dazzling and winding synth leads that remind me of the VCS 3 synth used on “Any Colour You Like.”

I want to highlight that line of thought - what Hyperion does best is blend traditional pop styling with a tinge of psychedelia that comes out in songs like “Paradise Is Waiting” with it’s sunny gospel-style choir and lyrics like:

Every night I dream about a man who takes my place Tells me to go up, up into the highest mountain In the dream I wait, among the lonely ancient beings ’Til I hear that voice, telling me to come to paradise

“Paradise Is Waiting”

“Paradise Is Waiting” is of course, one of a few songs featuring, again, the Pink Floyd-esque synthesizers, which brings me to “Tokyo,” where the synth comes in at around the halfway mark and just takes the song to the next level.

One of the album’s biggest highlights for me is “Tokyo,” a love song for that popular Japanese metropolis. The drums are perfectly understated, and the synth work is tastefully done with gorgeous vocals that are stacked and harmonized to perfection. The hook is catchy and not in the way that other songs are where it can be gratingly so.

Later on in the record, it does lose a little bit of steam. “China Shop” is good, though the annoying synth lead imitating something that I think is supposed to sound Chinese does not do it for me. A lot of the back end of this record begin with interesting ideas and sounds, and there are some great, lush and atmospheric instrumental passages (intro to “Next To You,” all of “Last Dance”) that don’t lead anywhere that makes it enough of a satisfying listen, and often just devolve into cliches by album’s end. Do we really need another song about “saving the last dance?” And “Next To You” has a verse where the descending chord progression has been done to death and reminds me of “Overkill” by Men At Work.

Although the group does occasionally fall into instrumental and lyrical cliches mentioned before, there are some poignant moments where Grobler displays his talent for writing thoughtful lyrics.

Apparently there’s a bit on this record that’s meant to be confrontational and political. “Gun” for example is an examination on the issue of gun control and power dynamics between men and women - however, there are times when Grobler’s lyricism is just too vague and toothless for any meaningful dissection of what he wants to get across. It’s interesting that “Gun” is the song that he chooses to make as an example, because there are other songs that convey his political messaging much better. A song like “Next To You,” which I wasn’t terribly impressed with, does have some of the most direct and interesting lyricism on the record:

And millions of people keep checking their phones As a Labrador keeps licking the bone That it hid in the earth 5 years ago The director tells the actress to say her lines quick There ain’t no time here to overthink The world’s changed, and it’s changing so quickly And can’t we build a skyscraper 20 miles thick And fill it up with all the shit that we bought At the president’s impeachment sale

“Next to You”

Even the album closer “You Should Know Better” manages to maybe convey some kind of message to the political and upper class in America.

Hyperion at times manages to reach the potential that its leader seems to so passionately reach for: music that is positive, meaningful, thoughtful and provocative in a proactive way - but sometimes it just amounts to pleasant-enough sounding electro-pop bedroom hits. In a featured piece in Riff Magazine, there’s a very touching and illuminating part of the profile where Jean-Philip is utterly candid in his experience recording this album:

[Grobler] felt like pop music stopped being about being truthful and inspiring others. “I take what I do very seriously, and I didn’t know how to bridge that gap,” he said. “I felt like what I was trying to make was so at-odds with where the music world is heading. Sometimes I wondered if it was even possible. It’s like climbing up a sheer rock face and not seeing another ledge to hang off of.”

Riff Magazine | Sept. 25, 2018

The back-and-forth struggle between the need for honesty and truth in your music, and the desire for artistic relevancy, was clearly on display on this record. No doubt the music industry has long been a pretty machine that spits out pop hit after pop hit while disposing of artists when they have no use for them anymore, but there are a lot of “pop” artists that still manage to create totally compelling works while not necessarily becoming the Billboard darlings, or while even being critical/commercial chart toppers. St. Lucia, and Grobler in particular, totally appear passionate about the music they create, and I hope that on future records that they can just run with it with no pretense of who to please other than their following and the muses in their heads. That’s when a lot of the best music is made.

Hyperion: 7/10

Favorite songs: "Paradise Is Waiting" • "Walking Away" • "Tokyo" • "Gun"

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miraculousmidnightreviews · 5 years

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There will definitely be an explanation for my review of reputation

Album: reputation

Artist: Taylor Swift Rating: 5/5 stars

I would first like to preface this review with one fact: reputation is my favorite album by Taylor Swift. It should be noted that I did not rate this album based on the average of each individual song rating. (If I did, the actual album rating would be 4.5 stars.) But I felt that this album deserved more. So much more.

What I admire most about reputation is its honest introspectiveness. I think it’s safe to say that no one predicted this album to be The Next Taylor Swift Album. The lead single is distinctly not like previous Swift singles, providing an unexpectedly darker side to Swift. And the album cover is devoid of Swift’s usual bright or pastel colors. Yet what people brushed off as a risky and failed move designed to turn around Swift’s career, her reputation, became the most truthful album of her discography.

