#also some lowkey experimental style practice..

[scourgefrontiers]

OK I GOTTA SAY... i am Extremely Inspired by @fourleafisland's art (including @laikascomet) !!! so i wanted to try my hand at some fanart for the comic.. <:3

[makkinmusic]

Aural Analysis of Beautiful Boy by John Lennon

Recently, I got back into the old time-y songs and it’s so crazy because of how experimental their music was back then. I feel like no one does it like songs back in the early 80s or 90s do it. Hot take: music these days lowkey feels the same to me. That’s besides the point, but I was taking a walk on the throwback road and I got myself into the Beatles’s old music. I was shuffling through the playlist and I came across John Lennon’s song, “Beautiful Boy (Darling Boy).” In general, I love the musical versatility that The Beatles brought to the stadium in the 80s. Their whole discography features indie instruments such as the harmonica, piano, violin, trumpet, drums, etc. I wanted to specifically talk about how those instruments brought such a meaningful and calming idea of a song to life.  

The origins of the song is written by John Lennon as an emotional track about fatherhood. John Lennon and Yoko Ono’s relationship was booming. When Lennon and Ono got together, they had a kid, Sean Ono Lennon, whom John decided to write this song for, to show his love. This song arrived on John Lennon’s last solo album before he died. The album was called Double Fantasy, which was released in 1980. The Story Behind The Song: How John Lennon created ‘Beautiful Boy (Darling Boy)’

Let’s discuss the practicals. First, I want to talk about the instrumentation and orchestration of the whole piece in general. The song features a minimalistic arrangement, with a big focus on acoustic guitar, electric piano, and subtle (but definitely there) percussion elements. The instrumentation is what I’d like to describe as clean, avoiding excess background sounds, which serves to emphasize the vocals of John Lennon. The acoustic guitar plays a soft, lifting rhythm, which creates a dreamy and sort of a lullaby-like vibe. The use of a calypso-style rhythm and syncopated off-beats creates a sweet and gentle sway to the song, giving it the vibe of the feeling you’d get if you were enjoying the sun in a warm, tropical place. The electric piano and bell-like tone creates the harmonic texture. It serves to add a layer of warmth and nostalgia, while also being able to remain lowkey enough to not deviate from Lennon’s vocals. The percussion is light and delicate and sparing. The light congas pulse with the rhythm, which creates the song’s gentle flow, without overpowering the main vocals at the same time.

As for the production techniques, Lennon’s voice was mixed upfront and created a sense of intimacy. There is very little reverb, which helps make the song feel so personal, almost like Lennon was singing directly to Sean. The production choices in the song prioritize the sense of emotional closeness, which contrasts with the more… I don’t know how else to put it besides a psychedelic type of vibe the production of the song gave it. This dry, close-miked vocals stands in contrast to the more ambient guitar and keys, which gives the track an intimate feeling even while its aural palette feels full with different and diverse musical instruments. One feature I noticed to be an important part of the production is the use of stereo space. The instruments are gently brought in, which gives each element that’s introduced a defined space within the mix of everything else. When I listen to this, I’m able to focus on the lyrics, but I also feel like I’m being surrounded by the warmth of the instruments. The stereo separation is subtle, but I feel like it makes the vibes of the song very emotional and dreamlike. 

This is my review of this beautiful masterpiece of the song by John Lennon. If you haven't, I encourage you to dabble in The Beatles and their music. 

I’ve liked the song I talked about in this, and some of the songs that I also loveeeeee. 

Beautiful Boy

Here Comes the Sun

Yesterday

Hey Jude

That’s it for now, until next time. Have fun and listen to more music. Peace. 

Byeeeeee.

[bbytetsu]

SHOPPING WITH 3RD GYM MEMBERS

author’s note: had to repost this bc i was having issues with my tags last night but that’s my own fault LMAO hope u enjoy <3 

Kuroo:

lives in gray sweats, hoodies, and his volleyball gear and calls it “aThLeIsUrE” he’s just lazy

so you take him shopping bc you’re tired of being the only one with style

little did u know shopping with him is an emotional rollercoaster

he will either roast the shit out of u

“damn that’s my lil oompa loompa w the overalls”

or compliment u with cheesy chemistry pickup lines

“wow... you look like an exothermic reaction in that. spreading hotness everywhere 😘”

regardless of whether he’s flaming you or flirting with you, there’s never a dull moment shopping with him

“kuroo what the HELL is that?”

