#(her whole verse there does have an incredible rhythm and I do enjoy it all and it does live in my head

[ereborne]

Song of the Day: March 17

"I Like It" by Cardi B, Bad Bunny, J Balvin

[painfulbass]

☾ ˚⊹  ❛❛  GENERAL QUICK CROSSOVER GUIDE

So crossovers are usually difficult for a lot of people. So, because I tend to think about these things, I thought I would make this comprehensive list/guide to writing crossovers with me. This isn’t anything in concrete, but to get the ball rolling or to help make it easier for both sides to contribute to plotting. It can be hard when you don’t know the fandom.

FNF, or Friday Night Funkin’ is a rhythm based game around rap battles. The Protagonist (known as BF) is trying to prove himself and win over his Girlfriend’s (GF) Dad, and it spirals from there. Gameplay style, it is very similar to Dance Dance Revolution, and the music is a fast pasted dubstyle/chiptune soundtrack.

What a lot of people know FNF for, however is the Mods. Due to it being on Newgrounds, and the creators having it be open asset, many creators are able to make their own “weeks” for players to challenge their skills in. Ruv, and those within Mid Fight Masses, are one of those mods. You can find most of their lore scattered in the scenes of their week, or by going on their official FNF Wiki.

Now, what does this mean for crossovers? I put it under a read more, simply because this is going to be a lot. I’m going to explain crossover verses I have. How I make them, and how YOU could have your character be in the FNF verse quite easily. So go under the read more to continue reading.

☾ ˚⊹  ❛❛  RUV IN OTHER UNIVERSES

Here are some just ideas that I came up with. While not EVERY interaction will work with these, they are ideas. They’re meant to kick start ideas and inspirations. I do not consider these full verses until I’ve talked with the other mun to make sure that they are okay with it. These can easily be changed, and swapped out for different things. My main goal here is to try and keep Ruv down to his core elements while fitting into a new setting.

POKEMON- Ruv, along with Sarv run the church- which she has turned into a sanctuary and a Nursery. Much like in Canon, Sarv is supernatural, and Ruv as a run away criminal vowed his life for all eternity to protect her. With church’s going out however, the next next step would be a PokeNursery.           Ruv acts as protector of the Nursery from trainers and groups alike. He usually is seen sitting on the roof, throwing pebbles at kids or passerby’s who irk him in some way. You can always find his Onix, his Low-Key Toxtricity, and his Absol around him or the nursery at all times. He does still have his strength, speed, and other abilities. The “face” he has is also a mask- an attempt to hide his identity as the wanted criminal.

OWL HOUSE- Ruv was a wanted criminal for the longest time. His magic, due to where he was born was a lot less like those around him. He could fit into the covens, but anything he did reflected back on him. Living alone, and learning to just modify himself he became a wanted criminal with a bone breaking shout.            However all of those times soon came to a stop as he met the winged mistress he stays with now. Protecting her (though she is much more than capable of protecting himself) she runs one of the many sects in the area. It isn’t the best building, but it’s out of the way and he usually isn’t spotted. However, unfortunately his past comes back to haunt him. He has no choice, and begrudgingly assists the Guards to repay for his crimes.           Tied to Sarv through magical bonds, he has made it clear to those in charge and to her- should something come between his duty as a guard or her, he would chose her a million times over.

DUCKTALES- Ruv is the petrified remains of the guardian of St. Sarvente. Awoken as the earth was shifted off of it’s orbit and forced into something it’s not, the callous guard is in search of the one he calls Sarvente, whom he claims is the Ruler of Souls and the one he Vowed to Protect. He is, 100% made of stone.

TOONTOWN- Stickfigures aren’t uncommon drawings. One’s as complicated as he and Sarv though usually get a few eyes. Not only that, but video game characters are always treated differently in Toontown. Maybe it’s because of a developers history, or lack there of. The story of Ruvyzvat being a heartless killer however spreads like wild flower, and while he and Sarv will primarily stay at the church... sometimes curiosity becomes too much.

KINGDOM HEARTS- FNF is it’s own world. Keyblade turned into a microphone, Ruv & Sarv are some of the first that would be met. Despite their challenge, they are rather distanced from the troubles of the Darkness and Light and would be semi-good companions. 

THE BLACKOUT CLUB- Ruv is a 16. Any day will be the day that a voice will end up taking over, merging with his mind. That’s fine. Much like how Seed-The-Grudge would want, he’ll just get revenge.

HAZBIN HOTEL / HELLUVA BOSS- Ruv ironically enough is one of the few in Hell who does not make him dead. In fact, in some cases that can make him extremely rare. This crossover he IS able to accompany Sarvente into the Underworld, and follow her on her treks through it. While most assume he is a dead sinner, he usually just doesn’t answer. However something about being here and meeting those who reside within the land sets him off. He’s a tad more feral, and a tad more willing to go to the violent answer.

PORTAL- Violence core. What else is there to say? Alternatively, him being a test subject would be fascinating, especially if he was grabbed post-vow. The man is immortal, and therefore would have messed with the tests just by the fact that there is only way for him to die. Death isn’t the worst thing to happen to a man however, and he does still feel pain.

