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#long mostly instrumental tracks filled with each of their individual emotion
copper-sands · 8 months
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god i know i'm holding out hope for nothing but it would be so cool if the other vessels each could release a single through Sleep Token with each of their respective instruments being the central point. like, as much as i try to represent them in my vision of the """main lore""", it's still entirely Vessel's story. i want to know their own. i want to know what led ii, iii, and iv to Vessel, why they stayed, what happened to them in that time. and god. it would be fucking sick for them to tell that thru their music.
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imogenhartmusic · 4 years
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DEAR HAPPY
Whimsical, kooky and a new take on self-love.
Release date: 17th January 2020
Rating: 3.9/5
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 Almost every pop album that has ever been released explores the topic of love. Probably because it is an emotion that we all feel and can relate to in one way or another. But ‘Dear Happy’ isn’t just your typical heart ache, love song filled album. It explores Gabrielle Aplin’s struggle to find self-love and her battle with mental health. I’ve learnt from experience, like most 20 something year olds. That self- love is one of the hardest affections to find. This is one of the reasons that this album intrigued me so much. Okay yes. I have always been a Gabrielle Aplin Fan, so that could be another reason as to why I like this album so much; but also because this topic is so rarely discussed, so it’s nice to see someone approaching it from a new perspective.
Aplin recently discussed her lifelong struggle with Anxiety, Depression and ADHD (attention deficit hyperactivity disorder) in an interview with ‘Metro’ and in a podcast with ‘Voice Of Calm’. The 27-year-old explained that she has “always been a constant worrier. It could be anything from “Have I remembered to turn the lights off?” to “Is my bathroom clean enough?” but only found out last year that she was suffering from symptoms of ADHD. The singer explained that she wanted to create a song that people who have either experienced or are currently experiencing similar issues can relate to; Therefore, ‘My Mistake’ was born.
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The track ‘My Mistake’ is narrated from Aplin’s point of view and tells the tale of a person trapped in a cycle of depression and loneliness. (“I don't really care about what anyone says. I don't give a damn about what anyone says. I don't want to think about anything”) It is definitely the saddest song on the record but is probably one of the most important; because it shows that life isn’t all sunshine and candy floss all the time. That it is okay to be sad at times, if you find the strength to pick yourself up.
The composition of the song is very simple and delicate, and compromises of mostly three components: vocals, a grand piano and string orchestra. The simplicity of the instrumentation works well in this track, as it pushes the listeners attention onto the vocals (the vocal point of the track). However even though the composition is simple, it has been cleverly arranged to make use of space and ad-libs. For example, in the second to last chorus, there is clear use of call and response between the vocals and strings. This can be heard after the line “Am I Jaded?” when the violinist creates an almost sweeping effect with their bow.
Other songs on the album that explore mental heath are: ‘Until The Sun Comes Up’, ‘One Of Those Days’ and the title song ‘Dear Happy’; a raw, acoustic song about believing that no matter what how bad things get, happiness is always around the corner. A song of hope for people dealing with mental health issues.
But ‘Dear Happy’ isn’t just an album about embracing insecurities, it also explores Aplin’s long term relationship with ‘Hudson Taylor’s’ Alfie Hudson Taylor. The singer songwriter particularly conveys her relationship to the listener in bedroom pop song ‘Magic’. ‘Magic’ alongside ‘Miss you’ (An 80’s inspired, pure pop anthem) is one of the most playful tracks on the record. The track depicts a story of two lovers, who are very reserved in the way that they express their love of each other, yet find comfort within a quiet affection. Again, this is quite an unusual yet refreshing song to have on a pop album; as many pop songs present love as being ferocious and fiery. Nevertheless, the song itself is well written with a catchy hook “I know that you love me. Don’t need anyone to tell me. I can see it written on your face” and once again breaks the mold of what can and can’t be written about in pop culture.
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This album is quite far out from what we would normally expect to hear from Gabrielle Aplin. As her first two studio albums ‘English Rain’ and ‘Light up the dark’ have mainly folk and rock influences. However, Aplin did ease fans into her new musical style by releasing two EP’s. ‘Avalon’ and ‘Miss You’. Not every song off these EP’s made it onto the full album. So, I guess it was just Aplin’s way of testing the water.
So far ‘Dear Happy’ has gone on to stream and sell the most copies of any album that Gabrielle Aplin has previously released, and her Uk tour is set to begin in March.
The Album Has also been released and funded by  Gabrielle Aplin’s own Record Company ‘Never Fade Records’. So not only is this a big win for her as a recording artist and songwriter. But also as an executive of her own company.
The only reason that I didn't give the album higher than a 3.9, is because although each song was individually brilliant. I felt that album as a whole could of been more cohesive.
‘Dear Happy’ Track List:
1.       Until The Sun Comes Up
2.       Invisible
3.       One Of Those Days
4.       Kingsugi
5.       Strange
6.       My Mistake
7.       Like You Say You Do
8.       Losing Me
9.       So Far So Good
10.   Nothing Really Matters
11.   Magic
12.   Love Back
13.   Miss You
14.   Dear Happy
By Imogen Hart
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Eating regimen & Weight Loss
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It is so essential to know what meals you may be eating before you begin, and find out how to incorporate extra fats into your food plan," says Kristen Mancinelli, RD , writer of The Ketogenic Weight loss plan: A Scientifically Confirmed Approach to Quick, Healthy Weight Loss, who relies in New York Metropolis. As an example, this means that should you had been to drink a significant amount of water, sufficient to raise your body weight by one pound, this weight would technically be a achieve" of lean mass.
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idolizerp · 5 years
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LOADING INFORMATION ON AURORA’S MAIN VOCAL YOUNG EUNJO...
IDOL DETAILS
STAGENAME: N/A CURRENT AGE: 22 DEBUT AGE: 19 TRAINEE SINCE AGE: 13 COMPANY: Midas SECONDARY SKILL: N/A
IDOL PROFILE
NICKNAME(S): fairy princess, pixie, thumbelina INSPIRATION: having discovered a love for singing and songwriting at a young age, eunjo knew that walking the flowered path of an idol was right for her. instead of chasing fame, all she wants is to do what she loves, and have that be that. furthermore, she’s inspired by plenty of former girl groups that have since disbanded, and that still exist, and hopes to leave a mark on the world much like they did, and continue to do, too. SPECIAL TALENTS:
pansori: eunjo can perform contemporary songs in the beautiful pansori style, and though she finds it really pretty naturally, she mostly does this for comedic purposes.
voice acting: during free-time in middle school and high school, eunjo used to take the time to practice doing voice impressions of many famous characters in animation. some of her best, and most notable, include: jigglypuff from the pokémon franchise, princess peach from super mario bros, most of the disney princesses, and now, all of her group-mates. this, too, is utilized for comedic purposes on tv and in fan-meets.
guitar: after having found her mom’s coveted six-string acoustic guitar at a young age, eunjo began taking lessons to play the instrument in hopes of feeling closer to her now deceased mother. needless to say, she fell in love with it, and she’s gained many years of knowledge about the instrument. so much so, that her skills are quite impressive. whenever aurora gives an acoustic set of one of their songs, she’s always seated with her guitar in her lap, and has become known for being multi-talented in that realm.
NOTABLE FACTS:
eunjo graduated from school of performing arts ( sopa ), and while there, she studied practical music in efforts to expand her vocal technique and guitar skills.
she has an extensive collection of hello kitty merchandise, but mostly plushes.
eunjo has the dream of one day being a voice actress in an animated film or series.
IDOL GOALS
SHORT-TERM GOALS:
some of eunjo’s short-term goals include expanding her singing range in order to perform higher belts on title tracks, begin the process of writing her solo début with midas media’s writing team, and after doing so, hopefully landing a leading role or two in a stage musical — in korea, or in other parts of the world. she truly wants to be known as a competent singer, and someone with an outstanding voice, so her efforts are going to proving herself in that field even further.
LONG-TERM GOALS:
after a hopefully lucrative and extensive career as a vocalist, — first as the main vocal in aurora, a solo artist, and later, a star of stage musicals — eunjo hopes to settle down with a husband and children. most of her younger years were spent at work, so she plans on traveling for pleasure in her later life; eager to learn more about the world around her. while she appreciates the recording industry and all it’s done for her, she’d want to live a more humble life in the future; one where she can look back fondly on her life as an idol and feel glad that she did it, but feel equally happy that it’s all over with now.
