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juleswolverton-hyde · 4 years

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The Sword and Shield (BC x Reader)

Genre: Fluff, Idol AU, Quarantine fiction

Pairing: Bangchan x Reader

Warnings: Innuendos, nerdy Pokémon talk.

Summary: Every warrior needs a sword and shield to defend themselves against enemies. However, two nerds take up weapons in a vastly different fight.

Masterlist

Credits for the banner art go to Satzzz Art.

Life between the sheets does not always have to be characterized by Sensuality because there is more to be found among the pillows and blankets. It is amiable comfort, dozing off together to the sunrays streaming in through the light bedroom curtains or listening to music while sharing earbuds to kill the boredom of quarantine by means of occupying oneself with whatever is at hand. After all, it is yet unknown for how long the global population is forbidden to leave their homes safe for retrieving necessities at the supermarket or drugstore.

A blessing in disguise, however, is being able to spend the period of restriction with a bunch of lively lads which includes the lover of little more than a year. The moment it became known countries were hauling in their own residents a foolhardy decision was made to remain in South-Korea and leave the life in the place of origin behind for a while. The choice did not sit well with Chan at first, not too subtly asking to reconsider it though soon finding a secret delight in finally being able to wake up every day in the same bed.

No thousands of kilometres distance.

No time to be taken away by management and time zone differences.

The pandemic has at least given us this.

A taste of life as a real couple.

Just before IKEA closed as well, the lovable human kangaroo insisted on going there for the last shopping spree so personal taste could be added to the bedroom that would be shared. The well-meant idea was rejected at first, saying it was not needed and that the interior was fine as it was. However, once bleached locks have set their mind to something, it is barely possible to change the focus of determination and thus the private shared space has been decorated with a few candles alongside a new bookcase to house whichever books were already taken from home as well as a few pieces of art and a collection of postcards that have been pinned on a metal grate.

Our perfect little nest.

A haven of comfort for songs and nerdy thoughts.

‘Hey, babygirl.’ The mattress dips as the human koala joins the small kingdom in the sheets of sweatpants and loose tops that are somehow still deemed charming. Even the surface beneath the minimal layer of makeup is apparently preferred by the strong arm wrapping around the waist as platinum locks rest on the head and watch the screen held between hands. ‘What’re you playing?’

‘Pokémon Sword. It’s really good thus far and- Oh my god, it’s so cute!’ In an instance, the screen is lifted to show the six adorable balls clad in armor, a new creature which is called a Falinks. ‘Look at these little buddies!’

A wide smile breaks out on plush lips, wavy locks shaking in closed-eyed amusement before looking up again with the wonder of a new discovery. ‘So that’s why you’ve been kicking the air or screaming something is cute. I didn’t know you were a Pokémon fan?’

‘I have been since I was little, but it’s not something I tell others about.’ The true meaning of the grin no longer passes under the radar, igniting an ember of shame for harbouring a geeky side when it comes to the Japanese creatures. ‘Yes, I know, I am a mega nerd. Bite me.’

The jaw clenched in timidity relaxes when slender fingers tickle the sides as a big nose presses into the side of the neck to nuzzle it. The comment was not meant to provoke although the lowered voice suggests otherwise as it speaks against skin, teeth even cheekily nibbling. ‘Watch your words, Y/N, or I just might.’

However, the sensuous attitude fades as fast as it appeared as irises the colour of pure chocolate wander back to the device. ‘Can I see your Pokémon?’

Because the girl in the sheets is not the only trainer beneath the roof.

‘Sure.’ With the same nonchalance that denies the suggestiveness from a second ago, the index of the creatures which are currently being trained is opened. The current team consists of a Corviknight, Obstagoon, Thievul, Drapion, Boltund and Cinderace. ‘I’m currently training these though I mostly specialize in Dark Types.’

‘Why doesn’t that surprise me?’ To get more comfortable, Chan slouches further down the bed to rest more properly on a beloved narrow shoulder. Nevertheless, the all-knowing grin from before remains plastered onto plush lips. ‘I suppose you’re also interested in training Ghost and Psychic types as well?’

‘I’m an open book, aren’t I?’

‘Just a little bit.’ The teasing is made up for with a chaste peck on the nose followed by one on the forehead. Just the way it is preferred and done whenever apologizing for something or to simply gain a smile. Withal, now, judging by the twinkle in mischievous eyes, it is definitely to say sorry in advance for what is to come. ‘Can you guess what my type is?’

‘Me?’

The witty response evokes the bubbly boyish laughter that has been loved ever since the first time it was heard. ‘You’re not wrong.’

‘Okay, okay, let me think.’ The scanning for clues on the face results in nothing except a brighter devilish glimmer in a loving look. Henceforth, the answer will have to based on personality and all the little things that have been discovered since being in a relationship and now prematurely living together. ‘Electric? Although, no, wait. Fire. Something tells me you at least have a Growlith or had but it has transformed into Arcanine. Then again, judging by that splendid performance of the theme song in your VLive, I’d also wager you have a Pikachu. However, you’re very sporty so maybe you specialize in Fighting types?’

‘You’re on the right track. The answer is somewhere in there.’ Instead of one mocking eyebrow, two rise in a failed attempt to exaggerate coyness while looking cool. ‘Or is it?’

‘Very helpful, Chris.’ Sarcastically disregarding the useless remark and lopsided smirk, the former ramble is composed into a somewhat solid answer. Anywhere close to the truth is better than nothing. ‘You’re a Fire trainer who is also interested in Fighting types.’