RWBY- Ruv has the ability to manipulate sound waves, specifically his own). Trained with great strength and and even greater speed, his form of combat is continuously dodging as he looks for a weak spot. Weapons of choice are shot gun snow boots, and his sickle that doubles as a short sword.

DOCTOR WHO- Sarv has the ability to create portals. While they are MEANT to be used to intergalactive travel, but instead parallel world travel that in of itself is monumental for a lot of DW plots. Ruv and Sarv can easily go from one universe to the next, however chose to stay in the church. Not to mention Ruv’s skills in target elimination and his abilities would make for some individuals to repurpose him into a weapon. While they have been approached by UNIT on several occasions, they always refuse. However, enough time has passed that they’re starting to notice that the couple in the church aren’t aging...

FNAF- RUVYZVAT and SARVENTE were creations of Fazbear Entertainments as karaoke machines... if we want to go the robot route. If we want to go the normal person route, Ruv was hired by Fazbear’s because it’s one of the few places that doesn’t do a background check, and when he said he wanted to wear a mask as part of the work outfit they were all for it. He runs the karaoke machine though. Stays away from quite literally everyone. While he isn’t the infamous killer of children here, he does have a reputation of his own that he is running from, and that does tend to make him silent.

BATIM- Criminal on the run stumbles into the wastelands formerly known as Bendy’s. Actually enjoys it at first because the cartoon was popular when he was a child. ALT. Stickman drawing of one of the artists come to life. Usually pretends to be Lost One, but when he’s alone with another (Sarvente) they turn into their stickman version selves. Has the ability to jump between 2 and 3 dimensions, but none of the strength or voice.

PSYCHONAUTS- Agent Ruvyzvat, Russian sector. Ruv is working for the Psychonauts in some weird, turning event. Mainly because the sole woman that he trusts and saved his life, Agent Sarvente brought him in. The two are inseparable, and despite Sasha and Nein being infamous for their clinginess, these two take it to a whole knew level. Ruve’s “loud voice” is actually a psychic ability he can use outside of the mind to jumble and confuse thoughts and has no damage on anything physically in the present.

GRAVITY FALLS- Sarvente is a Demon, much like Bill. Where sa Bill desires nothing but chaos and madness, Sarvente is trying her best to keep the world like it is and preserve it’s beauty. Seeing such beauty in a runaway criminal, she and he run to the forests of Oregon. Throughout Weirdmageddon, neither managed to be captured or turned to stone, however Ruv seemingly gained his incredible voice abilities. Now, they live in a semi-collapsed church out in the forest. Sarvente always asking those who come her way to join their church, Ruv is suspicious why such events would happen in such a small town, and is distrusting of most everyone he sees.

DETECTIVE CONAN / KAITOU KID / ANY ANIME OR SERIES LIKE THAT- VERY infamous criminal. Take his “Wanted Dead or Alive” that exists in all other verses, and ramp that up quite a bit. Usually wears a mask whenever he is committing a crime. He does seem to be in it for the fun, though it’s hard to tell with the stoic and expressionless looks. That being said, he does seem to have a very clear goal of what he wants. There are no patterns to where he hits, or what he takes. From wallets of people off the streets, to priceless artifacts. He’ll find where Sarvente went, and how they were able to change her mind in such a way.... how they could corrupt her.

MODERN / NON-EXTREMELY FANTASTICAL- Ruv is honestly a rather down to Earth individual, in some terms. He is untrusting of EVERYTHING, but also due to his own strengths finds little that fear or challenges him. Keep him mind he did make a deal with Lucifer (or his Lucifer) for Immortality for protecting her. While he will always be doing things on his own, a lot of his end goals and motives will come back to her. Without her involvement, he is a walking, talking, machine of destruction with no sway on which side he decides to tear apart.

☾ ˚⊹  ❛❛  GENERAL STOPPING POINTS FOR WANTING TO PLOT

DON’T KNOW THE WORLD YOU’RE FROM / YOU DON’T KNOW MY LORE. - That’s fine. I can get my hands dirty. I can research. In fact I usually would love nothing more to. I love learning about new fandoms, or new media to get into. You shouldn’t be afraid of that. As for mine- It should take someone less than an hour to get through all of the links I have posted in the RESOURCES tab in my bio. I’ve timed it. So if you have an hour to spare, or 15, or just enough time to read his wiki that’s fine. He’s not from a long running show, or anything like that. You can catch up extremely quick.

WELL WHAT ABOUT A BOOK/COMIC? HOW WOULD HE FIT IN?- If we are talking about Super Hero comics, then it depends. 90% of the time I will just play up his wanted status a lot more, and make it more of a reason for an interaction. You just ran into a man who has killed hundreds. If your muse is a super hero, or a vigilante? Would you let him go? What a villain? That might make a good partner.