At this point, whether you’re a fan of Swift or not, you can’t doubt her abilities. She knows how to create chart-topping hits; she knows how to pen heart-wrenching ballads; she’s done it before. And she’ll continue to do so for the rest of her career. But reputation was never meant to be the next 1989, the next record-breaking financial success (although it was to some extent). This album was meant to be something else entirely: an admittedly risky exploration that only Swift could pull off.

And I respect that immensely. This album is honest, and it’s brave. It might not be her most sonically cohesive or lyrically complex album, but it wins anyways. I love that the songs are in chronological order as they pertain to Swift’s life, and while that means it can be hard to listen to the songs without skipping around, the album itself is a journey through Swift’s year of solitude, through her mind space and blossoming relationship, through her life away from the eyes of the public and the media. To me, it’s clear Swift wrote reputation not because she needed to stick to her schedule of releasing an album every other year, but because she just needed to cope with events in her life. I appreciate that maybe even more than the honesty: that Swift wrote this album because she needed it; she wrote it for herself and no one else.

In anticipation of Lover coming out on Aug. 23, I will be reviewing each of Swift’s albums up until the forthcoming album’s release. I can’t wait to listen to new TS music, and I hope these reviews will provide a wistful and refreshing glance at past eras as we look forward to a brand new one.

Continue reading below for my review of each individual song.

1) ...Ready For it?

Rating: 4/5 stars

*clears throat*

At first listen, I was unsure of the mix of rap and singing. But it’s now one of the songs from this album that I play when I’m in That Mood™.

Did I mention Taylor raps?!?

The pre-chorus is so “Wildest Dreams”-esque that I can’t. I just can’t. (Also, sexy!)

That Elizabeth Taylor reference!!! I love it when artists make pop culture references in their works. It gives me a dopamine rush.

As always, it’s nice to hear Swift play with the perception of herself. She’s just so great at turning her reputation as portrayed by the media into a clever and witty line or song.

i’M So vERy TAme nOW (Sarcasm on point. She did that.)

2) End Game (feat. Future & Ed Sheeran)

4/5 stars

Taylor raps! Pt. 2

BIG REPUTATION

I love the features on this one, and I’m very surprised by Future. But that’s Taylor Swift, keeping us on our toes.

This song includes the first of many references to alcohol from this album. A first for Swift, but all those who are surprised need to grow the fuck up. Because Swift certainly did.

Also, notice “End Game” has the first mention of gold, a motif that will continue throughout the album.

3) I Did Something Bad

Rating: 5/5 stars

Probably my favorite song from this album. The live performance was also my favorite of hers.

badass vibes all the way

IF A MAN TALKS SHIT THEN I OWE HIM NOTHING

I am absolutely in love with the feminist-y witch metaphor in the bridge. Iconic.

Also cool that Swift was inspired by Game of Thrones for this and other songs from this album.

4) Don’t Blame Me

Rating: 5/5 stars

All the gospel feels

TAKE ME TO CHURCH, TAYLOR!!!

THAT high note

Once again, the honesty

5) Delicate

Rating: 5/5 stars

When the album first came out, this was the song that I immediately played the most and connected to. I just adore how she was able to take these universal feelings and put them into a song that anyone just starting a relationship can relate to.

The music video is so underrated. It’s so cute and happy and I just love it and her so much.

1 2 3, LET’S GO BITCH!!!!!!

The repetition of “isn’t it?” to reflect anxiety is, once again, an example of Swift’s lyrical genius.

6) Look What You Made Me Do

Rating: 4/5 stars

YOU’LL ALL GET YOURS

A lot of people did not like this song when it first came out and some still don’t. I happen to like it a lot. While the chorus is not my favorite, the verses bite with amazing zingers and that’s what hooks me.

I think when everyone first heard this song, we assumed the rest of the album would sound similarly: dark and filled with vengeance. But with the exception of a few songs, I would consider reputation to be one of Swift’s happiest albums. There are certainly dark overtones, but at its heart, reputation is an album about love and acceptance in the aftermath of Swift’s metaphorical death. If you consider 1989 for comparison, the composition of its songs (and even the album cover) present a romantic and hopeful facade, when actually, many songs have depressing lyrics about the fate of romantic relationships.

The bridge is so reminiscent of the bridge from Blank Space in a way. They give me similar vibes, except LWYMMD’s is the follow-up to that of Blank Space.

This song has one of my favorite music videos ever. I love when artists tell stories through their music videos, and Swift never fails at storytelling. (Also, a fantastic lyric video!)

7) So It Goes…

Rating: 2.5/5 stars

I feel like this song embodies what everyone expected from this album at first glance: dark, techno pop.

This one doesn’t really do much for me, but I enjoy the extended metaphor of the magician.

Too much techno, in my opinion.

But sexyyy—“scratches down your back”

8) Gorgeous

Rating: 3.5/5 stars

This song gives me old Taylor vibes, just with a new production.

“Gorgeous” does such an excellent job at conveying the thoughts and feelings surrounding first attraction between two people.