“you said i could pull off anything!”

“not those JORTS” 

it’s the fashion fail of the century, worse than plaid oikawa

but when he does find clothes that suit him: REAL athleisure with a hint of streetwear/goth, you better be ready!

because if he catches you blushing or you compliment him, he will tease you endlessly

when shopping for his own clothes, he’ll buy things that will look good on you, too. says some dumb shit about “getting more bang for his buck,” but just wants to see in his oversized hoodies

lots of quick, heated makeouts in fitting rooms

despite the endless teasing and banter, his heart is so soft when shopping with you. might not verbalize it, but his constant smile and the way he looks at you gives it all away

Bokuto:

the perfect balance of shopping for him and shopping for you

acts like your sugar daddy, but is actually broke... hear me out lmao

he’s a reckless spender 

even if he’s not paying with his own money f in the chat for the fukurodani team and anyone else who lends him money

invests A LOT in athletic wear, and definitely collects volleyball shoes

always points out collaborations between sports brands and athletes and will go on tangents about having his own collaboration one day so cute we love and support a man with goals

always gets scammed by the small stands that sell the most useless things

will constantly surprise you with small gifts

“bo, what’s this?”

“oh! it’s for you. doesn’t it look like me?”

“where’d you get the money, though? i thought you still owed ak-”

“DON’T WORRY ABOUT IT!”  

extra af in fitting rooms. will strut down the hallway and pose. blows kisses at you in front of store employees

LOVES sending you mirror selfies, especially with ALL THAT CAKE

you once made the mistake of not replying, and he spiraled into emo mode

“(y/n)... do you think my ass flat or something?”

you make up for it by buying matching outfits/t-shirts with him. he loves that matchy matchy!!

tbh you should avoid shopping with him in general though if you don’t want him to feel the wrath of his moneylenders

but that’s easier said than done. it’s impossible to feel anything less than pure joy when shopping with this ray of sunshine!!

Akaashi:

he’s practically your personal stylist. he has IMPECCABLE taste

plus he’s so patient and sweet when shopping with you. will carry your bags, will wait in lines for you, lets you take your time

very lowkey pda with him. just holding hands, quick pecks here and there

loves taking mirror selfies with you! always makes them his wallpaper 🥺

when you force him to shop for himself, he always leaves you speechless with how good he looks in everything. unlike kuroo he can pull off jorts

his style? classic, well-tailored, but not afraid to try some more experimental pieces (think opening ceremony). he has serious off-duty model energy

when you get tired of shopping for clothes, you’ll stop by the bookstore

and of course, he’ll lose track of time as soon as he begins thumbing through books

one time, you thought he had already left the bookstore since it had been so long, so you left to find him

he somehow noticed you leaving and practically sprinted after you. mans has never been so PRESSED

would not stop pouting like a lil puppy for the rest of the afternoon

“are you still mad, keiji?”

“no, why?”

“you’re frowning a little bit.”

“i’m not frowning...” he says as he continues to visibly pout

you buy boba for him and are extra affectionate to make up for it. our lil foodie can’t stay mad

shopping with almost always ends up with a cute dinner date. he makes reservations beforehand like the most perfect boyfriend he is

Tsukishima:

will refuse to go shopping with you at first, but it’s secretly because his heart can’t handle seeing you in cute clothes

you will have to bribe him with coffee listen i KNOW that tsukishima is a coffee addict

his style is also classic, but boringly so. does all of his shopping online, so he’s just here for you tbh

just walking around, he’ll literally find anything to criticize

“i’m not going in that store. reeks of vsco girls and daddy issues”

“why are they selling those ugly ass jorts. i bet kuroo would be stupid enough to wear those” i mean, he’s not wrong like