TV SHOW? LIVE ACTION?- Again, it depends on the type of show. Superhero follows the same above. If it’s investigative, have him be a witness. Or a falsely accused man who can prove he isn’t the guilty party. Is it more supernatural- well he did make a deal with Lucifer and is an immortal now from it. There are a million ways to spin it. Don’t look at making him a big character. Quite honestly, side characters that you pass in the street have just as much backstory, and as long as there is a plausible chance of interactions then we can work it out from there.

☾ ˚⊹  ❛❛  GENERAL IDEAS TO BE AWARE OF THAT MIGHT HELP

HE IS A WANTED CRIMINAL.- Meaning his name Ruvyzvat is known. Despite his crimes going on for decades, he is on the run and never stopped. Several city, state, countries, and possibly nations are looking for him, and looking to take him in.

HE IS ALSO AN IMMORTAL.- While he hasn’t been around forever, and nearly not as long as Sarvente has been, he HAS been around for at least 100 years, give or take some. He can be injured, but even fatal injuries heal in an almost Deadpool like way.

HE ALSO HAS SUPERNATURAL POWERS.- His speed and reflexes alone is not something to be taken lightly. He does train and fight with Lucifer on what used to be a semi-regular basis. He has moved and adapted to be able to make sure no one but the singular person he trusts is able to lay a hand on him. That isn’t to say you can’t catch him off guard. You also have his inhuman strength to worry about, but most of all his voice. His voice which could completely demolish a building, and that isn’t the full strength. He has an amazing control over it, but that certainly isn’t a trait of his to ignore.

HE IS NOT ALWAYS IN THE CHURCH. I MADE SURE OF THAT WHEN I MADE MY BLOG.- He goes on walks, and he goes on errands. He also goes to the Gym on occasion, though not as often. He enjoys walks on the beach far earlier than anyone should be awake at. What I’m saying is running into him OUTSIDE of the church is possible. That being said, meeting him IN the church is your best bet for him warming up quicker. He feels safer in the church, and therefore usually wishes to stay there.

DOESN’T FIT THE STYLE OF CHARACTERS/WORLD? - If he doesn’t fit, then I can work to adapt him into something that WOULD fit. What characteristics about him doesn’t work. This is when I would need plotting help. If, lets say it was an all animal world, we can talk about what he is, his traits, and other such things. I am always happy to not use my icons- I just like to because I think they’re neat and I worked hard on them.

WHAT WOULD HE BE DOING?- Any number of things. He likes throwing pebbles at people. He mainly guards and protects Sarvente and her things, but I know we’re talking besides this. He cannot cook, but he does actually sew, and he does read quite a bit. Working on his fist to fist fighting would be a big one. He likes secluded areas, which especially work for explorer’s and people who walk off the beaten path.

IS THERE ANYWHERE HE COULDN’T BE?- He wouldn’t be at a bar. Ruv doesn’t drink, at all. I also don’t see him at any parties unless Sarv dragged him to them. Writing starters or plotting around those are perfectly fine, but do not expect his muse to be comfortable while he’s there.

HE SEEMS OVERPOWERED.- At times, he certainly can be, but only when he feels it’s necessary. He doesn’t flaunt his abilities, and most he has are out of self preservation. If you as a mun are worried about him and what he can do, the best thing you can do is read my information, look into his wiki, and then come and talk to me. Ruv isn’t someone who will 100% abuse what abilities he has, especially since now he is trying his best to be better for her since it makes her happy.

☾ ˚⊹  ❛❛  GENERAL IDEAS TO HAVE YOUR CHARACTERS IN HIS UNIVERSE

LOCATIONS?- The Church, the back alleys, the karaoke bar (that primarily does rap battles), the Alternate dimension that Sarv made so that he can be loud and not retrain his voice.

MOTIVATIONS?- If your muse is in the FNF world, then be ready for some sick beats to be dropped. Your muse could be rescuing someone from the BBEG and going through the slew of minions to sing against. There’s always the alternative side of this of “what the hell is going on?”

MY CHARACTER ISN’T FROM THERE, SO THEY WOULDN’T FIT IN.- Well I do have a “main” verse which replaces raps with fists. Looking for someone important to them, in the search of a deep and hidden artifact within the search, the rumors of a man born 100 years ago- theres a lot to be found in the library if you looked.

WHAT DOES THE FNF WORLD CONSIST OF?- It consists of Demon Daddies, Singing Skeletons and Pumpkins, Tankmen, a Demonic Lemon Demon, Sentient Video Game Characters, and if you take the mods in you also have Demon, Angels, Ghosts, Deadly Ex’s, Bomb Headed Men-- I promise your character will fit in at the end of the day.

ISN’T HE EXTREMELY AGGRESSIVE AND HARD TO TALK TO?- He can be. He talks in very short sentences, however I do my best to give my reply enough that you can reply to. Actions, and I chose to be very descriptive with his expressions in this case. Ruv spend many years alone, and sometimes with him, actions speak louder than words. When you or your muse figure that out is up to you.