“I guess I’ll just stumble on home to my cats.” Relatable.

Give the original lyrics a listen from Swift’s the making of a song video. They’re heartbreaking.

9) Getaway Car

Rating: 5/5 stars

Now this bitch is DEFINITELY old Taylor storytelling at its finest.

That Tale of Two Cities reference!

THat BRidGE!!!

“And a circus ain’t a love story. And now we’re both sorry.”

Just the complexity of feelings portrayed in this song is utter perfection.

Bonnie & Clyde!!!

This is one of those classic Taylor songs that you turn all the way up while driving down the highway at 70 miles per hour, screaming at the top of your lungs. GO GO GO!!

(not that I’ve ever done that. I follow all speed limits :))

10) King of My Heart

Rating: 4.5/5 stars

The only reason this song doesn’t get 5 stars is because I could have done without the added production (less techno plz).

The beginning always gets me. This and “Call it What You Want” have the saddest beginning lines on the album.

Overall, this is just cute af. Pure fluff.

“jAguARs”

The drums on tour were a wonderful bonus.

Also, the bridge. Swift writes some damn good bridges on this album and just in general.

11) Dancing With Our Hands Tied

Rating: 2.5/5 stars

This song, like “So it Goes…,” doesn’t really do much for me, even though it seems to be a fan favorite. I really preferred the acoustic version of this that she played on tour.

But I appreciate the versatility of her song topics as well as her voice.

12) Dress

Rating: 5/5 stars

First reaction while listening to this song: OMG TAYLOR!!! sexyyyyyy

Her voice *heart eyes*

The pre-chorus is so much fun to sing!!!

“I’m spilling wine in the bathtub” gives me high school party vibes for some reason lol

13) This is Why We Can’t Have Nice Things

Rating: 4/5 stars

I really love everything about this song, except for the chorus. It just wasn’t as fun to sing along to as the rest of the song. (Although purposefully making it sound childish was an effective way to get her point across).

That Gatsby reference!

love Love LOVE the tongue-in-cheek attitude

She missed the parties :(

14) Call It What You Want

Rating: 5/5 stars

so soft & pure

A recovery song is what we really deserve. I love that Taylot took this time for herself.

My heart just bursts when I hear this song.

That feminist bridge tho—a mature and fulfilling continuation of “Love Story” in a way

15) New Year’s Day

5/5 stars

Bittersweet—the perfect closing song to this album

This song perfectly showcases Swift’s heartachingly beautiful songwriting talent.

“please don’t ever become stranger whose laugh I recognize anywhere” really gets me.

With this conclusive song, I can say that Taylor Swift is truly happy and okay. And I’m so proud.

Thanks for reading! I hope you enjoyed this review! Check out other reviews here!

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happymetalgirl · 5 years

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Tool - Fear Inoculum

I didn’t actually intend to review the long-awaited fifth Tool album so long after its release, time and life got in the way of things, but I’m kind of glad in a way that I’m talking about it now after all the inevitable and ridiculous hysteria surrounding it has mellowed out, which is (spoiler) kind of a sign of the album’s relative quality next to the band’s other four records in and of itself. And, while now I get to talk about it without the confounding noise of the loud clamoring on about it, I don’t really think my words would have really been too different a month and a half ago than they are now.

Tool are a band, of course, who need no introduction; their cerebral brand of progressive alternative metal has become signature and iconic, and their four albums from 1993 to 2006 that preceded this one have served as an influence, if not a lofty aspiration, for thousands of artists since then. Like any self-respecting Tool fan, I consider Lateralus and Ænima to be roughly neck and neck at the top for my favorite spot in the band’s discography (the joint “Parabol” and “Parabola” together being my personal favorite Tool song). Those two albums show the quick crystallization of the band’s progressive metal psychedelia from their rougher, grungier beginnings earlier in the 1990′s. Though I do hold a lot of respect for how accomplished of a debut statement Undertow was, and how much ground it laid for the two albums to come. And even Opiate served as a strong prequel EP to that album. The band’s fourth album, 10,000 Days, however, took a perplexing turn from the heady, yet still metallic prog hallucinations the band had worked up to, and into more drawn-out, spacey experimentation, which I’d say haven’t really aged into anything and sound about as unnecessarily dilute and jam-band-ish as the day the album released in 2006. The album had its high points like the thundering bass of “Vicarious” and “Jambi” and the alternative metal oddity of “The Pot”, but it’s a largely tiresome and less rewarding listen than its predecessors. And that was the last we heard of Tool for thirteen years.

The tremendous wait for the album of course drummed up a lot of speculation of what it would sound like in relation to their previous works. Would it be a return to the beloved progressive metal of Ænima and Lateralus? Would it be a culmination of all their sounds in retrospect into one gargantuan crowd-pleaser? Or would it be something totally new for the band. Not to toot my own horn, (and not like I can prove this anyway), but I had this hunch that this album would probably be just a delayed continuation of what the band were doing on 10,000 Days, and, while there is the occasional reinvigoration of their sound with some stylistic callbacks to their middle two records prior, lo and behold, as much as I wish I didn’t, for the most part I guessed right.