‘Almost. I’m a Dragon trainer who always starts out as a Fire trainer. I am, however, also interested in Fighting types too. I do have an Arcanine and Pikachu is an exception to the rule because it’s Pikachu. Every trainer should have one.’

‘I have one too, but it doesn’t have a name since it’s a female and I only name my male Pokémon.’

Focus shifts back to the screen, Chan reading the names of the amiable creatures that form the company on the journey to becoming the best. It started as a fun idea and the names matched fairly well. ‘So I’ve noticed. Are you associating everyone in the industry with a Pokémon?’

But nothing ever runs smoothly.

‘I’m trying, but it’s bloody hard at times. I made Jackson a Pidove. Don’t laugh! I don’t know why I did it, but his name was the first to pop up when I caught it. Baekhyun is an Applin. Wait, he’s transformed already so now he’s a Flapple. Han is a Greedent because, let’s be honest, he’s a squirrel. Changbin, well, Bin is a Corviknight. I gave his full name to a Rufflet. Minho is a Sneasel, Felix a Thievul and I have yet to decide on the rest of the boys.’

‘Which one would be me?’ Judging by the suggestive tone of curious eyes and barely noticeable pout, there is the clear hope of a comparison with an awesome creature. The tightened grip on the hips betrays it too, blatantly so. Almost forcing the unknown comparison to one’s personal preference.

‘Without a doubt, you are Zacian, the giant warrior wolf with a sword in its mouth.’ A deep sigh cannot be helped at the thought of the game’s challenge which does absolutely not allow for failure. ‘The legendary Pokémon of the Galar region. Dammit, Channie! Why do you have to be so elusive and exclusive?’

‘Because I’m an amazing catch.’ The cheek is turned by slender fingers, compelling lips to join in a playful giggly kiss which is broken up by a smug remark. ‘And warriors are not so easily bound to a master. You told me even Beowulf reluctantly helped a king, only to settle his father’s debt.

‘Although,’ the train of thought is easily altered by hooking a digit under the silver necklace that was given as a birthday present, pulling the tease in yet holding off from melting into another kiss by backing away to continue the battle of wits and enjoy the small adorable whine of disagreement, ‘with the right trainer, I suppose I could make a deal.’

‘I plan on winning all gym badges and make myself worthy of the wolf.’

‘You will still have to win in that final fight. Until then, think you can take me on?’ Brows furrow in a suddenly hard-fought battle for concentrated control. Funnily contradicting oneself, the domestic koala shifts positions to hover over the coy soul who was able to tame the beast beneath the roof, faces inches apart and the Switch tucked in the small space between bodies.

Which becomes noticeably narrower when transforming Innocence into Sensuality by creating the image of what might be given after testing out the waters of victory and win in a Pokémon battle. ‘I have more than enough times in this bed.’

To make up for the victory and erase any negative unspoken feelings.

Though the soft growling suggests impatience, unwilling to be kept on a leash any longer. ‘Don’t change the subject. You’re fighting unfairly.’

‘Am I?’ The device is put aside on the bedside table, ankles hooking behind the waist to coax a hard shape into the warmth between the thighs as hands rest on broad shoulders. A much-appreciated action evidently, breath taken away by the friction between two concealed forms of wanting and nails digging into the skin beneath the comfy black printed fleece vest.

And the chest now making escape entirely impossible, hearts racing in harmony. ‘Yes. You’re distracting me.’

‘Says the person who’s distracting me from gaining those badges.’ Enough coherency lingers to remain cheeky. Bashful enough to lean in and utter a final double-sided statement of defiance. ‘I bet I can easily best you.’

But two can play that game, apparently.

‘I think you’re wrong, babygirl. Or do I need to remind you of how good I am?’

‘Grab your Switch and bring it on.’ The challenge is accepted with a scoff which clearly started having different expectations in regards to the order of events. Fortunately, a sweet quick peck cures most of the shallow grumpiness as Chris is dismissed from the sheets. ‘And give me all you’ve got.’

‘Oh, I will. I always do.’

As became apparent in the few battles between teams.

The wolfish actions that followed unspoken hard feelings unhappy with the outcomes of the fights.

And a broken headboard in the morning.

#Bangchan fanfiction #Bangchan #Bang Chan #Chan #Channie #Stray Kids #SKZ

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deadcactuswalking · 3 years

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REVIEWING THE CHARTS: 29/05/2021 (Eurovision, BTS, Olivia Rodrigo, Galantis/David Guetta/Little Mix, Anne-Marie & Niall Horan)

What better way to celebrate the end of a week in which I have been consistently ill and surprisingly busy? Sixteen new arrivals, of course! Shoot me, but first, congratulate Olivia Rodrigo for her second #1 as “good 4 u” gets the album boost to overthrow “Body” this week. I can safely say I think it’ll be there for a while. Let’s just start REVIEWING THE CHARTS.

Rundown

Sixteen new arrivals and therefore, kind of a bloodbath. Why are there sixteen new arrivals? We’ll get to it. Other than six new arrivals from last week, we have a couple other drop-outs, the notable of which being those that spent five or more weeks in the UK Top 75 – which I cover – or those that peaked in the top 40. Therefore, those include, rather ironically on Olivia Rodrigo’s album week, former #1 “drivers license” (only dropping out because of a silly UK chart rule that only allows three songs per lead artist on the chart), as well as “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals, “Another Love” by Tom Odell, “Calling My Phone” by Lil Tjay and 6LACK, “Heartbreak Anniversary” by Giveon, “Tonight” by Ghost Killer Track and D-Block Europe featuring OBOY and “Miss the Rage” by Trippie Redd and Playboi Carti. I’m not complaining about most of this, sorry, Giveon.