WELL WE CAN’T DO AN ENTIRE THREAD IN A CHURCH.- I never said we had to. He is more than happy to leave the church should he want, and should there be a reason. Usually, (despite what it seems) he does like helping people, so you can lure him out that way ;)

[bellatrixobsessed1]

Speak No Evil (Part 34)

Alright, so this is the end of the Seicho path. From here on out the chapters will be for the TyZula end and will be marked with '-Story B'.

Sometimes her voice still cracks. Sometimes her throat still throbs with phantom pangs. Sometimes she thinks about her voice coming back to her projected from the mouth of a spirit. Most of the time she doesn’t have time to dwell upon it.

It had been daunting at first, a little overwhelming. But she is used to it by now, used to larger crowds and many stares. She finds Seicho in the crowd first, staring up at her with one of those beaming smiles. Next to her stands TyLee and next to her is Tuya and her expedition team. To Seicho’s left are Zhang-Zin, Zuko, and Mai. Her tummy flutters despite her confidence. She supposes that she is due for at least a little nervousness; this show is quite bigger than her usual ones. Bigger and the first time she has performed at a festival.

Paper lanterns on strings line the streets and bob languidly up and down in the soft breeze. A generous sprinkling of stars swirl overhead, seemingly in rhythm with the candle light below. The crowd is unsurprisingly full of fire.  It is a divine night in weather and atmosphere and, if things go according to plan, she will help shape said atmosphere.

Behind her a few notes are plucked on a shamisen that are accompanied by breathy notes from a shakuhachi. Several other instruments come to join before her own voice comes into the mix. By now, the song is familiar, second nature.  By now it is comforting.  

She once said that her voice had a taste. A flavor sharp like cinnamon and cool like passionfruit and sometimes when she sings she can taste it all over again. She isn’t sure that she is supposed to but she does all the same. And every time she sings, she feels as though the quality of her voice matches the tastes. The diction is like cinnamon and the tone is like passionfruit. The melody and pitch have their own flavors; a soft sprinkle of ginger and a tang of mango juice respectively.  

At other times she thinks of her voice as an aesthetic; one that ranges from a sunny day on the beach, warm, inviting, and alive to lightning violently lashing at an erupting volcano. Truly, it depends how she is using it.  Tonight is a beach day, calming, bright, and upbeat. Tonight the beach is a collection of flavors that she has only just discovered. There is the smell of cooking meat and the sight of stingrays swimming just beneath the waves. A party on sand that is being kicked up. Such is the quality and sound of Azula’s voice tonight.

Every now and then she still finds her voice to be unpleasant to her own ears at worst. At best it might sound foreign or off on these nights. Tonight she is comfortable with it, with how it sounds. Tonight she thinks that she rather enjoys the sound. And maybe it is because her risk has paid off; the song she has chosen has quite a daunting degree of range. A level of it that she hadn’t been certain that she could achieve yet. She had already prepared herself for the humiliations of her voice cracking or weakening on stage.

Her preparations, so far, have not been needed. She finds that sliding through the notes from top to bottom is coming effortlessly tonight. TyLee is grinning wide and proud. Her eyes land upon Seicho. Seicho who would probably look at her with just as much adoration if her voice were flat and toneless. If her song weren’t pretty in the slightest.

Seicho extends her arm and Azula brushes her fingers against the woman’s. She laces their fingers together for a verse or two before returning to center state for her last notes. It is a strong finish, the strongest she has had in a while. It is as powerful and poised as a lightning strike and it lingers in the air like charged thunder.

And long after that last note has died out she can still feel it vibrating in her throat. This also isn’t particularly unusual; every now and again, Azula can feel her voice as a wisp, golden-blue and delicate. Sometimes she thinks that the wisp moves when she’s not using it. She touches her fingers to her throat, to where the pulsating is the strongest.

She gives a little jolt when Seicho’s arms wrap around her torso. The woman kisses her ear and her forehead and the top of her head until her face is lightly flushed. “You did amazing tonight.”

“You always say that.” Azula cups her hands over Seicho’s and rubs her thumb against the backs of them.

“I mean it, this was the best one yet!”

Azula is inclined to agree. “It was a reassuring show.” She admits. “I didn’t think that I would be able…”

“Of course you can! Your voice has been really strong lately.”

Azula nods. “Yes, I suppose.”

Seicho rolls her eyes. “I know that you’ve had a humbling experience, but give yourself some credit where it’s due!”

“I...yes, there has been improvement.” She agrees. “A lot of it.” Speech therapy has been doing her wonders and then some. And, by the spirits, was it a fantastic idea to get some professional vocal training alongside it.

“Your voice makes people so happy, Azula.” TyLee notes from the other end of the room.

“Does it make you happy?”

TyLee nods. “Your shows are always amazing. It’s like going on an expedition sometimes; your voice and lyrics bring me to a whole different world!” She gushes.

Azula’s face colors completely. Frankly, she can’t believe that TyLee is still able to do that to her. But then, Seicho can still leave her incredibly flustered as well. She clears her throat, “thank you, TyLee, I try to make my songs immersive.”