Coinciding with the band’s acceptance of the times and the advent of streaming with their release of their catalog onto digital platforms, Fear Inoculum was released as a single-disc CD and as a longer, digital version, with three extra instrumental interludes sprinkled throughout the track listing stretching it past the limits of the CD format to nearly eighty-seven minutes, and it sure feels like the hour-and-a-half-long listen that it is, and not in a flattering way. Like I said, the album is largely a continuation of the atmosphere-focused prog of 10,000 Days, which is only somewhat updated from the band’s 2006 effort. The main songs are all over ten minutes long, and the similarly low energy across the marathon track list doesn’t really make a great case for this direction in contrast to what the band have shown themselves to be great at, namely vibrant, untethered prog adventurousness.

The opening title track layers together plenty of diverse tom percussion and the band’s recognizable guitar reverb into a slowly growing and whirlpool (kind of like the album cover) of Tool’s 10,000 Days sonic pallet that gradually cascades into a thicker, distortion-fuzz-driven finish. The abstract, cryptic lyricism about shedding the influence of manipulative fear mongering is more cryptic than poetic, but I can see the vagueness of the subject being a good way to make it widely and appropriately applicable in its commentary and play into the paranoia of refusing to acknowledge exactly what this deceiver is. As a tension-builder, it’s a great way to start the album off, but it doesn’t really seal the pay-off as the heavy bass line tries to usher in a climax while the other instrumentalists mostly just coast on forward to the end of the song like a tired distance runner giving a bit of a burst to finish the last stretch. And that’s one of the shorter tracks, with over an hour left to go.

The second song, “Pneuma”, is structurally not too dissimilar, with a synthy bridge this time connecting the meditative tom-drum/reverb-guitar build-up to a relatively hum-drum metallic non-finale. It really only marginally feels like it’s that kind of progressively building song, clearly being more focused on its meditative ambiance than its intentional trajectory. In which case, I would have honestly probably preferred the band taking that approach more holistically, rather than trying to fit it into a prog metal formula. Lyrically, the song centers around a lot of transcendentalism that Tool have written about before, not really adding much new beyond perhaps a slightly different angle to meditate on it from. The song is followed by the first of the instrumental interlude tracks, “Litanie contre la peur”, which plays around with a melodically manipulated vocal inflection over some humming ambiance for about two minutes.

The third big piece on the album, “Invincible”, which finally plays a little more to the band’s progressive strengths. The guitar groove is actually allowed to drive the song and shine in a more energetic manner as Danny Carey gets to get a lot more bombastic behind the kit, as do the rest of the band during the instrumental sections throughout the song. It’s not only a more metallically groove-driven song whose heavier elements are actually used to cultivate a sense of meditation from a much more signature angle, but also a more interestingly progressive song that does more than just slowly swell up to a mild crescendo for ten minutes. The worries of the song’s warrior speaker are pretty transparently transposeable to the worry and struggles any aging artist (especially a long-absent artist like... Tool, maybe) to maintain their importance and the meaningfulness of their work.

The ominous bass hum of the second interlude track, “Legion Inoculant”, leads into the fourth of the album’s main epic songs, which keep getting longer and longer with the thirteen-and-a-half-minute environmental apocalypse warning “Descending”, which pleas for an end to the apathy that exacerbates the compounding climate crisis. Musically, the song plays into the somber melancholy of the lyrics, while taking a more balanced approach between the spaciness of the band’s last album and the heavier elements of Ænima in particular, perhaps intended given the similarity of that album’s title track’s subject matter. While some of the later sections feel a bit over-indulgent, this song deserves its length as it cascades through emotive defeatism via progressive metal ebbs and flows into this impending metallic crescendo that actually fits nicely with the melancholic rock build-up and the lyrical implications; it sounds like its tracking the collapse of , much like the title track of Ænima., starting and finishing with the sound of waves upon the shore that will continue to crash, just as they did before our takeover of the land, after our demise.

While the lyrical concept revolving around self-doubt and of “Culling Voices”, is fascinating and all too tangible, the music falls more on the mild side again, with the band’s softer, more meditative atmosphere crashing just twice into explosive, but unimpressive climaxes of muscular, but not too creative, guitar riffing. The longest of the interludes, the wind-chime-laden and effects-doused electronic pulsing of “Chocolate Chip Trip”, features a tasty little drum solo to kind of make up for the lack of spotlight Carey gets on this album as he does so much of the rhythmic legwork, which I certainly appeciate and welcome.