We have no returning entries – thankfully – so instead we can just focus on notable falls and climbers. I guess we’ll start with notable losses, songs that dropped five or more spots from their placement last week, and of course we do have a few of them at least as a result of, say it with me, sixteen new arrivals. The first few of these are all harsh drops because of ACR, which happened to coincide with the rest of the chaos, including “Little Bit of Love” by Tom Grennan at #24, “BED” by Joel Corry, David Guetta and RAYE at #25, “Friday” (Dopamine Re-Edit) by Riton and Nightcrawlers featuring Musafa & Hypeman at #26, “Peaches” by Justin Bieber featuring Daniel Caesar and Giveon at #29 and “Let’s Go Home Together” by Ella Henderson and Tom Grennan at #33. We also have the losses for J. Cole staying surprisingly slim with “My Life” featuring 21 Savage and Morray at #27, “Pride is the Devil” featuring Lil Baby at #28 and “Amari” at #35. The rest are mostly just expected continuous fallers, like “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted at #44, “Nice to Meet Ya” by Wes Nelson and Yxng Bane at #46, “Your Love (9PM)” by ATB, Topic and A7S at #50, “Marea (We’ve Lost Dancing)” by Fred again.. and the Blessed Madonna at #51, “Ferrari Horses” by D-Block Europe featuring RAYE at #53, “Heat Waves” by Glass Animals at #57, “Seeing Green” by Nicki Minaj, Drake and Lil Wayne at #58 off of the debut, “All You Ever Wanted” by Rag’n’Bone Man at #61, “Martin & Gina” by Polo G at #63, “Leave the Door Open” by Silk Sonic at #64, “My Head & My Heart” by Ava Max at #65, Travis Scott’s remix of HVME’s remix of Travis Scott’s “Goosebumps” at #67, “Addicted” by Jorja Smith at #68, “Beautiful Mistakes” by Maroon 5 and Megan Thee Stallion at #70, “Sunshine (The Light)” by Fat Joe, DJ Khaled and Amorphous at #73, “Someone You Loved” by Lewis Capaldi at #74 and finally “Believe Me” by Navos at #75. Phew.

Now what’s interesting is that we have nearly just as many gains, and they’re pretty unique, big surges in most cases, starting with “Cover Me in Sunshine” by P!nk and Willow Sage Heart at #52 thanks to the album boost that also prompted P!nk’s “All I Know So Far” to creep into the top 40 at #39, “Build a Bitch” by Bella Poarch at #32 off of the debut, “Starstruck” by Years & Years at #31 thanks to a bizarrely uncredited Kylie Minogue remix, “Little More Love” by AJ Tracey at #21, “Didn’t Know” by Tom Zanetti at #20, “Higher Power” by Coldplay at #19, “Black Hole” by Griff at #18, Majestic’s remix of Boney M.’s “Rasputin” at #16, “Good Without” by Mimi Webb soaring into the top 10 and hence becoming her first at #10, and Olivia Rodrigo getting her third thanks to the album boost as “deja vu” is at #4. I think that’s more than enough that needs to be said about music that was already on the chart last week, so welcome back to the part of this series where I get either increasingly frustrated or exhausted every time I have to list another song.

NEW ARRIVALS

#72 – “Life Goes On” – PS1 featuring Alex Hosking

Produced by PS1 and Mark Alston

So, what better way to start sixteen new arrivals? A generic piano-house club track, of course. PS1 is a New York DJ and for this track with a 90s-esque piano and synth melody, bassy drop and tight, bland percussion as well as oddly-mixed anonymous female vocals made to sound robotic regardless of genuine emotive performance, he’s enlisted Australian singer Alex Hosking as well as co-songwriting from hit-makers GOODBOYS, both of which make remarkably little difference to the fact that despite being a faux-inspirational club track, this song is incredibly joyless and flailing in as pathetic and one-note of a fashion as possible. Yes, that is one exhaustive sentence chugging on as long as possible, but there’s no better way to parallel this disposable garbage than that.

#71 – “What a Time” – Julia Michaels featuring Niall Horan

Produced by Ian Kirkpatrick and RKCB

Niall Horan coincidentally has two unrelated female-male duets debuting with him in this week. Thankfully, Julia Michaels only has the one track debuting, and for the love of God, I can’t even figure out why she has the one, as this is a track from a 2019 EP that flew massively under every radar except seemingly mine as whilst I have listened to this EP, I cannot remember for the life of me liking any of it besides “Anxiety”, which makes sense since Michaels is at best an uninteresting songwriter and at worst an insufferable vocal presence. Regardless, I’m going to assume the surge is due to TikTok or some kind of residual Niall Horan hype, whatever there is of that, and look at this song two years after the fact. Well, for what it’s worth, I appreciate the vaguely folkish guitar riff, even if it’s going to be drowned out immensely by Michaels’ approach to vocal takes, which is to put as little effort into that first take and then multi-track enough for it to sound listenable, particularly on that bizarrely unfitting chorus in which reminiscing on a wonderful, intimate time with your partner is demonstrated by rote piano chords, an awkward string swell and distant, reverb-drenched incoherency on the vocals. I guess I do like the switch in the final chorus as she changes “what a time” to “what a lie” to emphasise the bitterness of that break-up, but I don’t think that bitterness has to soak the entire master because this song is dripping in apathy that I just don’t have any time for personally in my pop power ballads. Wait, Niall Horan was on this song?