Seicho gives her a small squeeze. Azula wonders if she knows that the last song had been about her. About TyLee and about the journey to reclaim her voice and peace of mind. She thinks that she can soundly say that it is safe to write a song about what it feels like to have both. Both and love and security. Family. Hope.

Seicho rests her head upon Azula’s shoulder and Azula leans into her hold. TyLee smiles. TyLee takes comfort in Tuya’s embrace. And finally it is a comfort to see rather than a torment. She turns around and rests her head against Seicho’s chest; it isn’t the love she had planned but, Agni it means the world.

“I love you, Seicho.” She murmurs.

Of all of the songs she sings, she thinks that Seicho finds more music in these words.

.oOo.

Sometimes they go back to that jungle. Sometimes they make that trek again. The volcano always looms just ahead, it watches her as she and Seicho scale the ruins for a proper exploration. It watches them explore different paths, uncharted trails and well loved walkways.

Today she leads Seicho directly towards the volcano. She thinks that Seicho might be vaguely uncomfortable but the woman, for once, says nothing. Nothing until they reach the foot of the volcano. “What are we doing here?” She shifts uncomfortably.

“I want to climb it.”

Seicho seems to cringe. “For what.”

Azula shrugs, “just to say that I did.” Deep down she thinks that there is more to it. Deep down she has a need to wrap up some final loose ends. To make peace with the past and add some kindness to a memory that she can’t stop mulling over.

Spirits, she had come so close to missing all of this; all of the affections, adventures, mishaps, and comforts that have come since Seicho had carried her down the volcano. She holds her hand out and Seicho grips it almost uncomfortably tightly.

This time when she ascends the volcano she is strong. This time her goal is much different; she wants the view and the pride that comes with having made it to the top. This time the volcano is her way of enjoying life rather than a means for her death.

This time the volcano is a beginning, in some strange way, it has become a promise. A promise to keep ascending and to hold onto what she has.

“Can we go back down now?”

Azula nods, “lead the way.”

And soon the volcano is behind her once more.

[dailyaudiobible]

01/04/2021 DAB Transcript

Genesis 8:1-10:32, Matthew 4:12-25, Psalms 4:1-8, Proverbs 1:20-23

Today is the 4th day of January welcome to the Daily Audio Bible I'm Brian it is great to be here with you today as we launch forward into our first…well…workweek…workweek of the new year. For some of us this is the first day back in this brand-new year. And, so, you know, we’re settling back into the rhythm of things with a hope a great hope that this will be a year where we will mend. Last year was one for the books. And mending doesn't necessarily mean returning to any kind of status quo, it just means a time to heal, a time to pursue the way forward by pursuing the narrow path that leads to life that Jesus will illuminate, will teach us about as we journey through the Gospels. So, it is a fantastic, it is a joy to be here with you today as we move forward. So, let's get to it. We are reading from the Christian Standard Bible this week. We have already talked about Genesis. We’ve talked about Matthew. We’ve talked about Psalms. Now this is the fourth day of the year. When we get to the Proverbs we’ll talk about the Proverbs and then we’ll be kind of moved into the books that we’re reading. But first, Genesis chapters 8, 9, and 10 today.

Introduction to the book of Proverbs:

Okay. This brings us to the book of Proverbs in our Proverbs reading today. And, so, we haven't actually talked about the book of Proverbs yet to get moved into it, like we’re moving into this year. And, so, let’s talk about Proverbs. Proverbs is a book of wisdom. In fact, remember how we were talking about how the Bible is broken down, like we have Old Testament and New Testament, those are delineations and then within those delineations are subgroups, like the Torah or like the Gospels. So, Proverbs is the centerpiece of a section of the Scriptures known as the…the wisdom literature of the Bible. And, so, it's, Proverbs, and then the others are Ecclesiastes and Job, and part of the Psalms. And wisdom literature is a genre. I mean there's wisdom literature outside of the Bible. It’s a genre of literature. But this is the biblical wisdom literature at its intended to speak directly. It's not like a narrative story where we’re kind of learning all the little twists and turns of how the story went. This is direct teaching. And although it can come in the form of a rhetorical question or a riddle or…or just a direct statement, its intended to speak directly to what it's trying to teach. And, so, the Proverbs are invaluable, invaluable for our lives, like, truly. As we continue into the book of Proverbs wisdom will come forward and introduce herself, and she will introduce herself in the feminine voice. And she will tell us that she was with God in the beginning, that He used her. That she celebrated and danced with delight and joy at the creation of humanity and that she is here at every crossroads pointing the way if we will simply slow down and not blast through that intersection into some kind of brick wall and destroy ourselves. She's there saying, “this is the way you should go. Not that one.” If we will simply listen to her. So, she has a valuable voice in our lives for this year and…and for the rest of our lives for that matter. And we should pay attention clearly and closely. In fact, at this point I would make you aware that this is the Daily Audio Bible, but there is the Daily Audio proverb. And it's…it's like less than five minutes…about five minutes a day of pouring unfiltered wisdom right into your soul. If you keep that up, you’re going…and be…and heed the call…like heed her words…well…that's the path of wisdom. That's how we become wise. And, so, there is that resources. It’s like a vitamin…if this is the Daily Audio Bible and this is the meal then that’s the vitamin. And…and there's also the Daily Audio Psalms, which is like just a couple minutes a day to just stay in this rhythm throughout the day because what we will see in the Bible is many many many rhythms established, because once we get into a rhythm then we have a repeatable process that is continually reminding us of who we are because it's easy enough to forget. We get swept into other people's conflicts, we get swept into other people's gossip, we get swept into all kinds of things that aren't us and we pick up offenses and carry them around and they're not even ours. We forget our identity and yet we come here to be reminded each and every day with the rhythms of life who God is, who we are, where we are going. And, so, with that said let’s read from the Proverbs. We’ll read chapter 1 verses 20 through 23 today.