“the floor looks musty as hell in here. you would think they own a mop if they’re going to charge you $72 for a blouse”

but once in a while, just for you, he’ll put a pause on the bullying when you’re trying on an outfit he likes. highest form of a tsukki compliment is when he blushes a little and says “i guess that one’s okay”

he might roast the shit out of you but will never let anyone else bully you

if a salesperson rude to you two, he will ask to speak to the manager

will fight rude salespeople, their manager, the district manager, all the way up the corporate ladder just for you

you’ll take him to a nice cafe to calm his nerves. nothing like a cold brew to soothe the soul 😌

he won’t let this ruin your shopping trip, though. will try to keep lower his snark afterwards so that you can still have a good time, though he’ll never admit it

and you will definitely have a good time, because when he’s not directing it at you, his snarky commentary can be fun. and seeing him flustered when you’re wearing a cute fit? even better

[cherry-interlude]

Lana Del Rey Unreleased Ranking (3)

This is a re-ranking of Lana's unreleased songs, after making a first a few years ago. This is all my opinion, which I don't mind anyone disagreeing with but don't come for me for it - honestly, I like every song, despite any criticism, and this ranking is very vague. It's based on objective and subjective opinion.

This is the third of five posts, with the middle songs.

Dreamgirl

Purely wholesome and dreamy, Lana adds some very fifties “shoo-wops” to play a fifties starlet whispering, her vocals soothing and soft along with the looping piano that guides the song.

Jimmy Gnecco

Breathless over the brisk guitar, Lana gushes over Jimmy – mixing her adoration of her lovers with wannabe-starlet fangirling. It’s one of her best acoustic tracks as she smirks and requests a trip to the park.

Elvis

Lana’s acoustic dedication to her icon Elvis Presley is memorable despite how stripped back it is. It could have been cleaner but Lana’s sorrowful desperation to be close to this man who she is such a fan of works well in being decent output from her.

Boarding School

It’s a difficult listen, considering Lana’s nostalgia is for a “pro-ana nation” and a school where “makig love with your teachers” is revered, but it may just be a satirical look at her time in boarding school when she was younger. I don’t enjoy listening to such worrying topics being handled in an upbeat song but the song itself has well-written lyrics and a great instrumental.

Television Heaven

This song is incredibly sweet, with lovely lyrics, dreamy verses and a distinctive pop feel, but it is definitely a strange mash of instrumentals. It’s not too jarring but it does make the song fall lower in ranking. It feels indecisive as it goes from sugary pop to a slightly darker feel in the choruses, and the lyrics aren’t the most imaginative in Lana’s library of tracks.

Be My Daddy

Lana’s full on sex-kitten in this song that opens with twangy guitars and her hushed “what’s up?” as she greets her potential “daddy���. With dirtier lyrics that she’s “open like a Christmas present” and how she’ll “fuck you”, Lana avoids keeping the sex in just the vibe of the song.

Break My Fall

Another song made for another artist, Lana this time sounds like she’s doing her own track. The pop sound is still ideal for actual music charts but Lana pulls the song off well, playing a strong woman far removed from the tragic women of many of her songs. It’s strong in quality and doesn’t stray into more experimental territory where many of Lana’s unreleased songs reside.

Hit and Run

With three versions to pick from (the poppy original, the Born To Die style slower version and the demo Criminals Run The World that’s a little more overt about Lana’s violent intentions), all three of these songs have something special about them. The pop version is bouncy and chaotic, perfect for a wild spree of gun fights and car chases. The slower version is much more seductive and measured, but a little too reflective compared to the manic power of the upbeat version. Criminals Run The World ranks much lower, not as smooth compared to Hit and Run but still with that insanity that makes Hit and Run a wild ride.

Heavy Hitter

With a jazzy introduction, Lana gives us a glamorous tale of a star having an overdose (somehow she makes it glitzy). However, following the suggestive chorus in which Lana asks her man to open his butterfly doors of his car (to drive her to get help, somehow delivered with seduction rather than horror), the lyrics get lost in Lana’s generic praising of herself and her wicked ways. However, it’s a staple of Lana’s unreleased music, even if I do skip after the (if you think about it) harrowing first verse and chorus.

Behind Closed Doors

The instrumental is a little bit all over the place, but it does work when Lana details her ill-received romance to her lover, then jumps right in the chorus to eagerly tell him how much she enjoys sleeping with him.

Gangsta Boy

Lana is inspired by Betty Boop as she croons and gasps her way through the track. The vibe is great, though the music falls a bit, but Gangsta Boy is playful, light-hearted fun.