Eurovision Song Contest 2021

Whilst I may not do a special episode on this blog for the Eurovision Song Contest, I’d be lying if I didn’t confess to watching and enjoying it every year. This year’s, the first since 2019 for obvious reasons, was hosted in Rotterdam in the Netherlands and was won by an Italian rock band, with the United Kingdom infamously receiving zero points yet somehow more applause than Israel’s performance. Telling. It’s not all politics though, obviously: the reason songs win is not just the lighting, stage presence, vocal performance or grandiosity, but rather the songs themselves, or at least ostensibly so. The winner this year didn’t have the best of any of those factors in my opinion – no, not even the politics – so it’s clearly about a mixture of this success criteria. This year had some particularly good songs and the most consistency out of Eurovision in a while, naturally leading to quite a few new arrivals, also factored in by the charts being weak, so we essentially get an album bomb. Let’s pile up every new arrival related to Eurovision and talk somewhat more briefly about each song, starting with...

#66 – “Dark Side” – Blind Channel

Representing: FINLAND

The Finnish entry this year is one of two heavy rock entries, both of which charted, and this is a genre represented by about one country annually. There’s always a Gothic-influenced or industrial-esque band in the shortlist or national finals if not the semis and international final, but it doesn’t stop them from being some of the most interesting Eurovision contesters. It’s in English and came sixth with 301 points. Is it any good? Well, it’s far from bad with that pumping electronic groove before it’s crushed by metallic, distorted and rather ugly guitars that remind me of, if anything, scene-era nu metal and crunkcore, especially due to the clean and growling vocal dynamic. The song is still anthemic as all hell and if we ignore the dog barking and stuttering vocals, as well as the fact that these vocalists don’t have that much grit to their performance, we can appreciate the clamouring rock track this is, and I’d be lying if I said that final chorus isn’t pretty epic. Next!

#62 – “Voilá” – Barbara Pravi

Representing: FRANCE

The French entry this year is one my staunchly Italian nationalist online friend immediately had a distaste for, and as someone with British citizenship, I am also legally obliged to give this Worst of the Week. Sorry, Barbara but traditions are traditions. It’s in her native French and came second overall with 499 points. Is it any good? Well, like many French entries and French pop songs in general, it’s in a chanson style that adapts very well to the modern western art-pop sound, as Pravi’s cooing vocals are at full focus in the mix as they skate around more subtle pianos, wonderfully elegant strings and this wistful tone that may or may not make sense for the content. What? I’m not learning a word of French past what was grained into me during primary school. Overall, I think this is a pretty great song with a lot of that almost Bjork-esque swell especially in Pravi’s vocal performance that I think makes for a pretty excellent listen, especially by the time that abrupt finish hits. I’d probably prefer it being a bit less minimal and scattered so the hook hits harder but overall this is one of the best Eurovision entries this year. However, she is French so, next!

#59 – “SHUM” – Go_A

Representing: UKRAINE

The Ukrainian entry, always successful enough to get to the finals, was particularly hyped up prior due to its... eccentricity and ended up in fifth place with 364 points. It’s in their native Ukrainian so they might as well be garbling acid both verbally and as a written text, so I guess I have to judge it on the fact that this is pretty bonkers, with a charismatic and energetic vocal performance that yells over triumphant bassy horns perfectly blended with the 80s bass synths but not so much with those chirping flutes that, whilst cool on paper, kind of just give me a headache when faced against this thumping dance beat that remains decidedly strained for most of its runtime, and annoyingly so as it means the song never has that cathartic of a release, at least to me, but what drop it has ends up deconstructed and janky in something that might fit on PC Music but I’m not sure it does on Ukrainian Eurovision. This has something there, but I’m not into it. Sorry.

#47 – “Embers” – James Newman

REPRESENTING: United Kingdom

A catastrophic loss is British culture at Eurovision, and it’s not the first time in this century that we’ve gotten the infamous null points. James happens to be related to the more noteworthy John Newman, but that didn’t avoid a “nil points catastrophe”, coined by Jochan Embley, who reviewed the song for the Evening Standard and is now set in stone as an utter fool as his quote predicting that not to be the case this year is now forever preserved on the Wikipedia page for this very song. Nice one, Embley. We finished at twenty-sixth and Newman should honestly be glad this embarrassment is charting. The worst part of this whole ordeal is that the song’s actually fine and definitely representative of British pop music with its 90s-esque piano, bassy drop and anonymous vocal performance – if any of that sounds familiar – and I do love the plastic brass added here for the sake of bombast. It’s nothing interesting, and a tad too long considering how little it does with its musical premise, but it’s not worse than half of any given Eurovision. Maybe next year we submit a UK drill song, I’m sure that’ll get the people going. Tion Wayne, do you want to take a flight to Italy in 2022? Maybe bring Young Adz here while you’re at it; that could truly be a fascinatingly out of place Eurovision entry but at least one of these countries – probably Russia – would vote for it. As for now, at least this was funny to see absolutely bomb, and Graham Norton become increasingly hopeless for its success as the night went on.