Prayer:

Father we thank You for that. We press into that. We make it a point. As we continue to sail out of the harbor and into the deep for this year, we make it a point to always pay attention and heed the voice of wisdom in our lives. We’re gonna need it and You have given it to us. It is there for us. It's not hidden, it's available to us. And, so, Father help us to listen to what she has to say and heed her counsel we pray. In the mighty name of Jesus, we ask. Amen.

Announcements:

dailyaudiobible.com is home base, it’s the website, it’s where you find out what's going on around here. So, be familiar with it. Get connected there. The Prayer Wall is there. Yeah, just be familiar. Of course, if you’re using the Daily Audio Bible app and that is highly recommended for the year that we’re on for lots of reasons, but it helps us keep track of where we are and where we’re going. And as we move through the different sections of the Bible we receive, like achievement notifications that we’re making this progress - this is where we are, this is how far we've gone, this is the section we’re going through. We get these badges that show up and is just a much much more connected experience. So, check out the Daily Audio Bible app. It’s free wherever you get your apps. So, just search for Daily Audio Bible, and download the app and dive into this year.

Also reminding you that we have re-launched Daily Audio Bible kids and our son Ezekiel is in the driver seat there and doing such…such a great job. So proud of him. But it is a beautiful thing, to allow your children to experience. And this is a New Testament reading. So, it’s not long. It's not beyond the attention span of a child. And to go through the Bible for kids with kids by kids, this is truly a beautiful thing. So, yeah, if you’ve got kids or grandkids check out the Daily Audio Bible Kids in Daily Audio Bible app and…and enjoy. It’s inspiring.

If you want to partner with the Daily Audio Bible, you can do that at dailyaudiobible.com. There is a link on the homepage. It lives there. Thank you. Thank you for everyone who’s ever pressed that link. If you’re using the Daily Audio Bible app, you can press the Give button in the upper right-hand corner or the mailing address is PO Box 1996 Spring Hill Tennessee 37174.

And, as always, if you have a prayer request or encouragement, you can hit the Hotline button in the app and share from there. It’s the little red button up at the top or you can dial 877-942-4253.

And that's it for today. I’m Brian I love you and I'll be waiting for you here tomorrow.

Community Prayer and Praise:

Happy new year Daily Audio Bible family this is Catherine calling from Maryland and I just wanted to offer a prayer for you Afia. I missed that you moved from Delaware to central California. So, good luck settling into your new area. And maybe that’s part of the feelings that you have. But God please be with Afia. Help him to know You in a new way this year in 2021 and to settle into his new place and to mend his relationships with You, with himself, with…with everyone around him and grow closer to You. And I just want to tell a little story of…of the word of the year. So, I was driving in my car and trying to remember what it was and I…the word in my mind came as “mind” and then I realized quickly that, “no it’s not mind its mend” and then I thought “how funny though that mind in the sort of old style of the word is to obey, right? To listen, to heed.” And we do have to mind God and God’s word and put our minds on God word…God’s word in order to mend for 2021. So, little change of vowel but…but the two kind of go together. So, I thought that was kind of an interesting little God breeze. Anyway, I love you family and look forward to spending 2021 with you and God bless Brian and Jill and the entire Hardin family. Amen.

Hello this is Ben Kramer and we are from Fort Wayne Indiana and I really like how…how you’re doing this and I think you’re doing a great job. I also pray that we all stay safe during Covid and my mommy does too, right? Right. I hope to listen to you guys tomorrow. Thanks.

Hi this is Stu Sutton from Southern California. I just want to pray a blessing over everyone as they embark on this one-year journey with the Daily Audio Bible. It is an incredible journey; one I’ve been fortunate to take for several years now. And I can’t tell you how important it is to be focused on the words. Don’t be distracted while you’re listening. Read along if you’re able to do that and to make this an important part of your day whether it’s how you start the day or how you and the day. It’s an incredible way to allow God’s word and the truth of God to come into your life and to give you perspective on each and every day. And I can’t say how much I am in complete awe and reverence for what Brian Hardin and his whole family has done here and to see over the years how it just keeps getting better and better and better. And it’s a testament to how living authentically by the word of God can be an incredible blessing. And, so, I wish that blessing and I pray that blessing upon everybody that’s taking this journey this year through the Daily Audio Bible in 2021. Thank you all and we have an incredible day, an incredible year together.