The closing epic, “7empest” was the song fans were fawning over the most as a monstrous riff-fest after the album was finally released, and the riffing across the song’s almost sixteen minutes, as well as the repeating of the lyrical mantra, do capture some Ænima vibes, which makes sense knowing it was pieced together with motifs written during that era. The song’s lyrics once again call back to that breakthrough album with the repetition of the mantra “A tempest must be just that” in reference to the convenient muddying of the waters of responsibility for disasters caused by said chaos once it arises. It’s a song about those in power managing to use the chaos they create through their mismanagement to hide their guilt and just divert the blame on the chaos itself. The song is proggy in Tool fans’ favorite way and indeed dense with churning effects-laden riffage and a faster, much more aggressive vocal performance from Maynard James Keenan. While it is the longest, heaviest, and most vintage-Tool of the tracks here, I’d say it only stands a bit above the rest of the track list, and honestly maybe not surpassing the magnificent “Descending”.

The digital version wraps up with the odd, but disposable coda of the two-minute chirping sample manipulation of “Mockingbeat”, a strange note to end this version of the album on, but ultimately nothing destructive.

I had talked about Rammstein’s self-titled album and Slipknot’s We Are Not Your Kind as being among the year’s biggest of the biggest metal releases, but the long-awaited arrival of Fear Inoculum tops them both. Yet for all the drama building up around this album, all the hype that was inevitably going to hoist hopes and expectations to astronomical and similarly inevitably unrealistic levels, Fear Inoculum sits average at best, if not rather low in the band’s small catalog, and the rather quick hushing of this hype from fans and the metal sphere in general shows that I’m not alone in my relative underwhelmedness after the thirteen-year wait. While that sounds harsh, it is just because this album had such incredibly high expectations to live up to that it was most likely never going to meet. Fear Inoculum isn’t a terrible album by any means, but it does suffer from being drawn out the most by its weakest elements, its least creative ideas stretching it out in hopes of finding purpose for doing so, but coming back empty-handed. A little while after the album came out, Maynard made some kind of comment about this album being great eight years ago, which suggested that it had been in the works for a long time but perhaps held up by frivolous reasons, but also that it was composed largely near the time of 10,000 Days, as I thought it might have been, and it just kind of bugged me that this album probably didn’t need to be the huge prodigal event it was, maybe just an acceptable transitional moment for Tool to figure out what they wanted to do with their expanding sound arsenal. Instead we got arrested development dressed up as a comeback at a time when we might otherwise have one or two more albums from this band (by their releasing pace), possibly more accomplished. I had mentioned in my review of Opeth’s newest album that they deserved the patience with their prog rock transition, and that album showed it. It took four albums to get a record that could stand tall alongside their progressive death metal classics, but it came, and the journey did come with some good highlights along the way too. The journey to this album was a test of patience with clumsy publicity for several years more than anything else, not quite as rewarding, no music to offer along the way (aside from side projects), and still a sense of a band just picking up where they left off years ago without really assessing their direction. I’m glad Fear Inoculum is finally here, but I think others will share this sentiment with me even if they haven’t said it to themselves out loud. Yes, we got a few strong highlights out of this record, but I’m more relieved that the fiasco surrounding the wait is over than I am excited to have this batch of new songs (the latter of which I wish outweighed the former).

6/10

#Tool #Fear Inoculum #progressive metal #psychedelic rock #psychedelic metal #progressive rock #experimental metal #experimental rock #new music #new album #metal #heavy metal #album review

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wzly · 4 years

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Mashrou’ Leila Concert

By Annika Schafer

On one of the first crisp fall mornings of my time at Wellesley, I escaped from the chill into my 8:30 introductory Arabic class. My professor handed me a sheet bursting with Arabic text—what looks like a poem. But it’s not a poem, it turns out to be a song.

The music video opens on a man in a car wearing a black graphic tee with an outline of a tuxedo on it. The vocals begin immediately, a rousing, lilting rhythm punctuated by a clear, charged quality to lead singer, Hamed Sinno’s voice. As the camera view zooms out, Mashrou’ Leila’s distinctive violinist, Haig Papazian begins to play and we see that the car isn’t actually moving at all but is on the bed of a tow truck. The drums kick in, and the truck drives away, the car riding off screen along with it.

There are almost boundless layers of symbolism to the video—the façade of masculinity on the ‘tuxedo’ tee, the semblance of control when he’s driving the car, and so many other things past the first shot in the video.

And when I saw it in that Arabic class, that was the extent of the nuance and meaning that I could access. However, their sound and their socially revolutionary message transcends language barriers and drew me to them. In just the few months from October to the end of the calendar year, Mashrou’ Leila had become my #1 played artist on Spotify.

I was a fast fan, and as I picked up more Arabic, I was able to appreciate bits and pieces of the content of the songs’ lyrics more and more; I watched their Tiny Desk performance (link), watched and read interviews, and gained some context.