#43 – “10 Years” – Daoi Freyr

REPRESENTING: Iceland

One part of this guy’s backing band tested positive for COVID-19 so they had to isolate and just show the dress rehearsal again but it didn’t stop them from charting and delivering a pretty damn unique entry, as Iceland is known for doing nowadays. It’s all in English and finished in fourth place with 378 points, and is it any good? Well, for one of the whitest concepts in television, this is the whitest song of this year’s entries, starting with some gentle violins before abruptly careening straight into this Daoi Freyr guy monotonously droning over bass-heavy nu-disco straight out of the 2000s with a level of irony balancing out whatever sincerity there is in the quasi-R&B breakdown, and, you know, it’s fun, at least? I do think the stage performance is remarkably more interesting than this funktronica mess in the studio, but this is catchy and inoffensive, two good ways to get people to care about your song in Eurovision, so it makes sense. Also, that chiptune synth-solo borderline saves this song, even in all its brevity.

#17 – “ZITTI E BUONI” – Maneskin

REPRESENTING: Italy

So third place didn’t chart – sorry, Switzerland – but we do obviously get the winner charting as high as the top 20. The chart’s weak and the lead singer’s hot and probably does cocaine – it’s a recipe for success, especially when they probably have mafia connections and can threaten or buy their way into the charts. Unrealistic and possibly xenophobic stereotypes aside, this is the Italian entry and whilst I was personally gunning for Portugal, who came twelfth, I can see how this gathered 524 points, even if they had to censor the lyrics for the sake of the contest, not that I can tell because I do not know a lick of Italian. Sorry, Ignacio. Anyway, this song kicks ass and rather disrespectfully at that, as the lead singer breathily sings over garage rock-esque guitar licks and some pretty manic drumming that delivers not only a catchy hook but an undeniable groove, assisted by some slick rapping that comes out of the blue in the second verse and honestly fits the song – and the singer – a lot better than it has any right to. Congratulations, Italy – you’ll be paying out the ass for the next contest. Ciao!

Back to your regularly scheduled programming...

Well, that got a lot out of the way. Not all of it, though.

#60 – “Topshottas Freestyle” – Potter Payper

Produced by Chucks

Potter Payper is basically some guy from Barking, East London, and that’s all you need to sign a record deal with the same label that has Stormzy on payroll so that’s why he’s here. With that said, there’s something deeper here, or at least in the first few lines of this singular verse – without a chorus – in which Potter Payper narrates a street lifestyle, far too common for young working-class British men, retelling what is probably his truth about the consequences of ignoring motherly advices and finding yourself in a situation surrounded by gang violence, drug trafficking and all the paranoia that comes with it. Of course, he then brags about his wordplay, gunplay and fashion, and the rest of the verse just feels aimless with nothing exactly restraining the meandering checklist of clichés, and zilch returning it back to what I thought was going to be the point of the song. I guess this trap beat is okay but this same acoustic guitar and oddly-mastered bass is so common and uninteresting that I find it hard to care. I don’t have an issue with British music being Americanised as that’s just the result of musical evolution and the sharing of culture, but when the only way you can tell this isn’t from the States is the accent does make me question why this is charting amongst Dave and AJ Tracey instead of Lil Baby and Gunna.

#56 – “GANG GANG” – Polo G and Lil Wayne

Produced by Angelo Ferraro

Polo G, after just having the biggest hit of his career with the US #1 hit “RAPSTAR”, follows it up with a Lil Wayne collaboration and thanks to a busy and just misguided release date and timing, it makes a lot less noise than it should. It absolutely deserves that level of attention too, with its chopped-up borderline ambient melody that creates a perfect foundation for this high-energy bass-heavy trap beat as well as Polo G delivering a lot more energy than on “RAPSTAR” (to the point where I think that’s the reason why his actually interesting songs don’t do as well). The chorus has a pretty great melodic switch-up by the end and whilst the flows are pretty rote, it’s hard to say they aren’t smoothly delivering all of the flexing and gunplay pretty typical of Polo G, and if anything that’s what it’s missing: an extra layer of depth, not that I care of course, because Lil Wayne’s on it. Wayne has been astonishingly great on features recently and this is one of his most impressive features to the point where I could barely write about it on first listen, with some of his slickest flow switches ever and whilst the content doesn’t get any more interesting than pouring his heart out for his lean, his pure charisma outshines anyone who could have been on this track and this means this ends up pretty excellent in terms of 2020s trap-rap. I don’t know when that Polo G album is coming but I hope it has more of this. Also, for the love of God, Wayne, keep this energy up for the next album. I’m begging you.

#42 – “SUN GOES DOWN” – Lil Nas X

Produced by Roy Lenzo, Omar Fedi and Take a Daytrip

As his follow up to “MONTERO”, we have a new, decidedly less sexual Lil Nas X hit debuting again surprisingly low on the chart considering the last single’s success, finally delivering in the musical department as for me, there’s a constant conflict between wanting to like Lil Nas as a character, performer and personality rather than actually enjoying any of the guy’s music. Last time I talked about Lil Nas, I did bring up the Pitchfork album review that questioned if he really liked music and whilst it’s funny, I do see how Lil Nas could have perhaps taken Pitchfork to heart as a result as he practically explains his love of popular music as a way for him to feel like he belonged in a community, which is especially meaningful for a man constantly left alienated because of his own mental health issues as a teenager and struggling to come to terms with his homosexuality, to the point of suicidal thoughts. I just love how the verse ends on a happy note where makes the leap of faith to come out and how now he’s proud of himself, he wants to make sure his fans are proud of him since they’re the people who got him there. For me, those last lines recontextualise the chorus as becoming less about contemplating death but more about ascending to a happier place and rejecting all your struggles that you’ve overcome. It helps that this is all sang pretty soulfully over an almost emo guitar melody with some basic flows but gorgeous multi-tracked vocal melodies accentuated by strings that elevate this song even higher, even if it seems underdeveloped. Sure, it doesn’t have that second verse, but does a victory lap need a re-over?