IDOL IMAGE
poise, grace, elegance, ethereality… all are words that one young eunjo beautifully fits: the length of her princess tresses that spiral down the length of her back, the curled tips of her eyelashes, the pearlescent alabaster hue of her fair skin, the posture with which she stands on red carpets, and the soft hums that lilt from betwixt roseate lips as she listens to another person speak; each syllable sinking into her ears as she digests the information that is given to her. all of this radiance, all of this glitter and glamour, was passed down to her from her mother — one that was known to not only be physically captivating, but almost angelic in nature, too. all of her relatives dote on her for that reason, and though she’s the youngest in her family, she’s the closest thing they all have to the woman who birthed them. however, the love that’s given to her in droves doesn’t stop exclusively at those she’s related to, no. after all, it’s hard not to fall for someone so soft, and so bright. there’s a sweetness about her; one that’ll give anyone that’s around her for long enough a toothache, but the pain felt is always endured. it’s strange how one girl can carry so much celestial energy, but it’s what swathes her, and it’s also what’s guided her to the life she leads today.
however, not all are bewitched by her myriad of charms, no. there are individuals who find her positive energy irritating beyond belief, and who possibly cannot stand her strange, syrupy disposition that she deems is natural, but in truth, that isn’t necessarily accurate. she bends over backwards for people and flitters about like a sprite because she so desperately wants to be liked; her need for applause and praise like tinkerbell in j.m. barrie’s ‘peter pan’ — she needs them to live. being given so much attention as a child has left her insatiable for it as an adult, and its hard to for people to tell the difference between manageable cane sugar and saccharine artificial sweetener when beholding her, but the one upside to this downside is that, for midas media, she’s easy to market out the general public, and whether or not she’s positively annoying is subjective to them; so long as she’s able to turn a profit, she’s good in their books. the korean entertainment industry is a growing business, after all. with that in mind, they’ve decided to portray her as the untouchable girl that men and women fall in love with in films — the high school crush that ends up with the protagonist at the end of the movie, the stunning damsel in distress in need of saving, the princess who’s hand is being competed for, but most of all, the manic pixie dream girl. all of this is not only due to her delicate disposition, but for her effortless beauty, too. luckily, this is an image that she’s able to convey to the public well, but the longer that she’s bathed in the limelight, the more daunting it’s becoming to uphold what’s been laid out for her. while she might look like a perfect doll, and while her personality is easy to warm up to, she’s still human; she still has feelings that end up being stomped on due to her unfortunate lack of a back bone, her quirks don’t sit well with others, and like everyone else, she still makes countless mistakes that she tries her best to learn from. however, she feels as though she’s held up on a pedestal of flawlessness, one that she, too, has taken part in convincing people of, and if she were to make one wrong move, or say one wrong thing, she’d have all eyes on her. it’s as if she’s being watched beneath a microscope, and she can’t help but feel mildly anxious about all of this. it’s almost as if she’s allowed to have no bad days, or to become emotional about much of anything. lately, it’s been noticed that she’s appeared more quiet than normal on variety shows, or that her presence on social media isn’t nearly as active as it used to be, and all of that’s boiled down to the fact that she fears the day where she’s caught; where she’s exposed as a fraud for not living up to the standards that midas have held her to. however, on the other hand, maybe it would be beneficial to her if she cracks under the pressure? maybe people around her wouldn’t see her as this unbreakable individual, but as someone that’s just as real, and just as valid, as everyone else is? maybe being seen as a mortal would serve her better than being considered a seraph, an angel without wings.
IDOL HISTORY
>  tw. parental death, ptsd, and anxiety.
curious pupils watch as the events on television transpire before her — an embrace shared between a mother and her daughter burning into young eunjo’s blossoming memory. she’d known women in her life that have adored her, but she only remembers little bits and pieces of the woman who birthed her. all she had were photographs, an old guitar, and stories told by her father and her older brothers. all of them would constantly fill her mind with lovely comments and sweet words; often stating that she was not only identical to the former matriarch of their home in appearance, but also in personality, too. how on earth such a marvel was possible confused all of them, but they were fortunate to have her in their lives; not only as a reminder of one byun eunbin, but because raising her was simply a joy to all of them. though, despite all of their love and adoration, none of them ever felt compelled to tell her the truth of what had happened only a few years ago, and due to her memory not retaining much of that horrible day, and thanks to resilience for protecting her still-developing mind, she’d lived in a state of blissful ignorance. however, her thoughts would get the better of her sometimes, and in the midst of watching television with her father, she leaned up against him; long lashes blinking up towards his stern visage. this wasn’t going to be the first time she’d asked, and it would not be the last, but she still felt it necessary in this moment to at least try to get an answer.
“daddy?” her gentle, melodic voice cooed over to him; the singsong way with which she spoke signature to her personality. “i know you don’t wanna tell me, but where’s mommy?”
at the query, young taekwoon sighed and held her close. “your mommy’s in a special place, jo-ah. i promise that, when you get a little bit older, i’ll tell you everything you need to know.”
though, even when she did grow older, she still wasn’t let in on this secret that the men in her life were protecting her from, and though she never truly forgot all of the questions she longed to ask, she seldom brought them to attention; knowing that, even if she did, and no matter how much she begged, no one would inform her about the whereabouts of her mom. so, instead, she decided to stay focused on her studies, on her extracurricular activities. it was then, at a sweet and curious age of seven years old, that she took up an interest in the beautiful instrument seated in her father’s bedroom. it was bathed in sunlight from a nearby window, and it hadn’t been touched in a very long time; it’s once shiny wooden surface now collecting dust as it was left idle. upon questioning what it was, she was told that it was her mother’s old guitar, and that, on many occasions, the older woman would use it paired with a sweet singing voice to lull her daughter to sleep when she was a baby. moved by the story and eager to embrace it in her possession, eunjo asked her dad if she could learn to play it in an effort to be closer to her mother, to understand some of her interests. thrilled at his daughter’s inquiry, he agreed and let her hold onto it if she promised to take care of it, and together, the pair of them began to look for tutors to help teach her to play it with ease.
a few years later, at age ten, she had made a considerable amount of progress with her musical outlet, and now used it as a way to relax, especially since, at this time, one of her older brothers — specifically, the one she was closest to in age, and formed a beautiful bond with — left overseas to study in america for a few years. during this time, she grew lonely and used her guitar to help soothe her woes; creating small pieces of music in her downtime, and even going so far as to write her own songs and send them to her sibling as a way to communicate with him. none of her originals were particularly spectacular given that she was a novice who had only been actively playing, writing. and singing for two years, but it was the perfect emotional release for her at this trying time. her voice was light and small, and though it got the job done for what she wanted, at age eleven, she began to seek out help in the vocal department — eager to make improvements there, too. earlier on in her life, eunjo didn’t think she’d ever take up such a natural intrigue in music, but now that she did, she thanked her mother constantly for being her inspiration to press forward; to continue a legacy that her elder could’ve had before her life was taken away from her.
from eleven to thirteen, she took vocal and guitar lessons a few times per week, and she kept her grades up in order to prove to her dad that she wouldn’t allow her love for music to interfere with her education. during this time, her brother, taekyoon, had returned back to korea with an interest in song, too, and the pair of them would often collaborate together on tracks. she’d play the guitar and sing, he’d rap and help in instrumentation, and production, and in a sense, they were becoming their own little duo. their dreams to land amongst the stars were the same, and it was during this time that they made a pact to assist one in another to be as successful as fate would allow them to be. he focused on progressing his skills, and eunjo was beginning to take risks and start auditioning for whatever entertainment company had open calls for talent. she’d save up all of her money to take trips to seoul in order to attend the auditions. in the span of a few months, she’d been seen by panels of judges from a few conglomerates, the most reputable being 99 entertainment, but was denied due to her age and lack of experience time and time again. each rejection and constructive criticism she received only continued to light a fire within her, and she practiced for hours upon hours between homework and studying for exams. then, at the tail end of her thirteenth year, she heard about a call put out by midas media. she was intimidated at first, knowing the rumors that they were hard to break into, and that they expected flawlessness from their trainees, but her intuition was telling her to go for it, to test the waters and swim instead of drown. so, without putting too much thought into it, she signed up and begged her father to miss a day of work to take her to the capital, and when he begrudgingly agreed, they were on the road once again.
when the day finally arrived, eunjo showed up to the location with her guitar in hand; never ceasing her rehearsals leading up to when her number was called after a few hours. she’d prepared a stripped down, acoustic version of diamant’s ‘into the new world,’ and though she knew that the scouts were probably tired of hearing that song in the audition room, she hoped that her rendition would be different enough to put a smile on their faces, and when all was said and done, her hopes blossomed into fruition. they were taken with her presence and performance, and though she wasn’t at all perfect in their eyes, they saw potential in her; someone that they could mold into a formidable idol with time, and patience. it was a long shot for them to bank on her charms and singing voice alone, but weeks later, she received a call from the company, and when it was discovered that it was an invitation to train with them in seoul, she was completely overjoyed. knowing that both of his children were to be living in the capital full-time now, the household’s patriarch picked up and moved to be closer to them; providing a stable support system for them as they continued to work towards turning reveries into realities. it was also at this time that she entered high school, and following taekyoon’s footsteps, enrolled to be a student at the school of performing arts ( sopa ), and was later accepted due to her high grade marks and individual talents.