You’re Gonna Love Me

Lana may be raw in her vocals and basic in her instrumentals (only a guitar) but Lana takes control, self-assured she will make the listener adore her. Her confessional whisper that she might just want to be loved gives this song a knowing edge despite the pondering questions and realism-on-the-edge-of-pessimism feel tone.

Living Legend

Lana’s Living Legend was intended for Ultraviolence, and whilst the song fits in it is definitely one of her more slumbering songs. Yet her sentiment is strong, her lyrics thoughtful and thoroughly enjoyable. All of the versions bring something a bit different but it is underlined by great song-writing.

Hey You

Lana has fun greeting a potential lover with this track and I have as much fun listening to it. The chorus is sparse and repetitive but Hey You is all about grabbing your attention rather than going to deep.

Is It Wrong?

Claustrophobic and guided by a smart riff and technological glitches, Lana pulls off the perfect unhinged groupie as she questions whether or not she is wrong for wanting the star of her dreams so much. The glitching is great for really seeing how Lana teeters on the edge of sanity for this guy she can’t resist, going from being the starlet to the foaming-at-the-mouth fangirl.

Playground

Lana becomes a rapper apparently in Playground and hits back at anyone who doubts her and her music. With a cloying chorus that compares the music industry to a playground of bitchy comments and school yard, Lana’s verses are smooth and her references overall decent. It can be a little bit clunky in places but it doesn’t take itself too seriously.

Motel 6

A cute little dance track which namedrops Jim and her sister, Chuck, Lana brings the party to her favourite motel, downplaying her glamour to throwback her ‘lore’ and her old life pre-fame. Though it’s very much just describing one night rather than anything complex, it’s harmless fun.

Dynamite

Like the explosive dynamite itself, this song is punchy, restless and powerful. Lana layers this dominating track with innocent references to ice cream and pillow fights whilst also not holding back from the sexual references.

Afraid

Neat and mournful, Lana finally breaks off from her toxic partner. Lana is either sick of being worried for the future or terrified of her partner, and its reflective sadness as she plans to go back home still leaves hope that she will be able to be happy.

Wayamaya

Rolling calmly like a beach wave, Lana takes us straight to Hawaii and paints us an image of handsome surfers and Mercurys. Wayamaya is simply a soothing, short, cute little track that keeps very much surface level.

Hawaiian Tropic

Plinky music paired with non-stressful verses and imagery of Hawaiian shirts, this is the (in my opinion) better version of Every Man Gets His Wish (which shares the same chorus). The subtlety of this track compared to Every Man Gets His Wish helps to convey the hurt feelings a lot better, with the nostalgic feel and mournful longing in the vocals.

Dum Dum

Lana plays the alcoholic star who name drops Scarlett O’Hara and Bugsy Malone as part of her identity. These lyrics are pretty witty and the song snappy but, like some of her unreleased music, is a bit too overproduced and not cohesive. The verses and choruses don’t quite gel which doesn’t make for a song that flows well but with tweaking it could be even better.

Hollywood’s Dead

Lana fits perfectly into the era of fifties with this mid-20th century driven track. It sounds perfectly in place for the decade she frequently romanticises (with a modern twist) and Lana’s crooning, tearful references to her icons drips with glamour.

Fake Diamond

For an anti-romance song, Fake Diamond is quite upbeat. Lana complains of her ‘lover’ who is one way with her, a different way with others, whilst comparing their relationship to all manner of Lana-themed aesthetics (diamonds, movie projectors, etc.). Comparing herself to a child, she practically has a tantrum in the chorus, stamping her feet lovingly as she demands he loves her. I do think this song is joyful, making fun of her inattentive lover whilst keeping one step ahead of his games.

I Must Be Stupid

Lana’s live unreleased track lets Lana enjoy her life despite the hurt that surrounds it, showing strength in the face of heartbreak and other such topics in her music. It was performed post-Lust For Life, an era in which Lana embraced the light side rather than simply the dark.

Live Or Die

The version that is a little bit more lowkey and, in some ways, mature in that it matches a lot of her early albums sound is good but it’s not my favourite. There’s the heady, ultra-pop second version that has plenty more sexy references, a little meow (iconic) and an overall vibe of just having fun on the run. The former version is a bit more serious, but the second is – though less good in terms of production – full of soul.