#38 – “Mask” – Dream

Produced by Perish Beats and Banrisk

Nope.

#22 – “Our Song” – Anne-Marie and Niall Horan

Produced by TMS

Okay, so this is a duet where two ex-lovers – only in the song – attempt to get over each other but end up hearing a song they held special to their relationship and all of the memories and pain comes flooding back. Without the youthful exuberance of Taylor Swift’s song of the same name, this duet should carry some bitterness and resentment but mostly capture a hesitant nostalgia... and despite being oddly Niall Horan-dominated, I guess it does that pretty effectively, or at least would if Niall wasn’t crushed by a misshapen trap beat that drowns this pathetically fluttering guitar loop into a mush that not even Anne-Marie can over-sell. Everything here is so utterly basic that it kind of screws itself over by trying for any energy or passion, and therefore kind of just doesn’t. I’m glad.

#9 – “Heartbreak Anthem” – Galantis, David Guetta and Little Mix

Produced by Bloodshy, Henrik Jonback, David Saint Fleur, Thom Bridges, David Guetta, Mike Hawkins, SONDR and Johnny Goldstein

It really speaks to the power of Little Mix that even with only three members and only one of them not expecting a child, they can bring Galantis back of all people. Although given that Galantis is already a duo, I fail to see why David Guetta needs to be here, and the same can go for any of the other seven credited producers of this song, which actually only includes one half of Galantis! I question if a song ever needs that many, despite the fact that in reality they probably contributed zilch to the song each, just enough to get a pay check. None of that should matter, however, if the song isn’t good and I’ll admit this is far from the worst that any of these guys have delivered, with a string melody and swell not unlike 2015-era house Galantis themselves made, and vocal deliveries from the girls that sound like they were located in vastly different locations from each other (to the point where anyone harmonising with Perrie sounds really awkward regardless of how many vocal manipulation effects you can put on them). For seven producers, that’s inexcusable, but as a song, it’s just a shallow post-break-up song that kind of feels like a dig towards Jesy if anything (although I hope it isn’t). I’m not a fan – I never was going to be – but it works for what it is as this colourful house jam, and not much else. This is Galantis’ first top 10 since 2016, by the way. Yeah, Little Mix are that big.

#7 – “traitor” – Olivia Rodrigo

Produced by Dan Nigro

It couldn’t have been “brutal”? Or “hope ur ok”? Okay, well, if we’re going to have the dullest track on the album bar one I guess we’ll go with the one that follows the “drivers license” formula to a T but without as much passion in the vocals, without as much interesting songwriting quirks and with a whole lot of rote fluff removed far from any indie-girl influence that undercuts what is essentially a teen-pop product. I’m not going to pretend I cannot get caught up in melodrama and embrace that, but this is a slog of a ballad with an almost sing-song, condescending vocal melody in that chorus, multi-tracked and studio-produced to rid her of any of that natural rasp she has when singing live. The song is about being annoyed by an ex finding someone new and the more toxic thoughts that come with being the ex-girlfriend in that situation, but with decidedly low stakes this time around that just make her more unlikeable than relatable. I’m sorry, I didn’t think that album was half-bad at all, but please don’t make this the post-release hit.

#3 – “Butter” – BTS

Produced by Ron Perry, Rob Grimaldi and Stephen Kirk

See, I value my personal information, and I don’t know about you but I’m as scared of these guys as I am Nicki Minaj stans, or Minecraft YouTuber stans, or serial killers, so whilst I doubt my platform is extensive enough to reach that level, I also know that these people are so online that they could easily find me somehow somewhere. With that said, just to clarify, when I say I wish I could “Nope” myself out of this one like I did with Dream because I have consistently little to say about this band, it’s not because I in any way dislike BTS or the band members within, or their record label that manages them and many other K-pop bands which I also do not dislike, or, because I’ve seen this happen, East Asians in general. Is that enough stalling to just say I don’t care about this basic pop fluff? When BTS are in Korean, their lyrics aren’t embarrassing and their production tends to be more experimental or at least catchier, more interesting. I like a fair few Korean BTS songs as a result but I just do not see the appeal in making another stiff, cleanly-produced 80s-esque funk-pop song with some chiptune synths that are admittedly kinda cool other than getting on US radio. There’s some interplay between the boys here but it just leads to a pretty homogenised track where none of them have enough personality to shine through, not even SUGA and RM on the tacked-on rap verse that so awkwardly ends. The synth solo sounds perfectly out of an era of dated 80s synths that I’m not sure anyone other than Bruno Mars actually had nostalgia for, and not even some pretty vocoder can save it. The writing is too clumsy, the production’s not equipped to handle it and there’s not much to speak of in terms of performance. I fear for my life when I say it but I think this is actually pretty bad.