however, this temporary high that she experienced when she dove head first into a life full of song and dance was soon destroyed, and the killer of her spirits was none other than the fact that she wasn’t a fully well-rounded artist yet. balancing school and training was hard, and though she knew it wouldn’t be a simple task to complete, it often left her feeling a bit hopeless. although she was lauded for her developing singing abilities, the choreographers, who worked to turn her two left feet into ones that could move with precision and grace, would berate her time and time again for sloppy dancing. throughout all of her life leading up to this point, eunjo had been hidden behind a guitar as she poured her soul into her voice, so it wasn’t necessarily a surprise to her that she was stiff in movement and a bit awkward when she tried to learn even the basics; the simplest part of it all. many sleepless nights were had due to her staying late in midas media’s rehearsal spaces trying to drill the footwork into her brain, but whenever evaluations would approach, she’d still receive poor marks for her movements, and lack of rhythm. what made things worse was that, it was also heavily speculated that the girl group she was desperate to be apart of would focus on hard dance breaks and expert-level choreography, and that in and of itself made her sick with worry. this anxiety was detrimental to her health in various fashions, but on the other hand, it made her hyper aware of her mistakes and gave her an eagerness to correct them.
additionally, the company deemed that her voice wasn’t powerful enough for their standard, so whenever she took lessons to improve her singing, they focused primarily on teaching her to make her bright, crystal clear soprano range into one that was louder in volume, technically precise, and overflowing with raw emotion — which was her strongest suit. discovering how to properly mix her chest voice with her head voice took a lot of time to master, but it helped her create the round, full sound that the company was looking for, and as she got older and her voice developed more and donned a maturity she lacked once before, she was already being called the ‘next best vocalist in midas media.’ however, she couldn’t fly by evaluations by standing with good posture and masterfully performing ballads, so even with the new heights reached in her singing, she was still criticized harshly for her dancing. in order to help her adapt better, and hopefully, at a faster pace, they made her focus on working with choreographers multiple times a week; almost overworking her to the point of exhaustion, but somehow, she was able to keep her sights focused on the larger picture at hand — the luminous spotlights, the cheers of fans, and the recognition that she deserved for working herself to the bone day in, and day out.
then, at seventeen, she learned that taekyoon was discovered by an agency, and only mere months later, he’d be making his début in a group beneath them. while she was impeccably happy for him, and she adored that he was recognized for his talents, she wondered when, or if, she’d get her chance to feel that same euphoric sensation. after all, she’d trained for a lot longer of a time, and it seemed as though it wouldn’t ever end. luckily, she’d managed to get by slightly due to her singing voice, but even after years of work, she still didn’t feel confident in her approach to dance. she’d improved, but not nearly enough as some of the other girls in her category, and she worried that she’d be overlooked for one of them when they were finalizing the lineup. using her brother’s success as motivation, she worked hard, and promised him that she’d have her starring moment soon so they could make waves together. that was their ultimate goal, after all, and she wasn’t going to let a subpar dance skill ruin her aspirations, and overall, ruin what they’d planned for their future.
so, eunjo worked double time to succeed, and though she might not have been skilled in general when it came to movement, she learned to ‘perform’ better, in a sense, by making sure to embellish each movement with great facial expressions and occasional aegyo if it fit the song’s concept. not only that, but she didn’t dance so fiercely all of the time in efforts to keep her breathing stable enough to sing well while performing live, for evaluations, or for otherwise. being that she wasn’t necessarily being considered as a member of the dance line, she wanted to show midas that she’d make a fantastic main vocal for their group, and even with her lacking dance skills, she could make up for it with strong live vocals and a lot of stage presence, so she learned to adapt — with the help of her instructors — in a way that wouldn’t make her standout like a sore thumb when it came to lives. instead of hoping to transform into a top-of-the-line dancer, she resigned to the fact that what she should focus on was blending in and not calling attention to herself unless it was with expressions, or her voice, and she was definitely more comfortable with that approach to performance. happy that she was able to figure out a way that worked for her, midas media couldn’t help but be impressed with her growth to a degree, and there was no denying that her singing voice had made drastic levels of improvement, as well, since not only was she learning to properly sing under their watch, but her lessons at sopa were assisting her further.
after a grueling final evaluation that took every ounce of soul and energy that she had in her body, so much so that she nearly collapsed and cried when it was over, in the later part of her eighteenth year, it was confirmed to eunjo that she’d be the main vocalist for midas media’s upcoming girl group, and that preparations for their début would start immediately since they aimed to reveal them to the world in may of following year. she had to keep everything a secret for now, but she immediately rushed to tell taekyoon the great news and they silently celebrated together during the recording process of ‘glass bead.’ the innocent schoolgirl concept that aurora was given was sweet, and she adored that they were handed such a wholesome image; one that allowed younger generations to relate to them, and that allowed older generations to feel nostalgic about their times in their glory days. being given a high amount of singing lines, as well as more than one added high note throughout the track, nerves began to resurface in eunjo. how was she meant to sing this live in the midst of dancing during their opening stages? leading up to that point, in all of their rehearsals, she focused intently on singing and dancing at the same time in order know where she should breathe, and the choreography was even changed so that she could remain still when she hit a majority of her top belts. all of this was done as an attempt to make her feel more comfortable, and she appreciated that she was being looked after so well. the last thing she’d want was to muddy up aurora’s maiden voyage by not doing her all-out best.
that, however, didn’t mean that she wouldn’t ever land herself in hot, bubbling water though. while many people were captivated, and almost distracted, by her vocals at first, they failed to realize that she lacked in some areas, too, and once her faults were discovered, her antis were quick to pass along harsh criticism and malicious statements. compilation videos of her minute mistakes in the choreography circulated online, primarily regarding how she tried to handle the powerful high kick during the final chorus of her group’s début track, and the venomous hate spread across the world wide web by netizens was quick to be picked up on. turns out, blending in and doing aegyo wouldn’t be enough for everyone, and there were individuals who spent day and night scrutinizing her every movement. around this time, she was said to have resembled a swan, but moved more like a duck, and though she found it quite funny, she was beginning to realize that her fears of standing out as a hindrance amongst her group-mates had come to life. because of this, it was hard for her to appear enthusiastic on-stage, and she was grateful that, in formations, she was often positioned in the back and not given much center time unless she was hitting a high note. clearly she was meant to be regarded for vocals, and she was frustrated that her good qualities were being disregarded by a certain audience of people, but she tried to keep her head held upwards.
her saving grace throughout all of this, though, was when a fancam of her’s went viral for catching her falling five times during a rainy performance, and being that she was so professional in her approach to handling things, people seemed to be softer towards her. not only that, but she was beginning to have more of a sense of humor about her dancing. she would call herself out a lot, and would appear more self-aware. she also promised that she would do better in the future, and now, she had to keep to her word and actually show a lot of progress. so, when their third release, ‘rough’, was being choreographed, they were insistent that she work harder on mastering each move; spending ample amounts of time with her to show that she was more than capable of handling a more difficult performance. in hopes of adding more pressure for perfection, they gave her a solo moment apart from the group that wasn’t geared towards her voice, and though this made her a mess of nerves when the time came to showcase all she’d learned, she handled it well each time. however, the one downside was that, during most of their showcases for this particular comeback, she’d have to lip-sync during the vocally demanding sections. her breath support wasn’t stable enough to lift her belts to perfection, and though she was called ‘lazy’ for not singing live while dancing, she was simply proud of herself for pressing onward with each stage the group took part of. her movements on-stage — to this day — would continue to be her biggest downfall, but she trusts that they won’t be paid attention to too much in the future.
fast forward a bit deeper into the present, and young eunjo is beginning to be recognized for her voice all throughout the nation. her high notes are top notch, and a song released by aurora isn’t considered ‘complete’ unless she belts during the bridge, or final choruses. although she’s still a rookie idol, the amount of weight and strength that she puts behind her vocalizations are enough to have her compared to some of the industry’s top vocalists, but she doesn’t let any likening get to her head. she wouldn’t want to lose any bits of what makes her unique by hearing that she sounds like anyone specific. even despite some haters’ baseless attacks on her dance skills, her overall talent, her personality, or her appearance, she tries her best to be the girl that they’ve all come to know after the three — going on four — years that aurora has been active. during this state of grace and slow, but steady, rise to the top, however, eunjo’s been plagued with small remembrances of what occurred on the day that her mother was slain — more vivid than they ever have been.