Good morning DAB family giving all praise glory and honor to my Lord and Savior Jesus Christ who is the head of my life. This is Walking in the Wilderness in Georgia. I am calling to say on January 5th it will be my one-year DAB anniversary. I have been blessed beyond measure’s for the person who gifted this app to me and I am so thankful for Brian, Jill, China, and the rest of the family and all those who take part into keeping this Daily Audio Bible going. I will officially start putting my log on the fire. This year has already started rough. Satan has tried but I will not give him any glory. I will still continue to praise, glorify, and worship my Lord and Savior for we wrestle not against flesh and blood but against the spirits of this world. So, I love you my DAB family and happy 2021. Praise God from whom all blessings flow. Peace.

Hello Bob from Arizona I’m just calling after listening to the Christmas podcast actually even though this is New Year’s Day today. I just want to thank Brian and Jill for loving us. You have been used so mightily, so…so wonderfully by our Lord I am overwhelmed by the giving of certain people and you and your family come to mind. Brian today even in this New Year’s Day that we’re presently in, all things made new as you spoke of in your Christmas Day podcast. It was a wonderful teaching about that longing, that empty space still that we have. Yeah, it’s…it’s…it’s a wonderful thought and meditation to know that all things are becoming anew again and they will be made new by our Lord in His coming. We look forward to that. I look forward to that. I look forward so much to all evil being eliminated by the graciousness love of God. So, thank you. Thank you, Brian and Jill. And I pray that your year is prosperous, holy, blessed. In Jesus’ name. Amen.

[polaroidofus-89]

‘Lover’ song-by-song breakdown [part 1]:

Long before @taylorswift joined Tumblr (and a billion thousand of Swifties with her), when this website was still unknown to most of mankind, I always made a post about my first thoughts on the album, writing down my opinion and rating each song at the end of release week. The first time I did this was with Speak Now and I created a chart to rate Lyrics, Chorus, Bridge and whether the song is a Skip or not. The only time I skipped this post was during the reputation era because of reasons I explained back then - if you want, I’ll send you the link to that post. 

This time, however, I must make this a two-part post because a) I just came back from my holiday today, b) I always listen to it three times before writing this post (right now I am on number 2) and c) this album is freaking long! 

So here’s the charts (chorus and bridge rated 1-5; lyrics rated 1-3): 

Chorus: 1- meh, nice; 2- good; 3- very good; 4- just magic; 5- PERFECTION

Bridge: 1- good, did better; 2- good; 3- quite perfect; 4- RIP ME. DEAD.; 5- BRIDGE CITY ALERT!!! (was previously BRIDGE HEAVEN... guess why it changed? lol)

 Lyrics: 1- good; 2- great; 3- AMAZING 

Also, since I have been more active lately and some very cute and amazing blogs started following me, I want you all to take part in this breakdown because I would love to read your thoughts and your ratings on each song!

So please, please, please join me in this adventure. Six months from this date (when we will all know the songs by heart), I’ll bring it back to see if anything has changed.

Anyway, here’s the first part of my breakdown... hope you enjoy it!

1. I Forgot That You Existed

Chorus: very good Bridge: good, did better Lyrics: good Skip? No Favorite lyrics: none in particular

Alright, say what you want but I am a sucker for sarcastic and provocative songs from Taylor; they always are filled with such irony and smart remarks… I just can’t help adoring them and memorize them from the first listen, going around humming the rhythm all day long. It happened with Mean, WANEGBT, Blank Space, Shake It Off, IDSB and TIWWCHNT… so it was obviously going to happen with this one too. I also think it would’ve made one hell of promo single – just sayin’. I am in awe of Taylor’s attitude towards people that hurt or badmouth her after being in some kind of relationship with her: she does not comment at first, letting them rant and have their little moment of glory. Then, when everything seems over and forgotten, she strikes back and I enjoy EVERY. SINGLE. MINUTE. OF. IT. This one I had been waiting for a long time because a certain someone DEFINITELY deserved it. The way a person behaves towards somebody AFTER their relationship ends says a lot about them and this particular individual proved to be childish, petty, arrogant and very immature – not to mention awfully mean. You can’t act that way about someone you’ve been with for ONE ENTIRE YEAR, someone you were supposed to be in love with. I hate this post-breakup kind of behavior and I had hoped so freaking hard that reputation would’ve had a song like this. But we have it now and secret sessioners were right: it is the most amazing way to start an album. What I love most about this song is the entire second verse: got out some popcorns as soon as my rep started going down, down, down/laughed in the schoolyard as soon as I tripped and hit the ground, ground, ground/ and I would’ve stuck around for ya/ would’ve fought the whole town for ya/would’ve been right there front row, even if nobody came to your show. I just know that it will make feel the person who inspired this song ashamed and won’t allow them any kind of response because it isn't hate, it isn’t love… IT’S JUST INDIFFERENCE. And I’m so proud of her for this.