Conclusion

Okay, so, we’re finally finished with this week and God, I’m glad, as there’s not that much quality here to speak of, although what is here is here in droves, so Best of the Week gladly goes to Polo G and Lil Wayne for “GANG GANG”, with “Sun Goes Down” by Lil Nas X following closely behind as an Honourable Mention. In terms of Worst of the Week, it doesn’t actually go to they who shall not or he who should not be named, instead going to the pathetic “Your Song” by Anne-Marie and Niall Horan, with a Dishonourable Mention going to BTS for “Butter”. It’s just “Dynamite” again but with considerably less reason to exist. Here’s this week’s top 10:

If I make it to next week, who knows what’s coming? This is a slower week – hopefully – and I don’t think black midi will chart, though it’d be comical, so I’ll hold off on predictions and just thank you for reading. See you next week!

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c4nindia-blog · 6 years

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Shantanu Patel, a pianist and former student of A. R. Rahman, Dr Adam Grieg and Prof Fali Pavri, shares his life story

Shantanu Patel is an aspiring pianist, based in Ahmedabad. The music came into his life when he was just 7-year-old. First, he learned Harmonium in Hindustani Classical Music. At the age of 17, he was introduced to Piano and then, there was no looking back. Like any other teenager, Shantanu had a day when he was supposed to make a choice; in which direction he wanted his life to head. He had the options: ISRO or Music. And like we can anticipate here, he decided to pursue his career in music.

Shantanu is the former student of the Oscar Winning Music Composer, Dr A. R. Rahman and Dr Adam Grieg. After finishing his school, Shantanu had joined KM College of Music and Technology in Chennai, founded by Dr A. R. Rahman. He completed his 3 years of BA (Hons) Music specializing in Piano performance under his Guru, Dr Adam Grieg.

This musician’s journey is no ordinary. Let’s hear it from him:

Tell us something about yourself and earlier life:

I am Shantanu Patel and I am a professional concert pianist and a conductor. Well, talking about earlier life, I was a science student and a “wanna-be” astronomer. Being raised in Ahmedabad, of course, I have all the traits of an Ahmedabadi and am the biggest foodie!

What is Music to you?

Music to me is, of course, my bread and butter, my profession, my passion! But more than that, it is a kind of meditation, worship and food for my soul.

How did you start your journey with music?

Well, to begin with, I was forced into this field by my mother. I basically started off with Indian Classical music, learning harmonium under a private tutor, and gradually shifting to Western Classical Music theory and keyboards. I was still forced (hahaha!). Well, to be honest, I was forced until my 10th standard.

Tell us something about your earlier training:

My earlier training was quite weak. I am opening up here because right now it’s of utmost importance to get proper basic training in music such as proper musicianship, sight reading, and ear training along with performing and theory of course. During my time it was just believed that practical knowledge is everything and hence even now, I sometimes face a bit of difficulty in things which do not involve playing/theory but just listening and scanning music through ears or just by looking at the score. Hence it is very important to have training in all aspects of music and not just playing your instrument.

Do you remember the day when you realized that music is the ultimate goal?

Yes, it was right after 12th standard when I had to choose between opting for ISRO and Music career. Though my parents never forced me to choose one or the other, it was my elder brother’s role that kind of persuaded my parents to let me go for a music career. It was decided right after my boards that I will be opting for what I love and what I consider as food for my soul.

Tell us something about being the student of the legend, Mr A. R. Rahman:

It is always a moment of pride to recall studying at KM College of Music and Technology. Those unplanned and surprise visits from Dr Rahman, those inside talks about industry, music business, etc, impromptu Biryani sessions with him made my experience quite enjoyable. But more than that, I finally found my “Guru” there. Dr Adam Grieg from Scotland who not only taught me how to play the piano but also taught the tiniest details in the music, how music is expressed, perceived, thought and passed on. He changed me completely as a human being also. Getting him as my teacher was the best thing KM and my life offered.

Do you remember your first interaction with Mr Rahman?

Of course, that magical moment! Well, the first interaction wasn’t a long one as he appeared out of nowhere in our college and I was printing my assignments. But after few days, we were joined by him during our award ceremony for the first year and it was the best feeling to receive “The Best Performer of the Year” award from his hands which luckily continued for all the 3 years of my study there.

Please share your most memorable experience with your Guru, Mr Rahman:

Well, I do consider him as my teacher, but guru would be Dr Adam Grieg. The best experience with Dr Rahman was receiving awards for all 3 years from his hands and with my guru, Dr Grieg, was when he gave the closing speech at my graduation for me. Adam said, “I can remember this guy, belting and punching the piano as hard as he can without any musical note coming off, but in these 3 years, he has put me in a dilemma of what to teach him more. I guess I have given whatever I can and now it can be the other way around where he teaches me something. Well, every teacher learns from his students but teaching Shantanu shaped me here in India.”

Tell us something about your favourite instrument:

Of course, Piano! Piano! Piano!

Do you remember the first time you performed on the stage? How was it?

Yes, I started learning piano quite late at the age of 17, though I used to play keyboard and harmonium. My first appearance on stage was on harmonium at the age of 4 for a charity concert at Blind Association of Ahmedabad. As a pianist, I played my first concert in front of Dr Rahman at KM annual day 2011.