The band was born in 2008 in Beirut, Lebanon, formed by five young Beiruti college students dissatisfied by the status quo and uninterested in indulging societal expectations. Mashrou’ Leila is a name of dual meanings; one possible translation--Project of the Night--reflects the time at which music is often created and enjoyed. Another possible translation--Leila’s Project--plays on the very popular Arabic name, Leila. Their lyrics speak to everything from police brutality, corrupt politics, and gay night club shootings to the innate gendering of the Arabic language, gender constructions, and sexual freedom to getting really drunk at a club. The band orients themselves towards speaking truth to power, and this—as well as lead singer Sinno being openly gay—has made them the target of attacks, condemnation, bans, and threats. Their concerts often leave protests in their wake, and after a concert of theirs in Jordan was cancelled by the Jordanian government, they were informed that they were not going to be allowed to play in the country again due to their “political and religious beliefs and endorsement of gender equality and sexual freedom” (link). In 2010, several audience members attending Mashrou’ Leila’s concert in Cairo, Egypt were arrested for flying rainbow flags (link). The band has been unflinching in the face of such attacks, stating in the wake of being banned in Jordan that:

We denounce the systemic prosecution of voices of political dissent.

We denounce the systemic prosecution of advocates of sexual and religious freedom.

We denounce the censorship of artists anywhere in the world. (link)

Mashrou’ Leila is the voice of a generation’s revolution—a catalyst of change. Their September 30 concert in Boston was exactly as poignant, rousing, and stunning as you would envisage.

The music of Mashrou’ Leila departs from classical Arab motifs in many ways--I can’t identify any maqams or microtones--but Sinno’s vocalic style assumes the precision and style and artistry of some of the foundational Arab lyricists and vocalists that came before him.

The strength in his voice, the way he extends the pronunciation of certain words, and the way he deftly undulates his pitch are unparalleled in Western music.

I’ve listened to the recorded versions so many times that the sum of musical choices that make up the songs no longer feel ephemeral and human and subjective, but infinite and immutable. However, hearing the songs live, five feet from the humans creating them, gave me the space from the versions I know so well to enjoy the fundamental humanity in this music.

The filler music in the venue dies down, and Hamed Sinno’s charged, powerful voice fills up the room. The lights go red, and violinist Haig Papazian widens his stance and raises his bow—ready to accentuate the melody as the drums drop in. The crowd is in it. We are in it. It is an Arab space. A queer space. Filled with love, filled with light, and filling everyone in that space with light and love as well. They open with a song that they haven’t released yet. Without an introduction, and without a translation, I don’t have a real sense of what the content of the song is, but you don’t have to know a word of Arabic to fall into Sinno’s enigmatically textured vocals, Firas Abou Fakher’s richly-layered instrumentals, the imploring sound of Papazaian’s violin, and the meditative beat of Carl Gerges’ drums.

Sinno introduces each song in between pouring himself more hot tea from the kettle that is set up on stage in front of the microphone.

The first song of the set that was off of a released album was Roman, and everything slowed down. Nothing but a light synth backed up Sinno’s strong and emphatic vocals as they filled up the room. Sinno took his time here, enunciating every syllable, lingering on each note, using the space that this stripped-down version affords him to play with the notes, riffing and drawing them out. Sinno’s voice carries the song as the drums build, and right when the build peaks, Haig’s violin drives the chorus. The next song they played was Kalaam (S/he) off of their 2017 album Ibn El Leil (trans. Child of the Night), which comments on the way that the Arabic language necessarily genders all nouns. Some of the lyrics go: “They wrote the country's borders upon my body, upon your body / In flesh-ligatured word / My word upon your word, as my body upon your body / Flesh-conjugated words.” The treatment of this song was authentic and anthemic, opening space for all to participate.

They continued playing songs off of Ibn El Leil and their 2019 album The Beirut School: Asnam (Idols), Radio Romance, Aeode, and Bint Elkhandaq. Then, they played Djin. This was my first favorite song of theirs. It is a veritable bop. Inspired by Joseph Campbell’s work on analyzing archetypes across mythologies, the song takes from the Arabic mythical Djinn as well as elements of Christian mythology, but it’s also “just about getting really messed up at a bar” (link), playing off of the alcoholic “gin”. This is the song that the entire audience knows the words to. We all sing together. Sinno tells us at the beginning to sing the refrain when the lyrics show up on the screen; “if you can’t read Arabic, learn Arabic. Or just look around, find an Arab, and copy them.” Most people already know the song though. We yell out the lyrics and Sinno draws energy from the crowd, breaking from our pace to play with the melody with flair and mastery.

After one last song, Cavalry, they exit the stage. We cheer and a chant breaks out that I can’t identify. For the encore, Sinno sits down on elevated part of the stage. We hear the opening bars of Fasateen, and the crowd is silenced. It is fitting for me, I think, that this concert ends with the first Mashrou’ Leila song that I ever heard.

I have since listened to the album enough that I know all the lyrics even if I don’t understand them all, and we are all singing along with Sinno as we dance.

#wzly wellesleycollege mashrouleila

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tassium · 5 years

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#TAYLOR SWIFT APPRECIATION LIFE

PART 3 - Speak Now

(part 1, part 2)

Hello and again, welcome to the Taylor Swift Appreciation Life. We hope your brief detention in the relaxation vault-- wait, wrong fandom.