for many, many moons now, the youngest of the young siblings has suffered with severe bouts of insomnia. even as a child, she’d spent nights on end wide awake and staring at the moon up above; imagining that it was her mother. she’d talk to it, hold full conversations, and ride the wave of sleeplessness for as long as she could before inevitably crashing — even if it was days later. it completely tarnished her motor skills after a good while, though, and it caused great concern for her father. in her teen years, she’d often write lyrics about feeling depressed or anxious, and she’d notice that it’d only get worse whenever she hadn’t slept properly. being that she had no idea what the cause of all of this was, eunjo deemed it as only being ‘tired.’ while that was true to some degree, it was far worse than what she thought, and later on, she started to have nightmares about the ocean; about the beach. she can’t step foot in the sand now without feeling uneasy, and she can’t remember why. it frustrates her to no end that she can’t finish this puzzle that she’s subconsciously been working on for years now. music has helped her heal and escape from her woes for now, but the weight of carrying such a deeply unknown burden on her shoulders is slowly, and surely, crushing her; especially since her schedule is so overloaded with work and hundreds of obligations that require her to be mentally sound and present at all times. this added stress is beginning to affect her sleeping patterns again, and in turn, create flashbacks, and as time goes on, the once dimly lit imagery in her mind is slowly becoming brighter; her memory kicking in at a gentle pace.
she remembers the sound of waves harmonizing eerily with loud cries and screams, as well as taekyoon’s chest and arms shielding her from beholding a gruesome scene. all of these once uncovered layers now more present than ever before; her mental resilience not as strong as it used to be during childhood. she’s forced to face the knowledge head on, and although the picture hasn’t been painted in full, she’s beginning to understand why she’s been kept in the dark about it for so long. all of this trauma is beginning to take its toll on her, and netizens claim that she appears tired or out of sorts during some performances or fan-meets, but she insists that all is well and that no one has anything to be worried about. will she be able to dig herself out of the hole that she’s slowly being buried in, or will she reach an inevitable breaking point after so many years of ignorance?
only time will tell.
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Soundtrack vs. music score: The creation of the Guardians of the Galaxy world and its influence on the audience
The soundtrack and music score within a film work together to create an imagined world which emotionally affects the audience.
The similarities between music score and soundtrack become overlapping in their purpose. Although Guardians of the Galaxy displays a clear separation between soundtrack and score, in general a movies soundtrack can include a music score - created for the movie and possible purely instrumental, this creates a confusion in understanding the difference between the two. Not only the difference in their definition, but a difference in what affect they have when creating an imagined world for an audience. An article from The Edge explains that “where a score sets the tone, a good soundtrack gives a movie personality.”
The distance that any kind of non-diegetic music creates between the film’s narrative and real life is obvious in the fact that we do not have a song start to play that perfectly matches the mood of the moment in real life, nor do we have a constant melody that matches how we feel. However, the presence of these sounds within a movie helps structure a particular reality in the way the producer perceives it.
Guardians of the Galaxy is known and loved for its iconic, classic soundtrack that allows the movie to become quiet original within its superhero genre. The Awesome mix vol. 1 accompanies Peter’s quirky references to 1970’s trends and pop culture which give the super hero movie that is set in space a cool 70’s vibe throughout.
This soundtrack gives the story line a depth that allows the imagined reality to look and feel more meaningful. This occurs in its consistency - introduced as a precious tape owned by a child containing songs which reflect his mother’s life as well as his own adventures throughout the movie. The consistency of the soundtrack throughout the film also creates a sense of realness right from the start mostly because every time a song from the soundtrack appears in the movie it begins diegetic and sometimes is purely diegetic, being played through head phones or on a tape player.
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 The first song played in the movie begins diegetic, played in a young boy’s (Peter Quill) head phones. “I’m not in Love” by 10cc has a soft sombre sound that matches the setting of a boy in a waiting room hospital waiting to see his sick mother. The English rock band were most successful in the 1970s and went on to top UK charts.
The next song “Come and Get your Love” by Rebone plays in the ear phones of a now older “Star-Lord” (Peter Quill), who is exploring dismal looking planet. The funk-rock song has energising beats that match his playful nature as he dances around until the music abruptly stops, interrupted by the image of the infinity stone in a room filled with silence.
It is implied that both songs mean something to Peter’s mother, Meredith Quill, who made the mix tape for his son which he holds dear, and suggest experiences that she has gone through. However, The Boardwalk Times suggest that some songs such as “Escape” by Rupert Holmes reflect Peter’s experiences. They explore the way that the song becomes paralleled with Peter and Gamora’s relationship through its conclusion of two lovers realising they have more in common than they thought. “They don’t have to look any further than each other for what they seek in a relationship.”. This connection could be made within the back story of both Peter and Gamora in which they both have not known love and meaning from family relationships or otherwise.
The meaning of the sound track runs deep within the movie in the way that it is represented and the way that each song is played in the movie. However, the use of these famous, chart topping, 1970’s hits carry meaning and experience respectively. This may connect with the audience in a way separate from the movie, altering certain feelings that the producer is trying to invoke. A qualitative content analysis by Claudia Bullerjahn (Bullerjahn, C 1994, ‘Psychomusicology: A Journal of Research in Music Cognition’, vol. 13, no. 1-2, pp.99-118) explains that the role of individual differences and past experience of viewers is typically not considered. I wonder if this is the case here or if that is part of the reason that the producer has chosen these songs specifically, because they already have personal meaning attached to many people watching. (p.99).
On the one hand it is the perceptions of the producer that are being portrayed but on the other the audience brings their own interpretation and emotional reaction to the specific music being matched with each scene.
The music score on the other hand becomes something that is constant throughout the entire movie, repeating certain sounds for certain scenarios. Guardians of the Galaxy uses the same four sounds throughout the movie the most common is quite intense, deep and dark which gets louder and more fast pace during any action. Bullerjahn (Bullerjahn, C 1994, ‘Psychomusicology: A Journal of Research in Music Cognition’, vol. 13, no. 1-2, pp.99-118) looks at this as a dramatic function used to accentuate a cinematic climax by accelerating the tempo. This can provide specific messages which can anticipate action and contribute to the narration. Other than this there is music which sounds like the same instruments but played in a more positive way, suggesting something heroic is happening or something triumphant has happened. Other music is sad and sombre and plays in moments when someone important and likable has died or when a deep and meaningful moment is happening between two characters.
When “Come and Get your Love” plays while Peter dances around in the opening scene it suddenly stops, interrupted by the sight of the infinity stone which Peter plans on taking. This is followed by the accompanying non-diegetic sound of deep, slow, intense music which plays behind the image of Nova Corp agents stepping off of a ship.
The way that both types of music are used allows them to almost complement each other in the successful effect they have on the audience. The soundtrack in this moment allows the audience to connect with Peter, to understand his personality, giving the imagined world a depth that connects to the character’s backstory and life in that moment. When the soundtrack stops and there is silence there is a sense of uncertainty and when the score kicks in so does a sense of seriousness. This changes to a deep, high tempo, intense music when they begin to chase Peter, this creates a sense of worry that the audience physically feels, making their heart beat faster and feel a sense of anxiety for the character we now know a bit about. Further into the scene Peter jumps away from a group of agents in which moment all music stops and time is slowed, again creating a sense of uncertainty. The silence, soundtrack and music score are carefully placed throughout a scene to allow a manipulation of emotions.
Bullerjahn explains that the music score influenced the mood of the entire film more than non-verbal reactions of the protagonists. They concluded that more than anything the score influenced the emotional components of film perception. (Bullerjahn, C 1994, ‘Psychomusicology: A Journal of Research in Music Cognition’, vol. 13, no. 1-2, pp.99-118)
Long moments that had no music at all connected with each other through a common factor of the five guardians of the galaxy being together. It seemed to me that the moments where the five characters where alone with each other were moments of safety and certainty, no one attacking them, no outside interference. They are moments which allow the relationship between them to build and relationship dynamics to form. This becomes clear with funny banter, laughter and serious conversation. Although there are other moments with no music at all that only last a few seconds, these go for a minute or two and last a whole conversation, it allowed these moments to stand out throughout the movie.
The article concludes that the genre influences the expectations of feeling for the audience whilst the music score guides their emotions allowing the moment in the movie to be interpreted differently but not too far from the producer’s own interpretation. Polarising the emotional atmosphere, influencing the understanding of the plot. (Bullerjahn, C 1994, ‘Psychomusicology: A Journal of Research in Music Cognition’, vol. 13, no. 1-2, pp.99-118) (p.116). The soundtrack in Guardians of the Galaxy adds to the depth of the actual imagined world being created, giving more elements to the story that the audience is being given. Both have the effect of manipulating the emotions of the audience, however, I have come to the conclusion that the score manipulates emotions in the moment, whilst the soundtrack has a longer term effect, building upon the emotions the audience feels toward particular characters or scenes.
Written by Bree Zammit
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Gorgeous and Lovable, the Yalla!