Velvet Crowbar

Velvet Crowbar is a song that shows the dark side of fame and bad boys, namely the way they self-destruct to the point that their adoring lovers (already addicted to these gangstas of course) are falling with them. This song is a warning to these destructive souls that they aren’t invincible, and an equal warning to the people that love them that they might just fall apart and lose them. Lana puts her emotion across so well, with her stark lyrics, anxious guitars and growling third chorus. Even her more flowery imagery doesn’t cover up the overt fear that runs through this song.

Your Band Is All The Rage

Probably one of Lana’s saddest songs (which could be a great deal many since she knows how to tug heartstrings), Lana lets go of her rock star lover despite still loving him in this acoustic track. She makes soulful promises to be there when he needs him, her love lingering until he wants her back, and utilises the country music theme to her advantage.

1949

The studio version is my favourite but the charm of the original, acoustic demo is unmatched. Despite the controversial inspiration for this track, Lana puts us straight in the world of the 1950s, with American motels and Kmart. It has a note of sadness – perhaps because of the unfortunate tale of Lolita that much of this song seems based on – but it works as one of Lana’s aesthetically pleasing and classic tracks.

Because of You

The spoken intro is a little bit cringe but the song is lovely. Lana plays an immature brat who fell in love with a good man who essentially tamed her (a little bit questionable for some in 2021). It’s got some of her most flowery imagery and it details how her relationship bought out the best of her. The casual comments she throws in throughout the song give this a real bedtime story feel, though this song is anything but sleepy.

Resistance

Frustrated but fun, Lana’s catchy and upbeat Resistance brings to mind surfers and sunny days set in the noughties. Even though she’s furious with the guy who’s causing her so much trouble it still, for a change, stays perky and pleasant. A song that needs more attention, it’s the type of song that gets people singing and dancing along to it.

Dangerous Girl

With a rock-feeling patriotic opening, Lana launches into a track about her prowess as a dangerous girl, like a deranged beauty queen with a gangsta on her arm. It’s simply fun, complete with wolf-whistles and an impression of a siren.

[talizorahs]

Tell me more about Fredha? She sounds really interesting

!!!!! anon u bless my overwatch loving heart THANK U VERY MUCH FOR ASKING. ofc u can hear anything about fredha <3

she’s an israeli woman, having been working for her family for the last 15 years. nimski corp is a large, international corporation which produces and distributes fine machinery (think circuitry, motors, etc.). fredha was the lead engineer for their main factory in israel up until recently, under the watch of the ceo and her mother sadan nimski

an extraordinary engineer, fredha took on the knack for electronics from her father. her mother had all the business sense. you don’t become lead engineer just out of family name, after all

sadan and fredha don’t have the best relationship, but fredha stays with nimski corp out of family obligation.

her father, muhammad nimski, died in the zurich explosion with a lot of overwatch officials. he was a bright man, innovative and wanted to change the world - hence he was at the conference and perished there with the rest of the heroes. he was an overwatch ambassador and supplied heavily to them, in weaponry, omnic and machinery alike

fredha leaves nimski corp at 22, moving to london to work on her own projects off her own back, her own time. sadan heavily disagrees. the two cut ties when fredha moves away

she struggles to fit in where she ends up moving to london, struggles to find inspiration for her project - an experimental dispersal technology onboard flight vehicles. a similar example would be a water sprinkler just….. more refined. she wants it to be portable, for the device to be self-sustaining. innovation for farming, disaster relief, etc.

ends up wandering most days. she’s a good wanderer, a good procrastinator. not that she lacks making ends meet - she does, mainly off her own back. there came significant pay in working with one of the biggest orgs in the world

she stumbles upon a part-time job when she breaks an expensive camera in a quaint electronics shop, somewhere in the ass end of london. she fixes it and returns it to the owner, mint condition. he offers her a job.

the job is just to pass the time, and the owner - jamal - is open to her project ideas. he’s an older man, indian, also an immigrant and simply looking to get by each day. they get on well together.

she ends up working more out of the shop with jamal than at home, as the months go by. by the end of the year she has built the first prototype on board one of the jamal’s drones he sells (albeit heavily modded)

THEN SHE MEETS PICKLE. jamal is a lowkey supporter of the omnic resistance movement in london, so pickle crashes his place late one night looking for spare parts. she was injured in an ambush and needed somewhere close by and safe until she was repaired enough to move on. except, fredha has the shop to herself that night, and the two encounter each other instead. thus begins a partnership that even overwatch eventually takes notice.

