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waterparksdrama · 2 years ago

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I’m begging for a Fandom track by track pls

ok ok i've been delaying it for a while so why not for you anon. i have a lot of personal opinions about this one so it's probably gonna be way more biased than other track by tracks lol

cherry red - an intro that gives off this sort of dreamy epic 80s vibe if you weren't paying attention to the lyrics much. he uses a lot of color imagery entwined with the happenings of their relationship to lament it at this point and begin this cycle between mourning the relationship and getting caught up with living with being perceived by the public eye all during this. it's a good intro and i like the instrumentals - 8/10

watch what happens next - see this is one of those songs i'd like better as a song if the message didn't age badly and didn't make cringe really hard. the first lines already Aged. a criticism of fan consumption of their music and their place in the scene as rockers. blah blah blah awsten wants money and doesn't like the need for the rock scene to undersell themselves for approval but also i think some of your expensive clothes are ugly as shit awsten so what now. not to mention the poorly aged second verse about hiphop and genre mixing (specifically with a jealous dig at old town road) considering the other factors associated with hip hop and how the soundcloud emo rap scene of the time slowly evolved into the "emo revival" we see today that bolstered parx's current relevancy tbh (they opened for my chem and are playing wwwy fest this year hello). but anyways as a song it's fine; the sassy guitars pull more punches than the lyrics end up doing and maybe i'm proving the point of the lyrics even if they're poorly aged but god shut up sometimes awsten - 5/10

dream boy - this is legitimately the only fandom song i can listen to regularly LMAOOO. i heard this in public before because they put this on radio disney it was terrifying. anyways back to the song. it's a poppy song about fan expectations and how awsten exists differently in fans' heads than in reality. i think this is one of the few songs that i think hit the mark of satirizing fans completely bc. i won't lie i do this completely whoops (i'm an rpf writer and run this blog what else do you expect of me). i don't think some fans realize the irony of using this song against each other whenever some awsten related drama comes up considering they usually have an even more warped view of him but. i digress. also justice for glitter times your pre chorus will forever live on here... - 8/10

easy to hate - another song about the breakup hence all the color imagery and apparently originally a friendly reminder song. not much to note here; it's a catchy little song that plays with some of the elements he used to write about ciara in the past to get this anti love song. i guess you could argue the chorus could also apply to parasocial relations hence the music video and everything but yeah. fine song. intro synths remind me of an old ringtone. - 7/10

high definition - i get the ode to imogen heap's hide and seek with this song and i can appreciate that but for me it's just so...eh. lyrically it's a song that follows awsten's struggles with trying to find love in a post-ciara world. there's some interesting lines here and there but nothing truly hits for me and sometimes i think about the lyric "now i'm canceled, i'm whatever" at random times and cringe.

not to mention the extreme cringe i get from what he said about the song in the rocksound track by track:

There’s a song that’s all, ‘Back then hoes didn’t want me, now I’m hot hoes all on me’ [Mike Jones’ ‘Back Then’] – but not in like a bragalicious way. It’s an, ‘I’m like really lonely, I hate all of this’, kind of way. It’s like that.

why. you do not have hoes. shut up. get ready for more of awsten's white ass making cringey rap references bc there's one later on none of us are gonna like. i think i have personal beef with this song bc i had a sign for wwdff at my show, he looked at it, and then he did this in complete and nothing else. - 4/10

telephone - a love song (about some girl he never talked to at a target). considering he has all this written about a person he made up traits in his mind, it makes sense why all the true love songs by parx are probably just about the concepts of people that aren't technically real if you think about it. musically, its piano riffs takes its cues from 60's pop before evolving into this sparkly fun chorus. tbh it's just fine to me and i used to think the obsessive love song thing about a stranger was weird but now i've written 10x more messed up fanfic about him so i can't even judge that too hard. blah blah can also tie into themes of fan perception and falling in love with a concept once again yeah i think it's just a fine song. i just like when otto says the ending at live shows. - 6/10

group chat - this isn't even a fuckin song. and according to the genius lyrics page this is what it means:

He strongly implies that the song is about fake friendships between famous figures, where people may often pose as friends purely for the sake of sharing it online. This phenomenon that has grown more rampant in the modern world as those in the public eye partake in this practice as a means of boosting popularity on social media. This also occurs within the music industry itself, when companies chose to featuring artists purely to maximize the buzz surrounding the song.

i'm just more focused on the fact that this is the first time otto's been mentioned by name in the parx discography and it wasn't even by awsten. isn't that fucked up. - n/a (not a fuckin song)

turbulent - i can distinctly remember my first time listening to this with my friend after choir class and we both came to the same conclusion: the song was stupid except for the ending when he stopped singing. this is still how i feel about the song. that opening line is so goddamn stupid and i still don't think patrick stump knows he's in this song or who waterparks is. did you know if ciara didn't like fall out boy as much he probably would've compared himself to ryan ross and brendon urie? nightmare. this is one of the songs i pit to at live shows because when you pit, you don't actually listen to the song. it has better energy live than it does recorded but i'm not rating the live version though. i think the production is much cooler than literally anything else in this stupid song with it's breakcore beats and random dogs - 5/10