يلا شوت "Ahead march, no halting," "yalla" in Arabic, or "en avant" in French, is the ideal anthem for adventuresome women who are on their journeys of awakening to their intuitive, stunning and lovable selves. Based mostly on my personal activities and my close operate and friendships with girls, I have surmised that women yearn to really feel at ease with them selves, to take by themselves, and to be correct to themselves. Also, that, until finally they do, they will not really feel genuinely lovely, but will imagine their beauty is always matter to external circumstances. Experience beautiful and experience lovable are inextricably entwined. They feed one particular one more. We can by no means really feel genuinely stunning except if we truly feel lovable. Similarly, unless we know our lovableness, we are forever questioning our elegance. These kinds of a state is really agitating. It breeds incessant insecurity, forcing our thoughts into violent, irregular motion. In purchase to see and really feel our possess attractiveness and lovableness, we require to unwind into ourselves. And, we need to rethink or reframe our ideas of elegance. In my Yalla! perform with females, we carefully redefine "elegance" in new terms. For illustration, elegance is "the point out of being alive, conscious of our really worth, curious, open, appreciative, humane, intuitive, playful, adventuresome, observant, laughing, compassionate, relational and innovative." Awakening to our splendor and lovableness is essential to our emotional well being and the good quality of our relationships. Awakening is an critical for, if we don't, we are comatose, dried up, and can't totally contribute to our world. When a woman is aware of her correct splendor, she does not seek out validation from exterior resources and she is not vulnerable to people resources (societal or in any other case), that notify her that she is "not adequate unless of course she..." The generate for validation, acceptance, interest -- in other terms, to fill the void within -- qualified prospects to anguish, damaging alternatives, shaky interactions, and fear. I converse from my own encounter on this. Concomitantly, when a lady is awake to her personal attractiveness, she methods other individuals as equals, relaxed, and without having a wall of insecurity. This fosters much healthier interactions, professionally and individually. There is much less self-censorship, self-criticism, and codependency due to the fact she feels whole. Awakening to our personal beauty and lovableness arrives from reconnecting with who we are, not from flying on automobile-pilot with whom we consider we have to be. When ladies are genuine, they totally free other girls and guys to be so. We create our very own design. We exude attractiveness by cultivating our lives and bodies with lovely feelings, good emotional behavior and wholesome knowledge. But we need tools and mentors to do this. This is why it is so essential for ladies to collect and share their ancient and collective methods of becoming. No lady can obtain this on her personal. In get to be fully ourselves, we want to stay warn, consider for ourselves, and rebel against all the faulty media mayhem concerning splendor and lovableness. In fact, we can develop a behavior of being awake to our splendor, an internal-being aware of of our splendor that cannot be easily blown off course. We can pay interest to our feelings and bodies -- our inner gyroscope -- to understand immediately when we are beginning to sink. And, we can understand what to do to keep afloat. Awakening to our possess lovableness arises when we settle for ourselves just the way we are appropriate now. The travel to be "better" is a denial of our present dearness and of our right as a human currently being to be an imperfect learner. It qualified prospects to continual dissatisfaction. No one at any time "comes." We understand to know our benefit, not in conditions of what we do for other individuals or in others' eyes, but in conditions of how authentically we are living. We apply acute self-awareness to identify when our behavior is pushed by a need for other people to see our price, attractiveness, and lovableness, - and to know how to regroup and settle for ourselves once more to live a juicy lifestyle. We totally free ourselves of the relentless self-question which can make our hearts large. We shamelessly rejoice in ourselves and find out to treat ourselves carefully. Females are really challenging on them selves. Generally, we show other folks significantly far more compassion than we demonstrate ourselves. We keep ourselves to schedules and to-do lists which twelve men and women couldn't attain. We do not give ourselves place to breathe. We see items in conditions of both "failure" or "achievement," relatively than seeing ourselves and all other individuals as "learners." What a joy it is to cultivate our compassionate natures. Sadly, we typically come to feel so burdened, hurried and harried, that we neglect to see options to exercise our compassion. We fall short to observe an additional in require, are unsuccessful to respond to our fellow beings. And this produces a hollow existence with no soul. Perhaps such a malnourished woman can't set her finger on what's lacking, but self-orbiting and a deficiency of consciousness of other folks are gross neglect of her divinity and inner joy. And it is dull. Regardless of whether out of self-preservation, a mistaken idea of independence as often "doing it all by myself," et cetera, ladies usually build a wall all around them selves 4-feet thick. They grow to be doers, fairly than be-ers, and don't even notice when love comes knocking in its myriad types. It's time that we chortle a lot much more, enable adore in, and improve our capacity to acquire (or enable) enjoy. It's time that we develop a simpler daily life with much more place to breathe, that we value and delight in the simple issues which nourish the soul. We can do this. We can produce the excellent habit of stimulating our creativeness every day and apply self-recognition and use the sharp instruments we collect to this conclude. It is all proper and, even, essential to concern roles and associations. We require to permit ourselves our wishes to create, and whatever else we desire to do. We can know the place we begin and conclude, so we no for a longer time fall into co-dependency. To be totally free, we have to remove the hateful shoulds. Permission granted! Might we locate the braveness to stroll our very own life, and to be introduced into relationship once more with our instinctual selves who long to categorical, generate, run, growl, dance, mourn, nourish, giggle, scream, stomp and make really like. We are all "learners." Permit us exercising self-compassion, be affected person and mild with ourselves. Learning that we are lovable and lovely, enable us practice permitting really like to reach our molten magma main, instead than working in a method of hurry-up exactly where we miss the billions of expressions of enjoy each and every working day. Enable us nourish ourselves with the excellent joy that arrives from noticing other folks in require of treatment and responding to them. Women, we need to be deeply type to ourselves. We need to release guilt and self-blame, as nicely as blame of others (yet again, blame suggests a perception of victimhood). Let us revel in this superb globe, realizing that we are integral parts of it. Permit us embrace our household known as "humanity." Sadly, girls can be fairly inhumane to girls simply because of their possess insecurities, worry, and absence of realizing their splendor and lovableness. Let us refuse these kinds of pettiness, opposition, and cruelty. Let's wake up to our own beauty and lovableness and take care of our sisters kindly. Awakening to our splendor and lovableness is an ongoing love affair. It never ever finishes. As we find this journey, we learn to be proactively grateful and joyful, independent of conditions. We release the belief of victimhood which stops us in our tracks. Our energy is restored. Action by stage and with each other, we stroll, breathe and dance our life as total females. I propose a toast. Allow us lift our glasses with our inspiring Yalla! sister, Soeur Emmanuelle, and shout, "Yalla, baby!" Copyright 2010. Jennifer Ann Gordon. All Rights Reserved. In the spirit of Soeur Emmanuelle, I named my firm "Yalla!" Yalla!'s sole objective is to "embolden females to dwell deliciously." Forward march, no halting! I've been on quite a journey. Often, I joke with buddies and contact my tales, "Indiana Gordon and the Temple of Doom," but I do not regret a point. I relish each problem. Every single heartbreak deepens my compassion. Every single terror I confront strengthens me. Every single triumph, micro or macro, reaffirms my knowing and teaches me to have faith in intuition. Yalla! provides several distinct goodies to assistance women in their adventures. We offer workshops, dependent on some of the chapters of my guide, "A Woman's Thoughts 50 % Bare," such as "A Virgin Once again," "Get Sassy" and "Crunch," some of which are on-line.
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Exclaim!'s Top 29 Albums of 2017 So Far
As originally seen on Exclaim.ca.At this point last year, we’d already experienced massive album drops from the likes of Beyoncé, Kanye West, Radiohead, David Bowie and Drake; by the end of the year, we were left wondering just what was left to come out in 2017.
The answer is a swathe of albums by artists whose names might not adorn stadium marquees, but whose work shone brightly as beacons for another good year in music. Between long-awaited debut full-lengths, worldly, philosophical album statements and surprising genre crossovers, 2017 has seen a wealth of riches.
As the year’s halfway mark approaches, we’ve separated the great from the merely good in order to present the best albums released so far this year.
Click next to read through the albums one by one, or use the list below to skip ahead to your favourites.