the omnic resistance welcomes her technological aid, help her to finish the drone prototypes until eventually fredha has three all with different dispersal functions. they are glitchy but make ends meet:

healing drone (like mercy’s caduceus staff…. literally the same. the resistance had stolen - or perhaps even given - the technology and fredha adapted it to work portably like the staff)

shield drone (like symmetra’s shield generator….. literally the same again. definitely stolen from vishkar)

invisibility drone (more simple, but very glitchy. she’s still trying to make this one work)

while fredha is only one agent of the rebellion, she gets on the most with pickle. they have complimenting personalities and practical styles in the field. pickle is an excellent tactician, but not a good improviser, but fredha can think on her feet. as such, pickle is very bubbly and outgoing, always the charmer. flirts shamelessly. fredha is reserved and careful with what she says, but just as intelligent at reading people.

they become a terrifying duo on the london streets, fighting anti-omnic crime and supporting the less privileged with food, water, shelter and medical aid. they become so famous under their street guises - their identities are unknown - overwatch tracks them down and asks for their allegiance, eventually. respectfully, they decline official agent status but work jobs for the new organisation on the side, or will trade technology or information.

then you did ask about fredha, a few random facts:

she is a muslim hijabi woman

a procrastinator

level-headed, an improviser, very switched on\

good with her hands - yes, in both ways

queer

can speak hebrew, english and some parts spanish and french

pickle taught her how to fire a gun, she has never handled one despite working with weaponry with nimski

misses her father terribly

looks up to jamal as if he were her father

eventually reconciles with her mother, as she doesn’t believe in holding grudges

definitely has a crush on pickle

U CAN ASK ME ANYTHING ABOUT HER OR PICKLE. THEIR CANON. OVERWATCH. IDM. I LOVE THEM AND IM GLAD I COULD SHOW TUMBLR THEM FINALLY!!! ONCE AGAIN U WARM MY HEART THANK YOU <3 <3 <3

[mint-sm]

LOS CAMPESINOS! REVIEW/ANALYSIS: We Are Beautiful, We Are Doomed

Last time on the Los Camp review (suspenseful orchestral soundtrack plays), I went over “Hold on Now, Youngster...,” which was an excellent introduction to the band, but I don’t think was completely reflective of the refinement and impact it would later reach. While what was presented was impressive and lively as hell as is, and the foundation for a wittier, more poetic, more intelligent, more refined and diverse sound was there, they just didn’t have the a full-enough grasp on their visions to take advantage of it.

Well, just 8 months after the release of “Youngster,” the world was suddenly sucker-punched right in the face with “We Are Beautiful, We Are Doomed,” which had immediately shown a much firmer grip on that path. Bare in mind, prior to the release of “Youngster,” the band had already existed for 2 years, and that album was something of a compilation of different songs they had been performing in university clubs and internet radio shows. It’s an excellent compilation, and it’s still very well put-together, but it likely wasn’t the most precise voice and identity resembling what the band intended to jump for, at least for the future.

With “Doomed,” they finally found ground for their true calling, and it was surprising as hell. Starting things off, the album immediately hits you with “Ways to Make It Through the Wall" with its bombastic opening chords, grimy feedback, incredibly-banging and dense melodies, crashing cymbals and blasting violin, and even MORE shouty vocals from the band, including Gareth almost incoherently screaming “AND A ROOM FULL OF VACUUM AND A ROOM FULL OF AIR LOOK THE SAME!” during the bridge. On one hand, it still somehow manages to feel like the good ‘ol Los Camp we knew, and yet at the same time you ask yourself “This is the same band that just released an album with a song called ‘Drop It, Doe Eyes’?”

(HOW YOU BREAK THE RULES THAT YOU YOURSELF IMPOSED / THINK YOU'VE GOT IT IN FOR US, I THINK YOU'VE GOT IT IN FOR YOURSELVES!)

I kinda mentioned this in my intro, but I would personally divide Los Camp’s discography into 3 periods: A “Twee Indie Period,” followed by an “Noise Pop Period,” then a “Mellow Rock Period,” and “Doomed” is found kinda sandwiched in between the first two. A lot of the fresh-new-vibrant-indie-ness of “Youngster” can still be felt, but it doesn’t quite reach the more experimental and even more noisy magnificence of “Romance is Boring” that we’ll discuss next time. That said, this transitionary period still feels like a massive blow to the head with just how much more powerful the production feels now, but it’s really, really welcome.