Tell us about your achievements:

Haha! I kind of feel shy or feel “not to boast” about my achievements. But here it goes! The true journey began at KM and the first achievement was to actually be able to play the piano at an international standard followed by best performer’s awards for all 3 years from the Hands of Dr Rahman. I went on to pursue my BA Music final year in London, and found out to be the best pianist in my batch and was offered to perform my debut concert with The London Firebird Symphony Orchestra, for which I performed Mozart’s Concerto in D minor with my own cadenzas (incorporating Indian classical music as well). This didn’t stop, I went on to audition myself for Masters degree in music at world’s top 4th Music Conservatoire i.e the Royal Conservatoire of Scotland. Of course, didn’t think I would get through but to my surprise, I did and that too with a scholarship which was more than anything for me. Again found my second guru; this time, an Indian in Scotland. He was Professor Fali Pavri who, like Adam, changed me completely. I got many performing opportunities in the UK and participated in many piano festivals which are limited to few pianists only. And now, I am touring this country, performing throughout, and giving master classes. This is more than an achievement for me. Still, many things await. In a couple of years, I will be back at RCS for my PhD in performance.

Tell us something about yourself as a teacher: Your journey from a student to a teacher:

This is a very enjoyable job, with great responsibility, of course. As the movie, Spiderman says, ‘With great power (knowledge) comes a great responsibility’, I strive to be a teacher like Dr Adam Grieg; understanding each student’s mindset, strength, weakness and tackling it according to individuals. I also strive to teach whatever I missed learning in my basic training. Hence, it’s a nice balance between the mandatory things as well as student’s interest. It’s a job of great difficulty as well as you have to yield future generations of musicians in the most correct and fruitful appropriate way.

Which part do you enjoy the most: learning music or teaching one?

I enjoy both equally. First of all, musicians are learners for their whole lives. As Horowitz (legendary classical pianist) said, ‘I love to be a musician as I get to be a student for a lifetime.’ He said this at his last concert at the age of 89. So yes, teaching also teaches me, so perhaps I’ll say I may enjoy learning more.

An artist needs to be inspired and motivated. Which is the element in your life that keeps you going? What inspires you the most?

First of all, competing with me helps me in a healthy way. That keeps me going, no matter how well I did in the past concert, I always raise my bar in the next. Also, watching stories of other pianists and musicians help. Especially my own teacher Fali Pavri, Norman Beedie (conducting teacher) and one of my seniors, Petrica Ciobanu (International Concert Pianist). Also, listening to music helps, connecting with the inner emotion and connecting that with your own incidents in life.

Tell us about the challenges you have faced to reach where you are today: what is your strength?

There were a lot of challenges, rectifying things, learnt here in Ahmedabad, learning basics when your fellow students are learning advanced stuff at your level itself. When I went to Royal Conservatoire of Scotland, though I was in masters, I was rectifying my very basics which put me off sometimes. But again, knowing that will kick your level to a higher standard kept me going. In KM as well, starting piano at the age of 17 is considered very late; usually, people at my level at that time would start playing the piano at the age of 4-7. And that was the biggest challenge; to develop technical side, to gain that many years of experience, etc, was not an easy task. I literally had and still have to practice 6-8 hours a day depending on my timetable. So being a musician is not an easy task. It requires the same, in fact, more amount of work than engineering, or any other field.

How do you see the impact of music, particularly in India, in today’s time? Is there anything you would like to change or improve in today’s music?

Yes, a lot! A huge change is needed especially in Gujarat and further North. Classical forms are dying. Bollywood music is ruling currently. It’s good, no doubt, but just sticking to Arijit Singh and Pritam and not exploring other genres like Jazz, Classical (Indian and Western) electronic music, metal, rock, or any form of instrumental music is sad. Also teaching is of utmost importance. I have seen people in Ahmedabad opening up their academies just after completing, say, 5-6 grades of music examination, which in turn proves bad for their students. Grades are like school, you don’t start teaching engineering or medical science right after the school and thus the same thing goes with music. This needs to be changed, people need to know the correct teaching methods. All the teachers need to update themselves regularly and see what the standards they are competing with. Yes, for the western music, it was a start by trial and error method as western classical is relatively new, but now in Gujarat and mostly all over India, this has become a sort of business, playing with people’s future.

The advice you would like to convey to the next generation of the learners:

Find a good teacher.

Have patience, practice regularly, boredom is bound to come get over it, manage your time.

Explore all forms of genres of art. Being a musician I love to explore sculpture, paintings, acting and I find inspiration from that as well.

Never underestimate yourself or let anyone do that. Always see the positive side. And learn to tackle the negative as well but in a positive way.

Don’t get satisfied with anything (knowledge wise). There should always be a thirst for learning.

Tell us about your future plans and upcoming concerts:

Well, currently I am performing across the country, raising and aiding the standards of live western classical music and providing master classes at different schools of music. After a couple of years, I wish to go back to Scotland for my PhD in performance. I also conduct choirs and small ensembles here.

There are a couple of upcoming concerts; one in Bangalore (21st April at Bangalore School of Music) with two singers: Jonas Olsson (Baritone) and Ankna Arockiam (Mezzo Soprano). Ankna will also join me in Ahmedabad concert which is on 23rd April (Monday) at Ouroboros theatre hub at 8 pm sharp. We will be performing Operatic works and musical works with some contemporary music. Ankna is also providing a vocal master-class on the 22nd evening at 5:30 pm (venue to be confirmed- see my facebook posts for that). Ankna was my colleague studying at the same college in Scotland and now, she is doing her PhD in Music there. Later this year I will also be participating in international piano competitions in Thailand and New Zealand and also the Con Brio national piano competition in Mumbai.

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