Exclaim!’s Top 29 Albums of 2017 So Far:
1. Kendrick Lamar – DAMN. 2. Sampha – Process 3. Feist – Pleasure 4. Father John Misty – Pure Comedy 5. Mount Eerie – A Crow Looked at Me 6. Drake – More Life 7. Jay Som – Everybody Works 8. Mac DeMarco – This Old Dog 9. Joey Bada$$ – All-Amerikkkan Bada$$ 10. Slowdive – Slowdive 11. Power Trip – Nightmare Logic 12. The xx – I See You 13. Run the Jewels – Run the Jewels 3 14. Thundercat – Drunk 15. Oddisee – The Iceberg 16. Code Orange – Forever 17. Kelly Lee Owens – Kelly Lee Owens 18. Full of Hell – Trumpeting Ecstasy 19. Cloud Nothings – Life Without Sound 20. Stormzy – Gang Signs & Prayer 21. Do Make Say Think – Stubborn Persistent Illusions 22. Incendiary – Thousand Mile Stare 23. King Gizzard & the Lizard Wizard – Flying Microtonal Banana 24. (Sandy) Alex G – Rocket 25. Future Islands – The Far Field 26. Timber Timbre – Sincerely, Future Pollution 27. GAS – Narkopop 28. Paramore – After Laughter 29. Ryuichi Sakamoto – async
29. Ryuichi Sakamoto async (Milan)
A good deal has been made of the possibly autobiographical nature of Ryuichi Sakamoto’s triumphant return, async. The disc landed a little less than three years after his throat cancer diagnosis, and is replete with mournful synth lines, scratchy noise (if ever there was a track that made you want to clear your throat, it’s “andata") and spoken word segments about mortality.
There’s much more than nostalgia at work here, though. The 65-year-old, who calls both Tokyo and New York City home, delivered us a complex, at times difficult listen. Yet async remains wholly accessible. It’s beautiful without being pretty, engaging and, at the same time, comforting.
Is the disc’s title short for asynchronous, which refers to events "not occurring at the same time"? Maybe reading his illness and subsequent recovery into that is a stretch, but Sakamoto’s pre-release materials describe his interest in "the blurred lines of life and artificiality/noise and music." The line between good and poor health is often similarly tough to distinguish, but its exploration would fit perfectly amidst the tender thoughtfulness evident here. Kevin Press
28. Paramore After Laughter (Fueled By Ramen)
Paramore have gone through their share of professional and personal turmoil and lineup changes since their chart-topping self-titled LP. Bassist Jeremy Davis left, drummer Zac Farro returned seven years after an acrimonious split and singer Hayley Williams admitted in pre-release interviews that she often doubted they would ever record another album. The trio address this adversity head-on on the startling, emotionally complex After Laughter, a tuneful, effervescent full-length on which Paramore mostly trade what was left of their punk and emo roots for New Wave synths, sinewy Afrobeat-influenced guitar riffs and percussive Technicolor pop that evokes Talking Heads, Paul Simon and Tango in the Night-era Fleetwood Mac.
In contrast with the soaring, ebullient melodies, the lyrics reflect the band’s tumultuous recent past, most prominently on the LP’s first single, the cathartic "Hard Times." Hitting rock bottom has rarely sounded better than on After Laughter, one of the year’s finest pop albums. Thierry Côté
27. GAS Narkopop (Kompakt)
Wolfgang Voigt has kept busy over the last 17 years through his various projects, but he’s been neglecting the one that earns him the most attention. Capitalizing on last year’s elaborate GAS box set, the 56-year-old returned with his fifth album under the moniker like no time had passed.
His new 75-minute opus, Narkopop, surveys different moods and pulses, filling in the vast space with a range of textures and styles: drone, ambient, neo-classical and minimal techno. The results can be mesmeric and beautiful, though he’s not averse to stirring up discomfiting moments to throw the listener’s meditation off, either.
Although it follows the GAS template in its design and structure, Narkopop, like its predecessors, is very much its own entity and an exciting next phase in the oeuvre of electronic music’s most intriguing characters. Cam Lindsay
26. Timber Timbre Sincerely, Future Pollution (Arts & Crafts)
The sinister synths that flood Timber Timbre’s sixth LP leave little doubt that the Canadian band’s latest record, Sincerely, Future Pollution, isn’t entirely optimistic about humanity’s course. The free-floating folk-noir ensemble, led by the haunting vocals of Taylor Kirk, reach new vibrancy on this record by harkening back to ’80s-era Bowie, drum machines and dystopian narratives to create an album that, like Pink Floyd’s The Wall, comprises a cinematic whole yet is approachable enough to enjoy in individual parts.
Evidenced by the cascading melodies of "Moment," the wide-swath guitar strums of "Sewer Blues" and the clavinet-bumping "Grifting," Sincerely, Future Pollution is much more concerned with world-building than 2014’s sensuous Hot Dreams in both theme and vision. As they have each release since 2006’s Cedar Shakes, Timber Timbre somehow manage to enhance their ever-evolving sound once again here; this time, they do so by borrowing from the past to craft an album as fresh as it is timeless. Mackenzie Herd
25. Future Islands The Far Field (4AD)
Less immediate than 2014’s Singles but ultimately more rewarding, the hooks on Future Islands’ The Far Field are subtler, the sound a little wearier. Anchored by the soulful, strange vocal stylings of Samuel T. Herring, the band still know how to write songs that will sound great at the outdoor festivals they’ve graduated to since the smash success of "Seasons (Waiting on You)" — and there are several of those here — but the real revelation is the bold steps they’re taking in the face of their success.
The woozy, weird "Candles" and the call-and-response Debbie Harry duet "Shadows" are proof that the band aren’t content to play it safe. By resisting the urge to go bigger, Future Islands have instead gone deeper, to devastating effect. Dave Mix
24. (Sandy) Alex G Rocket (Domino)
Eight albums in, the restless Alex Giannascoli — aka (Sandy) Alex G — refuses to be labeled simply as "indie rock." On Rocket, he tackles it all — bittersweet alt-country ("Bobby"), industrial pseudo-rap ("Brick"), auto-tuned R&B ("Sportstar"), weirdo psych-pop ("Witch"), ramshackle experimental noise ("Horse"), and the list could go on — yet it all still feels oddly cohesive, shrouded in a mysterious lo-fi intimacy narrated by Giannascoli’s melodic and dazed vocal style.
Hints of self-doubt, anger, sarcasm and bliss blend together effortlessly thanks to a strange and freaky concoction of plucky acoustic guitar, screeching synthesizers, dazzling violin, piano, saxophone and even random dogs barking. Rocket readily mutates around unsettling emotions using inventive fictional personas; it’s a curious approach, but it grounds the record to a quietly relatable content, and incites new feelings with each listen. Chris Gee
23. King Gizzard & the Lizard Wizard Flying Microtonal Banana (ATO)
Like most of their previous efforts, King Gizzard & the Lizard Wizard’s latest project was tied to a concept from the outset — this time around, microtonality.
Flying Microtonal Banana might be the band’s most ambitious concept album so far, using a collection of microtonal instruments to weave unique melodies and Eastern-flavoured harmonies into the band’s usual frenetic grooves. That experimentation shines on tracks like "Open Water," with riffs that sound like an electrified snake-charmer, and "Billabong Valley," on which lead guitarist and singer Stu Mackenzie’s vocal lines mirror the eerie and hypnotic guitar melodies.
Rather than allowing themselves to be boxed in on Banana, though, the band run wild with the concept, transcending the chromatic scale to pull together one of the best psych-rock experiences of the year. Brandon Choghri
22. Incendiary Thousand Mile Stare (Closed Casket Activities)
Incendiary’s Thousand Mile Stare is a blistering return for the Long Island hardcore outfit. In the four years since their last record, Cost of Living, the music industry has seen some dramatic changes, particularly in relation to the current political climate. With these ten tracks, Incendiary prove that not only are they still relevant, but they’re on the forefront of their scene, leaders in an increasingly anxiety-ridden landscape.
The album’s eye-opening lyrics and gut-busting riffs are perfectly exemplified in "Front Toward Enemy," as frontman Brendan Garrone yells about "Fearing revolution": "They got their trigger fingers moving / The threat of oncoming war." Thousand Mile Stare’s unforgiving interpretation of a genre the band helped build, coupled with the passionate message they continue to spew, help make it one of hardcore’s most important release of 2017 thus far. Griffin Elliot
21. Do Make Say Think Stubborn Persistent Illusions (Constellation)
Do Make Say Think have never made a weak album, but nobody expected the legendary Torontonian instrumental octet to come back with such vital urgency after the longest recording gap in their lifespan. Perhaps it should’ve been clear though — they declare literal "War on Torpor" on Stubborn Persistent Illusions’ opening track. And to back the claim, this music is anything but lethargic or mentally lazy.
Everything we love about the band is present — the brash energy of punk rock, the rhythmic complexity of jazz and Afrobeat, the patient, bold dynamics of classical, and those epic, richly interwoven tapestries of guitar melodies and horn harmonies — but while these pieces share obvious genetic material with the band’s best work, none of it feels like an exercise in cloning. It’s like new sonic lifeforms are evolving from the band’s collective primordial soup to populate heretofore unexplored corners of their distinct sound world.