While I don’t really think other tracks in the album reach as much of an impact as the intro, it still does consistently have a more consistently… not “tight,” but “punchy” feeling to it. Much of it feels in a way somehow messier than “Youngster,” with a more abrasive side, almost garageband-like than hipster-y (though looking it up, I just found out that “noise pop” is an actual thing. You can see why I’m probably not the most qualified music critic lol).

Later bangers (haha see that I'm an awesome reviewer look at my lexicon) on the album, such as “Miserabilia,” the title track, and "All Your Kayfabe Friends" all have this less-pure, but still clashing feel to them, with more distorted guitars, harsher-sounding percussions, and more compressed vocals, almost sounding cassette-recorded quality at times. Even their comparatively softer tracks, such as "You'll Need Those Fingers for Crossing" and “Heart Swells/Pacific Daylight Time,” still feel very feedback-y and dense, if that makes sense.

(WE GOT NOSTALGIC, ENDED UP FILLING SHOE BOXES WITH VOMIT / COLLECTED SCABS IN LOCKETS, HUNG THEM ROUND OUR NECKS LIKE NOOSES / NONE OF IT MATTERED, NONE OF IT MATTERS, NOBODY CARED)

Now this probably sounds like “Doomed” is maybe too messy or harsh to be really accessible if you’re coming from “Youngster,” but honestly, it’ll all feel surprisingly pretty familiar since a lot of the instrumental sensibilities from that record still shine through and are in the forefront. We still have a lot of those plucky, lo-fi keyboard synthesisers, we still have the violin and glockenspiel riffs, we still have the many call-and-response verses between Gareth and Aleks, and we still have the upbeat, catchy melodies and choruses.

Not much theory-wise has fundamentally changed in that regard, except maybe the softer, lowkey ballads have gotten more distinctive, such as “You’ll Need Those Fingers for Crossing,” which not only has a constant, but soft and occasionally punchy rhythm to it, but again, has that duet aspect, and it flows beautifully.

“Between an Erupting Earth and an Exploding Sky” is also this great, a bit dissonant, synthesized, little screechy, but also rather ethereal and floaty-sounding instrumental, a track that I honestly think is one of the band’s most visual-sounding themes, one that provides one of the most clear mental images, like maybe you’re splayed out while floating midair as both the earth and sky are already exploding beneath and above you all in extreme slow-motion, where everything’s all violent and impatient and tense and shit but at the same time weirdly serene and kinda cosy? It’s like experiencing a terrifying apocalypse and yet it feels like everything’s going to be okay.

There’s also “Heart Swells/Pacific Daylight Time,” which on top of just being one of the band’s very few honest-to-god love songs that’s surprisingly heartfelt (it’ll get more surprising when I discuss “Romance is Boring,” believe me), the muted vocals, the reverbed, feedbacked to hell background ambience, but very crisp guitar and percussion just paint this beautiful, but kinda fading image that’s honestly one of the most sweet tracks the band’s ever made, but also one of the most vaguely tragic.

(I DON'T WANT TO SOUND TRITE BUT YOU WERE PERFECT / THE WAY YOU LOOK COULD SERIOUSLY MAKE NATURE DYSMORPHIC / I WISH THAT YOU WOULD KISS ME 'TIL THE POINT OF PARALYSIS / THE WAY I FLAIL MY ARMS IN FRONT OF YOU, IT JUST EMBARRASSES)

And then we get to the lyrics, and like I’ve said, this is where the band has started to get much more flowery and descriptive, and honestly very funny in a sort of cringe-comedy-ish way, accentuated by once again, dissonant instrumentals. “Miserabilia” in particular is just like a really jaunty, upbeat and smiley-sounding track, and there is a definite playfulness both sonically and lyrically, but at the same time you go “wow, this ‘miserabilia’ (because get it, misery? Memorabilia? Miserabilia!) isn’t something I should cling onto, but at the same time, it’s pretty natural to do so, innit?” There’s also a really cute and funny lyric about “He whispered, ‘Oh my God, this really is a joy to behold’ / I thought he said, ‘It's a joy to be held,’ so I held him too close / It was a grave mistake, he never came back again!”, and I honestly can’t help but smile at just how absolutely DUMB it sounds when I hear it.