This is probably getting posted in the middle of the night, which doesn’t bode well for anyone actually seeing it, but oh well. It’s time to hop in and see a little more from the amazing @taylorswift by taking the ride through her third album, Speak Now.

1. Mine

I really like this track, but I don’t have a whole lot to say about it. The storytelling in the lyrics is probably my favorite thing about it, and the way the instrumentation propels the song along. And.... I’ve heard varying opinions on the way it turns around and she’s “quoting” the love interest of the story. Personally, I like it. I like thinking of it as if he said that and it’s what inspired her to use the line as such a key part of the song.

And I’ve gotta be honest here, the POP mix bonus track version doesn’t really hit me that hard. I can’t pick out enough of a difference between the two that I really care all that much about that version.

2. Sparks Fly

This is one of my favorite tracks on this album. I like the understated instrumentation behind the verses and the way it just drops into the chorus in a way that feels like going over the first rise on a roller coaster - the way there’s nothing behind her voice for “Drop everything now” feels like that moment where you know it’s coming and you kind of pull in a breath and then you’re irrevocably In The Moment.

She does a lot of really cool vocal things - in the second verse I love the way she does that warble on “really wish you wo-ould”. Another favorite is the vocalization in the background of the last chorus. Instrumentally speaking, the solo before the bridge is one of my favorites because of how it’s just a little different from the main motif of the song, and I adore the strident guitar and drums behind the bridge itself.

This song also has the first of several mentions throughout her songs of green eyes! Same, Taylor, same.

3. Back to December

I’m just gonna jump ahead and talk about the acoustic version of this song that’s on the target deluxe version, because if given the choice, I’d pick that one to listen to any day. The strings are my favorite part of the original version, and so the fact that the acoustic version lets them shine just that much more is excellent in my opinion. I also like the way that the harmonies stand out a little bit more - usually I prefer the ones where it’s Taylor overdubbing her own harmonies, but in this one I really like how it sounds with that male voice in the background - it actually makes me think that this song has a lot of potential for being made into a duet song with that delicious aching kind of mutual regret feeling.

4. Speak Now

I don’t know about anyone else, but I really like this song. There’s a lot of really smart choices made, both vocally and in the instrumentals (like the way the drums don’t drop in until the second half of the first verse) and overall I think it’s a solid track.

Over the course of relistening to this early work of Taylor’s for these reviews, though, I’ve also had a thought - Speak Now is the culmination of an escalating pattern of Standing Up And Stealing Other Girls’ Guys that’s been going on through both of the other albums. You have Teardrops on my Guitar, where she just pines herself into oblivion over the boy - then you have You Belong With Me, where she actually does something about it, and now we have this, where she literally breaks up an engagement IN THE MIDDLE OF THE WEDDING in order to get her chance at the boy she’s been daydreaming about.

5. Dear John

Easily my favorite track on this album. This is an optimal example of Taylor’s ability to take a song and build it up until it just explodes, even beyond the chorus. The way the song just soars in the bridge, complete with the way her voice just goes a little ragged on "burned them out”.... man. I love it. I love it so much. Another of my favorite moments is when the harmonies slide in with “run as fast as you can” as if that’s the ‘they’ who said that to her.

I think Taylor’s voice really shines in this track in a way that was really foreshadowing of her current vocal talents.

I’ll also never be over the fact that John Mayer claimed this song for being about him. He could have just been like ‘oh yeah I dunno, a dear john letter is a breakup letter right’ but no. He brought it down on himself. “You should’ve known.”

6. Mean

Mean is a jam, and I’ll fight anyone who says otherwise. I’ll bop to this song anytime. I love the bending fiddle between the chorus and the second verse, probably my favorite musical choice in the song overall. The mandolin and the banjo are way up there as well, just in general. There’s something so delightfully vindictive about this track, such a clap back at the haters - and I get Taylor singing her own harmonies, which you already know I love to pieces. (Is it just me, or could Mean be the little sister of Calm Down?)

“Someday, I’ll be, singing this at the grammy’s…. and all you’re gonna be is mean”

7. The Story of Us

THE STORY OF US IS A BANGER, END OF DISCUSSION

…..

ok not really, because I have more feelings to express first.

Taylor’s vocals soar at the end of this track, and I honestly cannot get over the sheer improvement from Fearless to Speak Now when it comes to that. Those belted notes give me life. I love the ‘next chapter’ and ‘the end’ spoken lines, they’re the best for when I’m singing along and dancing around my kitchen. This song is nearer and dearer to my heart than I even realized coming into this review, and I will go to bat for it anytime anyplace any day.

8. Never Grow Up

It sure is a song, alright. It’s a pretty arrangement, and I like the harmonies, but I... don’t have much for strong feelings about this one.

9. Enchanted

Mmmmm, this one’s so pretty. The opening, I love whatever that is in the background, maybe it’s a keyboard? It’s beautiful and ethereal, at any rate, and I love it. The track builds so beautifully to an absolute monster of a chorus - the lead guitar up into that drum hit is a classic and I love it to pieces.