Beautifully realized with the utmost of love and respect for the act of co-creation and a work that may well be the new high water mark in post-rock, Stubborn Persistent Illusions is an absolute gift to fans of the ineffable magic of musical collaboration. Scott Gray
20. Stormzy Gang Signs & Prayer (#Merky)
For a decade-and-a-half, future-minded hip-hop heads and Anglophiles alike wondered how to get grime over to North American audiences. In the last two years, it’s finally happened, thanks in no small part to Skepta. But while he may have been the one to open the door, absurdly tall South London MC Stormzy has burst through it with enough force to remove hinge from frame.
On Gang Signs & Prayer, Stormzy serves up a perfect blend of crisp, rapid-fire delivery, aggro battle rap, heartbreaking introspection and surprising R&B sensibility. Stormzy is a perfect poster child for the new wave of clever, pop-savvy grime MCs. Chris Dart
19. Cloud Nothings Life Without Sound (Carpark)
Almost every year, an album is released that immediately stands out from the punk-leaning, guitar-slinging pack. It was Beach Slang a couple years ago, and now it’s Cloud Nothings’ turn with Life Without Sound, a record that sheds any of the extraneous influence of the past and find the band at their most cohesive and emotionally resonant yet.
The shift in sound from previous LP Here and Nowhere Else is noticeable. The guitars are a little less ragged, the hooks maybe not as prominent, but while the intensity has been dialled back, it ends up refocusing the group’s vision, and elevates Cloud Nothings’ sound to the next level. Marked by themes of self-evaluation, isolation and desperation, Dylan Baldi’s lyrics feel relatable, without being cliché. Those moments where Baldi’s emotionally driven lyrics hit hardest seem perfectly balanced against the band’s momentous riffs, which burst from every angle out of the speakers feeling alive and purposeful. Anthony Augustine
18. Full of Hell Trumpeting Ecstasy (Profound Lore)
Following a pair of collaborative albums with experimental noise artists the Body and Merzbow, Full of Hell stripped away a lot of the chaotic noise elements found on those releases for a more focused and cohesive record. In just a little over 20 minutes, Trumpeting Ecstasy finds the grindcore powerhouses launching a savage assault of blast beats and ear-piercing shrieks with just enough variation to let each song stand on its own.
Throughout, the band manage to infuse their abrasive tracks and organized havoc with thoughtfulness and care, as evident on songs like "The Cosmic Vein" and the blisteringly fast onslaught of "Branches of Yew." And though they’ve dialled back the experimental noise here, the band still manage to fit those sounds into the delicate yet aggressive title track. Trumpeting Ecstasy is a slab of viciously hostile grindcore not meant for the faint of heart. Joe Smith-Engelhardt
17. Kelly Lee Owens Kelly Lee Owens (Smalltown Supersound)
Within its few seconds, Kelly Lee Owens’s self-titled debut evokes the familiarity of an old favourite. Her spacious, pop-inflected techno is both vivid and economical, wringing nuanced emotions from simple elements. "S.O" and "Lucid" show the patience of a seasoned pro, enchanting listeners with cozy ambience before introducing a beat, while "C.B.M." and "8" go straight for the throat, showcasing thumping bass and mind-bending drone, respectively.
Owens’ concise, focused lyrics feel naturally expressive, as soothing as a well-worn mantra. Yet she refuses to coddle her listeners, and both "Anxi." and "Throwing Lines" hint at internal discord without breaking the record’s placid surface. Kelly Lee Owens is as invigorating as it is inviting, and it only gets more welcoming with each repeated rotation. Matthew Blenkarn
16. Code Orange Forever (Roadrunner)
Leading up to the release of Forever, Code Orange’s third full-length album, many questions orbited the band and their future: Would the shift from Deathwish Inc. to Roadrunner Records dilute their unrelenting sound? Would Code Orange’s loyalty to producer Kurt Ballou begin to yield stagnant and predictable results? Having demonstrated much promise in the past, but never fully delivering on their potential, Forever had to be the band’s best effort yet.
Code Orange answered by punishing all scepticism with nauseatingly visceral riffs, behemoth breakdowns, jarring passages and concussion-inducing percussion. Forever is the band’s heaviest and most menacing album to date, while offering the most diversity, too. Having been released only two weeks into the year, the record will face much competition in the battle for 2017’s best heavy record, but it’s inarguably in the conversation; this shit is thoroughly, aggressively good. Lukas Wojcicki
15. Oddisee The Iceberg (Mello Music Group)
It’s an understatement to say that many of 2017’s headlines have inspired cultural malaise. But, as usual, tense political climates have led to some seriously reflective music. And Oddisee’s latest project, The Iceberg, recently joined the highest echelon of socially conscious rap albums.
The 12-track LP delivers a healthy dose of social commentary, discussing police brutality, immigration, gender inequality and, of course, Donald Trump’s presidency. In such an unpredictable era, an album like The Iceberg helps listeners make sense of the world while also disseminating an important message: You’re not alone.
But storytelling is only part of the battle when putting together a masterful rap project, and like only a handful of other hip-hop artists, Oddisee produces his own beats. Throughout The Iceberg, the 32-year-old pushes the boundaries of the genre by layering unorthodox instrumentation with dense synths and prominent percussion. Imagine a hip-hop track guided by an organ; Oddisee did, and he made it sound dope. Anya Zoledziowski
14. Thundercat Drunk (Brainfeeder)
Like a wild night out featuring several shots of tequila, Drunk is zany and random, an immensely entertaining journey through Thundercat’s colourful mind.
A blend of angelic vocals, quirky lyrics ("I think I left my wallet at the club," he croons) and dizzying bass lines that defy human logic, Drunk has anthems for every variation of inebriation. There’s the fun and fidgety "Tokyo" for the restless drunk, "Drink Dat" for the flirty lush among you and "Lava Lamp" for the more sombre imbiber. "Friend Zone" plays like the gratifying tipsy text you’ll later regret sending, while "Jethro" feels communal and deeply spiritual, like a heart-to-heart between two buzzed strangers at the bar. Featuring clever, full-bodied production from collaborators like Flying Lotus and Soundwave, Drunk is great at first and gets even richer over time, a merry indulgence without the hangover. A. Harmony
13. Run the Jewels Run the Jewels 3 (Independent)
The political ire of nonconformists El-P and Killer Mike has long been at the forefront of their music, and the same can be said of their latest, Run the Jewels 3, a finely executed confrontation of the ruling class and a perfect closer for their album trilogy.
On top of its gorgeous, hard-hitting production, RTJ3 features help from an impressive list of collaborators including Danny Brown, BOOTS, Trina and Kamasi Washington. Run the Jewels have crafted a sound and style that stands alone, and here, it’s sharpened enough to go for the throat. The duo’s ingenuity is recognizable almost immediately, and impossible to duplicate. If their first two records laid the groundwork for battle, RTJ3 finds the rap iconoclasts in the thick of it. Ashley Hampson
12. The xx I See You (Young Turks)
It seems almost contradictory to say that the xx expanding their sound could make their material more intimate — especially given the way they already wore their emotions on their sleeves — but that’s exactly the case with their third album, I See You.
On their first two records, the band matched lovelorn confessions with spare, reverb-heavy guitars, distant drums and the hushed vocal deliveries of Oliver Sim and Romy Madley Croft. This time around, producer Jamie Smith, fresh off his excellent solo record In Colour, infused the record with his signature sample-driven production style, adding a whole new level of character to the band’s signature sound without distracting from the emotional heft of the songs. The record is easily the band’s most ambitious, but also their most rewarding, featuring gems like Madley Croft’s heartbreaking vocals on "Performance" and the danceable "I Dare You."
Their sound palette has expanded considerably, but so has their conviction as a group, a fact that’s clear from I See You’s beginning to its end. Matt Yuyitung
11. Power Trip Nightmare Logic (Southern Lord)
The "crossover" in crossover thrash is on the continuum of metal to punk, but for Power Trip, there’s a whole other crossover happening — from hardcore underground to metal mainstream. With over 10,000 copies sold, Nightmare Logic is quickly becoming a phenomenon, and with good reason — it’s phenomenal.
While artists worry about a sophomore slump, Power Trip have delivered a sophomore slam dunk, outshining their previous material that is, itself, far from lacklustre. There’s new confidence here: Riley Gale’s powerful snarl is now less reverb-soaked; "Executioner’s Tax (Swing of the Axe)" and the title track manage to turn straight-ahead chugs into memorable, headbangable riffs; and the opening groove of "Soul Sacrifice" and the blaring thrash with which "Firing Squad" comes out of the gates are incredible. And that’s just the first half of the album.
Not since Municipal Waste blew "rethrash" open a decade ago with their penchant for partying has a band had a better shot at bringing thrash back to its one-time glory as one of the world’s biggest heavy genres. Bradley Zorgdrager
10. Slowdive Slowdive (Dead Oceans)
Releasing a record is a tricky proposition for any reunited band, let alone one as monumentally adored as Slowdive. Come back half-cocked and you’ll risk disappointing fans; refrain from making anything new, and you’ll leave listeners (and band members alike) wondering what could have been.