But on the more depressing side of sardonic, there’s the title track, and it’s probably one of my personal favorite cuts in the band’s discography, not just because how much it hits close to home for me personally -- it’s about a long-distance relationship falling apart, and how over time you start getting more and more resentful of them and their diverging interests and they get so much more unfamiliar it makes you wanna break their new friends’ teeth in no I’m not still bitter -- but also because how it manages to perfectly encapsulate that snide, but genuinely frustrated catharsis, not just with the banging instrumental or the gradual vocal escalation as the song continues, but the really specifically-vibrant vignettes Gareth provides to really build this mindset, like how “Absence makes the heart grow fonder / fondness makes the absence longer / Length loses my interest, I'm a realist, I'm insatiable / Swapped counting days until I fly, with hours before your reply.” Really, if you can only listen to one song from this band, it’s this one (even if it is for the climax, which is absolutely incredible if emo-sounding as fuck).

(OH, WE KID OURSELVES THERE'S FUTURE IN THE FUCKING / BUT THERE IS NO FUCKING FUTURE / I'M JUST PRACTICING MY ACCENTS, PICKING AT OLD SUTURES)

Admittedly, there are some times when the lyrics really elude me on their exact meaning, probably because I can’t really pin down what scenario or what context they were born from, unlike the lyrics to “No Blues” where I can say “Oh yeah, he’s just making a football reference, right” (we’ll get into that later). Like the song “It's Never That Easy Though, Is It? (Song for the Other Kurt),” which I think is about the narrator meeting with a girl, breaking up with her, and I think like the on-off resentment he gets when she snogs with some other dude? I think? I dunno, I’m reading the lyrics and I’m listening to who’s singing what line, but I still don’t really get a clear scenario.

Though like I said, Los Camp doesn’t USUALLY excel or at least specify in making images, and are more for crafting mentalities, mindsets, and atmospheres, and you still get this kinda-restrained giddiness juxtaposed with deep-seated resentment/fondness about a girl and part of her family, which is a theme that continues on for pretty much the entire second half of the album, like with “The End of the Asterisk,” or “Documented Emotional Breakdown #1,” whose exact meanings also elude me, but they have an obvious, kinda “twee indie”-style jauntiness to them, but haunted by an understated feel of darkness.

(THEY SAID, "THAT BOY'S TOO LAZY", YOU WERE CLEARLY FOREWARNED / A JEALOUS EX SILENCED THE ROOM, HE SAID THAT YOU WERE A WHORE / "DO YOU KISS YOUR MUMMY'S LIPS WITH THAT MOUTH?")

I think that just about sums up this album in a nutshell: Twee indie-style jauntiness with darkness haunting under them, like maybe say, an erupting earth and an exploding sky? It feels like Los Camp have finally identified an ominous, impending feeling of doom underneath their twee pop exterior and is slowly bringing that out with noisier production, more simultaneously specific-yet-vague subject matter, and a lot more honest-to-god atmosphere, brought out with much more concise and evocative lyricism.

It marks the true beginning of what I think the band is all about, and redefined what to expect from them. Once again, the feelings it provokes are a simultaneous yet somehow distinctive mishmash of wanting everything to be raucous and violent and you wanting to break down walls and shit, but also at the same time wanting things to be more emotional and down-to-earth, yet additionally being resentful and anticipating that fearful, inevitable doom.

It really is a great addition to the band’s discography, and it honestly feels like the perfect halfway point between the band’s innocent enjoyment of a time and scene gone by and the massively sardonic bitterness of the future. What happens then? Stay tuned! (suspenseful orchestral music ends) (4.5/5)

FAVES: “Ways to Make It Through the Wall,” “Miserabilia,” “We Are Beautiful, We Are Doomed,” “Between an Erupting Earth and an Exploding Sky,” “Documented Minor Emotional Breakdown #1,” “Heart Swells / Pacific Daylight Time”

PS, if you’re interested, I’ve also got an EEP released recently too! It’s electronica/chiptune fusions about a lot of cheeriness and sadness and shit! Thank!