never bloom again - remember when awsten teased this song for years saying this song would be the one making people cry and now years later no one talks about it that much. "all the girls in los angeles look like you from a distance", honey you date the same blonde clone with different mental illnesses every time i don't know why you're so surprised at this. i think there are some interesting lines here and there, i just feel like its strengths are staying simple in its verses because the chorus feels kinda corny with the extra stuff on top of everything because of that cervini style of big production. - 5/10

i miss having sex but at least i don't wanna die anymore - i miss when this title leaked and we thought this was fake. i hate this song and everything it stands for i'll just say it. the true beginning of awsten using annoying blunt lyrics out of fear of being misinterpreted because media literacy in most places has gone downhill and it's supposed to be honest by making fun of what fans want of him as well as airing out his relationship in a way. god he sounds so annoying in here and i get that's supposed to be the point but goddddddd. musically it's just some pop folk song but none of you care about that i know you want to know the other stuff. this song is probably the start to the end with it going viral on tiktok and beginning the divide between fans that became fans through the scene and fans that found them through tiktok. i fucking hate this song and its impact on parx today and the fact that it's their most popular song and a mainstay of the setlist will forever make me bitter because they have so many better songs and also christmas is more popular on tiktok and he still refuses to play it because he is a pussy - 0/10

war crimes - ok back to songs i can stomach. a driving song about awsten dealing with his peers in the scene and his isolation with his real friends being back home in texas while he moved to la. along with this, he still has to balance his feelings with the breakup all while being perceived by the public. it mostly deals with awsten truly having to become independent of all of these things and stand up for himself (no i still don't know who the coke thing is about there's too many people). musically, it shifts a lot of different ways from the light chorus to the more brooding verses. good song. - 7/10

[reboot] - he's white boy rapping again. this is never a good thing. it's literally just a breakup song again shocker. throws a lot of digs at ciara with wordplay that i can't really hear unless i read the lyrics because it sounds he's scatting. i just remember this song bc i remember he made a whole deal about how he was trying to avoid being misogynistic on this album bc of the subject matter (specifically calling girls a bitch) and then he used the chew toy metaphor to indirectly call her a bitch anyways. yeah. i think some parts of the production are interesting specifically the stuttering halts in the second verse but other than that. whatever. - 3/10

worst - i remember when the original demo leaked because it was around the same time of the felony steve mixtape. it was a weird time. has some of the Lyrics of All Time and i mean this in a bad way. remember when i said awsten makes some cringy rap references this is one of the ones i mean:

why. why. why. this is not a line that works when you're white. i think the chorus in the album version sounds more interesting at least production wise. does that mean it's a good song? no. this is a song that makes me hold the bridge of my nose and go "oh god why this is clearly something you wrote in the moment" - 4/10

zone out - a chiptune reprise of the dream boy chorus. awsten says that putting it at this point in the album is meant to come off sarcastic, but to me i feel like it sounds more defeated than anything. more of a "what now?" moment. i like it, sue me. - 6/10

i felt younger when we met - the beginning and ending to the cycle of his relationship with ciara and his fans watching. here, he mourns the things he misses about her and the things he did for her. it's the emotional core of the album combining the heavy electronics strung throughout the album with the big guitar led chorus leading the album back to the beginning because things just don't stop at that point. it's a great closer that does its job of being the emotional crux of the album of losing someone you end up making up and missing over and over - 8/10

i'll be honest with you i haven't listened to fandom in full since it actually leaked in 2019. i brushed off the album at the time because me and my friends had our own little drama with awsten (and his la friends who aren't even his friends anymore ironically) because he was tiring. trying to preach ideas and people that would do the same things he hated because he was away from his real friends back home. i was tired of what he was trying to come off as.

nowadays i'm still tired of him sometimes, but i think his time offline has made the idea of him more palatable; when he's not trying to quip with the sardonic teens that make up his fans today, it's easier to remember him as a person. when he's not online, he's probably buying groceries or having lunch with a friend, working and writing music in his apartment or a studio.

it begs the question on an album named fandom (that doesn't call out its fanbase nearly as much as deal with the emotional turmoil of a breakup) on how we perceive each other and how that can come crumbling down when reality hits. i can try and compartmentalize awsten the ideal and awsten the reality in my head, but do most people even realize that divide should be there?

it's probably the thing to comment on considering the existence of this blog, the way it lives in surveillance from both fans and the band + associates themselves because we say things that aren't nice but are true or just straight up fuck around for fun. the fourth wall between fans and creators grows more blurred and blurred with each day. there's something to comment on this about cycles of hypocrisy from everyone on all sides but i'll leave it at this: whatever we do on here, whether make a joke or point, becomes some fodder for spectacle in the same way awsten posts on any of his accounts. it's a cycle.

i won't lie, i still think this album sucks. most of the songs just don't hit the mark for me or are just straight up embarrassing and half the time i want to shake awsten and tell him “you are not kanye west, you are a bitch ass white boy from cypress”. however as an album, it does feel like one big piece all puzzled in together. it loops from beginning to end.

and the cycle keeps going on and on..... - iz

#i can't promise most of this makes sense but. it's here #track by track

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