The British shoegazers deftly avoid both possibilities with their latest LP (and first in 22 years), a self-titled album filled with woozy atmospherics, ethereal vocals and reverb-drenched guitars that pack the same wallop as crumbling ice shelves.
Slowdive aren’t exactly reinventing themselves here, but with their core songwriters having spent the last two decades in the understated Mojave 3, and the whole band having toured together since 2014, Slowdive is a lean and impressive set of songs that improves upon what they do best. Hell, it might even be the best album of their career; it’s certainly the most fully realized. Matthew Ritchie
9. Joey Bada$$ All-Amerikkkan Bada$$ (Cinematic Music Group/Pro Era)
Joey Bada$$’s second studio LP, All-Amerikkkan Bada$$, was released early this year, debuting at #5 on the Billboard Hot 200. It marked a departure from his debut album; where that record served more as a showcase of his wordplay and an homage to the golden era of hip-hop, this time around, Joey packed his 12-song project with scorching political commentary that aimed to draw awareness from the younger generation of listeners that have come to hold the 22-year-old rapper in high regard.
Alongside releasing political-minded singles "Devastated" and "Land of the Free," Joey claimed that "I was put here on this Earth not only to inspire but to wake people up" in the lead-up to AAB’s release. Having heard its entirety, that makes sense; the album is a defiant assertion of his status as a leader of millennials and a timely collection of (almost) entirely self-produced, anti-establishment anthems Riley Wallace
8. Mac DeMarco This Old Dog (Royal Mountain)
Mac DeMarco, a hero for the kids with his onstage antics and an inspiration to "keep it light" while wearing a pair of seen-better-days red Vans and an equally beatup baseball cap, has become synonymous with goofiness and good times. So when This Old Dog, his third studio album, was announced, it was easy to assume that he’d continue to bring the "jizz jazz" signature sound that he popularized — but he didn’t.
Instead, DeMarco proved to critics and fans alike (likely shocking both a tad) that not only can he pen a great tune, he’s equally capable of bringing the party and pulling at your heartstrings. He’s teased at this sort of softness before, with tracks like "Still Together" from 2 or Salad Days’ "Let My Baby Stay," but This Old Dog’s focuses on sweetly strummed guitars, melodies that provoke nostalgia and lyrics that address love and his estranged father, with a few surprises thrown in (the slinky "On The Level" and bouncy "Baby You’re Out"). It’s a wonderful surprise, and a sweet one, too. Cosette Schulz
7. Jay Som Everybody Works (Polyvinyl)
Melina Duterte has said that her debut album as Jay Som was inspired by Carly Rae Jepsen’s E•MO•TION, a talking point that has reverberated throughout all of her press. True, songs like "Remain" and "One More Time, Please" bear at least some similarity to Jepsen’s more slow-danceable heartbreak anthems, but reducing Everybody Works to this comparison ignores the album’s character and breadth.
"The Bus Song" is an absolutely timeless indie rock sing-along that makes a solid argument for the return of gang vocals, "1 Billion Dogs" is a fuzzed out alterna-banger and "(BedHead)" is ingenious slowcore. The Jepsen comparison is most on-point in that Everybody Works is so perfect that it sounds like it was laboured over by a team of songwriters and hip producers. But it wasn’t — it was recorded by Duterte, alone in her bedroom. Josiah Hughes
6. Drake More Life (Young Money/Cash Money/Republic)
If VIEWS was the angry rebuttable to Drake’s authenticity being challenged, More Life is the realization that introspective and peace-seeking is his most authentic artistic self. While its swollen "playlist" designation allows for a few unnecessary inclusions, the majority of Drake’s tenth full-length project finds him at his absolute finest.
The underlying theme is celebratory, including the sewn-in appraisal for an increasingly varied selection of global influences. For a brief moment a year ago, it looked as if Drake’s unchecked dominance may be coming to an end, a notion that seems ridiculous in retrospect. Emerging as a humble victor suits Drake best, and allows us all to reap the real spoils. Michael J. Warren
5. Mount Eerie A Crow Looked at Me (P.W. Elverum & Sun, Ltd.)
"Death is real."
In the past two decades that Phil Elverum has been singing about mortality, nothing he’s said before has been as hard-hitting, direct and heavy as these three words. Recorded during the months following the death of his wife, Geneviève Castrée, A Crow Looked at Me is a document of Elverum’s thoughts, fears and reality.
But what makes his eighth Mount Eerie LP so compelling is how it stands as an example of peerless art. Elverum couldn’t have been thinking of his fan base, record label or any musical scene while recording these songs; he was creating music out of pure necessity, as the 11 songs featured on this LP are bereft of choruses, bridges or even a proper rhyming structure. A Crow Looked at Me is an album Elverum almost certainly wishes he never had to make, but alas, death is real, and therefore it exists. This resulting meditation on grief is both stark and stunning. Daniel Sylvester
4. Father John Misty Pure Comedy (Sub Pop)
Father John Misty’s all-encompassing Pure Comedy finds Josh Tillman addressing the absurdity of human life, the effect of technology on the way we connect with others and the inherent meaninglessness of being here, but he does it all with shocking affection, in an Elton John-esque guise.
Far from a cynical polemic, Pure Comedy is a monster of a record that is never as hopeless as it may appear. It tries to shine a light on the possibility of a brighter, happier future by pointing out trivialities like the ridiculous weight we ascribe to our online presence ("Ballad of the Dying Man"), or by holding up a mirror to our strange human existence/experiment on its title track.
In its final moments, during "In Twenty Years or So," Tillman drives home just what we can learn from and do with meaninglessness: Find our own meaning. And as he sings, "I look at you as our second drinks arrive / the piano player’s playing ‘This Must Be The Place,’ and it’s a miracle to be alive," it’s clear that beauty and meaning and love are not so hard to find — even in a world that might suggest otherwise. Matt Williams
3. Feist Pleasure (Universal)
Leslie Feist’s first record in over half-a-decade might just be her best. Somewhere between the delicate sophistication of 2007’s The Reminder and the rougher bombast of 2011’s Metals, Pleasure finds Feist at her most dynamic, weaving timbres as seemingly contrary as woodwinds and gain-y blues guitar into songs that swing dramatically from placid to stormy in seconds — and that’s just in the first five minutes of it.
Even at their loudest, these songs are minimal: "I Wish I Didn’t Miss You" climaxes with Feist’s voice wailing through a watery delay effect over just her acoustic guitar; "Any Party" sounds like one when the gang vocals join her and her guitar for the chorus; and the propulsive "Century" is lent almost all of its urgency by a crackling layer of handclaps. They’re simple ingredients, but in Feist’s deft hands, they sound like pure Pleasure. Stephen Carlick
2. Sampha Process (Young Turks)
Though many listeners may have first become acquainted with Sampha through his guest features with Drake or SBTRKT, the UK native has firmly established himself as a solo artist with Process. It isn’t just his buttery tenor that makes his long-awaited debut LP a standout of this year so far, but his talent as both a writer and producer, too.
Drawing on the process of overcoming his mother’s passing and his own personal hurdles in music-making, emotional strength is a thematic constant across the record’s ten tracks, from the percussive drive of piano and drums on "Blood on Me" to the hushed keys and enveloping pads of closer "What Shouldn’t I Be?"
The most powerful moment of Sampha’s Process comes when he strips the electronic wizardry away, though; the breathtaking ballad "(No One Knows Me) Like the Piano" finds him seated at the ivories to lay bare his love for both his mother and music. Calum Slingerland
1. Kendrick Lamar DAMN. (Interscope/Top Dawg Entertainment)
Given music’s subjectivity, and Exclaim!’s long-standing policy of allowing writers to freely express their opinions, our original review of Kendrick Lamar’s latest caused some expected consternation. It’s an album that was praised by some, and fell short for others. After polling the Exclaim! writer’s pool, the overwhelming consensus was that DAMN. is the most beloved album released in 2017 so far.
Over sonically skeletal production, Lamar bares his truths and insecurities, fleshing out the songs with new layers and textures as he dramatizes the various characters he uses to speak on his behalf. He balances societal heartache and ferocious resilience, serving as a mouthpiece to tell the stories of his generation, as well as those before him and after us — and unapologetically, at that. The war chants of "DNA." and the introspective depth of "DUCKWORTH." offer jolting insights into the lives of young black Americans, while the animated "HUMBLE." and daunting "PRIDE." explore the waves of fear and acceptance that come with that day-to-day existence.
Whether you love DAMN. or not, for all that it stands for thematically, you have to admire Lamar for laying it all out on the table. Erin Lowers
View Full Article Here: Exclaim!’s Top 29 Albums of 2017 So Far
Exclaim!’s Top 29 Albums of 2017 So Far was originally published on CALM | We Drive The Calmest, Strive Regardless
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