And don’t even get me started on the ending “please don’t be....” etc bit and the use of stereo - listening to this track in headphones is a treat and I love the high in one side and low in the other, accompanied by that soft vocalizing centralized that leads into the belting before we hit another chorus.

It wasn’t until I was listening to this song to write this post up that I noticed that if you really focus you can hear her singing that repetition behind the second half of the last chorus, but I think it’s only on the left. It’s a really nice touch.

10. Better Than Revenge

I’m just gonna go ahead and quote you a conversation my friend @defiantlywhole had about this track to explain my feelings:

Me: listen. listen. i fully agree with "Better than revenge? we don't know her" but. it's such a banger. i hate it. i love it. why

Her: SAME! Dude esp with the whole sb-squared issue. If we could just. Recognize that better than revenge is problematic and love her anyway?? Can you imagine the kind of cool shit the fandom coulda churned out last month? I just want graphics that yell THERE IS NOTHING I DO BETTER THAN REVENGE at them for trying to force Taylor to stay and then punishing her for leaving

So if you wanna know my opinions, there you go. there they are.

Also i’m never going to be able to unhear “she’s full of springs and she’s not what you think, she’s a mattress” from @stateofswiftpod (have you gotten the message to listen to their podcast yet? this is the last of her main albums they’ve talked about so. now’s the time.)

11. Innocent

This isn’t a track I seek out to listen to, like, ever... but it’s a pretty piece of music, and her voice is lovely. Honestly, there’s something about it that just makes me sad, which is probably why I don’t seek it out. Listening to it to write this, thought, I am noticing a lot of things about it that I’d forgotten or maybe not even noticed in the first place - like the haunting background vocalizations that I’d missed previously, and the choices in the instrumentals. There something about this song that just feels heavy, if that makes sense. It just sits right on my chest, and I’m not sure if I like it.

12. Haunted

Speaking of liking acoustic versions of songs better, this is definitely one of them. Don’t get me wrong, I love the original version, but...The piano just hits so much harder for some reason than anything about the original manages, and her vocal delivery is so aching and beautiful and just. Shivers, every time.

The backing vocals come across as very dark, almost, fittingly so to go with a song with the topic and title this one has. Her soaring vocalization in the bridge, and the way her voice breaks when she drops into the low note... man, I can’t even. I don’t have words for what this acoustic track does to me. The note after the last chorus is what gets me the most thought, the almost mourning wavering she sneaks into it and just... I love this song, okay.

13. Last Kiss

This track is so beautiful, but speaking of songs that make me sad. Good heavens. I hadn’t listened to this one in a while prior to this listen through the album and it hit me so hard. Legitimate tears.

I can’t even put it into words - this song is a masterpiece of emotion.

14. Long Live

This song also makes me cry, but for entirely different reasons. Somehow it has even more of an impact now, after seeing everything that’s happened for her and after having been privileged enough to see her live with one of my best friends. This song takes that weight still hanging on my chest from the last few tracks and pushes it aside, replaces it with a bursting pride for this woman who I’ve never met and probably never will. She’s done so well.

To be more specific - there’s some incredible guitar work on this song, and I adore the “THIS IS ABSURD” part - and “tell them how I hope they shine” will always make me cry. I love that she wrote this song, and I love that things have only kept going. That belted “fall” at the end of that post-chorus or whatever it is that then also fades and falls away. The ethereal Aaahs in the background of the bridge. The way she leans into the last “all the mountains we moved”. Gosh. It’s all too much.

Proper full bonus track time!

15. Ours

This is definitely my favorite of the bonus tracks. I’m a little sad it got relegated to a bonus track, since there’s definitely songs that I’d cut in favor of letting this one onto the list, but I’m just glad we have it in the first place.

I’m extremely fond of this song - it’s connected to playing music with my dad (who bought me my first guitar - well, him and my mom both) because we’ve teamed up to do this song, and so that gives me all kinds of happy feelings when I listen to this one.

I don’t have much for specific comments on this one, but it’s a Good.

16. If This Was a Movie

I love the guitar opening for this song, it’s on my list of songs to learn to play one of these days. The first few times I heard the song, I definitely didn’t hear “to me-e like” properly, but now that I know what it’s supposed to be, I don’t struggle too much, thankfully. Overall, I like the song - there are things about it that I’m not super fond of, but there are more things that I do like (the drop after the bridge is definitely one of them).

17. Superman

This one’s a bop. She’s a cute little number. Optimal dancing around my room (a la the you belong with me video) material. I won’t say this track is any work of genius or anything, but it’s a solid danceable pop song, and sometimes that’s all you need.

Whew! We’ve done it again. It’s 3am where I am at the time of writing this, so I’m going to go to bed now, but tomorrow we’ll start our transition into New Taylor. I don’t know about you, but I’m excited.

Next up: Red

#taylor swift #speak now #album review #Taylor Swift Appreciation Life #Our Lady and Savior Taylor Swift

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