2. Cruel Summer***

10/10 Chorus: PERFECT Bridge: BRIDGE CITY ALERT!!!!! Lyrics: great Skip? HARD NO Favorite lyrics: “Devils roll their dice; Angels roll their eyes” “what doesn’t kill me makes me want you more” “I don’t want to keep secrets just to keep you”

Secret sessioners were onto something again: Out of The Woods stans would be suckers for Cruel Summer… I can confirm that is, indeed, true. This track feels like summer sunsets, road trips and a sequence of lovey-dovey moments straight out of a rom-com. I absolutely adored the lyrics on this one! I mean “what doesn’t kill me makes me want you more”, “no rules in breakable heaven”, “devils roll their dices, Angels roll their eyes”, “and if I bleed you’ll be the last to know” … what are we even talking about here? And don’t even get me started on the bridge: once again the Swift-Antonoff combination proved to be a winning choice. It’s Taylor Swift at her best and I have nothing more to add. This track is one of my favorites of the entire album and I am hoping it’ll be her next single.

3. Lover*****

10/10 Chorus: magic Bridge: RIP ME. I DIED. DEAD. Lyrics: AMAZING Skip? NEVER IN ANY LIFETIME Favorite lyrics: “have I known you 20 seconds or 20 years?” “I’ve loved you three summers now honey but I want them all” “My heart’s been borrowed, yours has been blue all’s well that ends well to end up with you”

When Lover first came out, I asked my boyfriend ‘do you think this will be my favorite off of the album?’ and he said ‘no’. He was not wrong at all: Lover and Cornelia Street are battling in my head and in my heart for ‘favorite song’ on the album - I swear it has never been so difficult for me to decide! This track is just pure magic; every time I listen to it, I have a picture in my head of slow dancing during my wedding day and it always (always!) makes me emotional enough to shed a few tears. Honestly, it just gives me poetry vibes – it is that beautiful to me. I absolutely adore this one. This track is also one of my favorite songs – if not my favorite at all.

4. The Man***

10/10 Chorus: PERFECTION Bridge: very good Lyrics: AMAZING Skip? NEVER IN ANY LIFETIME Favorite Lyrics: “I’m so sick of running as fast as I can wondering if I’d get there quicker if I was a man”

When I read the interview in which Taylor played this song and explained it to the journalist, my excitement multiplied infinite times. Whoever said Taylor Swift is not a feminist should now go and sit in the corner, thinking about how idiotic such a statement is. This track perfectly summarized what a woman pursuing her goals in life has to go through daily and how hard it is when the world thinks you were born with the wrong attribute in the lower part of your body. It is very provocative and sarcastic, a real national anthem for women. I’m so very proud of her for writing this song, you have no idea. Of course, it has quickly earned a spot on my ‘top favorites’.

5. The Archer***

10/10 Chorus: good (pre-chorus is what I really love) Bridge: BRIDGE CITY ALERT!!! Lyrics: AMAZING Skip? NEVER IN ANY LIFETIME Favorite Lyrics: “All the king’s horses, all the king’s men couldn’t put me together again” “awake in the night, I pace like a ghost, the room is on fire, invisible ghosts”

Ah, the power of number 5! This song is life! The thing I love the most about this track is the way it speaks so much on an emotional level, using very little actual words. With track 5 we always got a very descriptive song: she wanted to tell us about an extremely delicate, heartbreaking moment in her life and walked us through the entire story with the lyrics. The Archer doesn’t give us a story, doesn’t talk to us about a distressing moment in her life… it tells us about a feeling – more than that, it gives us that feeling. The anxiety you have when you suffered one too many bad knockouts in life and you are always ready for something bad to happen, always ready for someone to betray you or leave you alone again. It’s a paralyzing fear, almost like you can’t breathe and the fact that Taylor was capable of putting it all into words… I just love her so much, you guys! Though not my favorite Track 5, it does get both a spot on my top three Track 5 (All Too Well and White Horse are number 1 and 2) and on my ‘top favorites’ for this album.

6. I Think He Knows

Chorus: meh Bridge: good, did better Lyrics: AMAZING Skip? Sadly, yes.

Ugh, this is a moment I hate very much. This is one of the only two songs I didn’t particularly like on this album. It breaks my heart to say this because I love both the lyrics (which I think are some of the best on the entire record) and the concept behind this song. But the rhythm just doesn’t feel right, it doesn’t speak to me like all the other songs do… something is just off. That being said, it is still a very good song. Let’s just say, I wouldn’t mind at all if it didn’t make it on the Lover Tour setlist. I know a lot of you love this song and I tried very hard to change my mind about it, but I just know it will be a skip for me.

7. Miss Americana & The Heartbreak Prince

Chorus: very good

Bridge: magic

Lyrics: great

Skip? No

Favorite Lyrics:

“I’ll never let you (go), ‘cause I know this is a (fight), that someday we’re gonna (win)”

This one is absolutely incredible - also, my boyfriend’s favorite. It’s You belong with me older, more mature and melancholic sister. The bridge is what really made me fall in love with this track: one of the best she has ever written.

8. Paper Rings

Chorus: PERFECTION Bridge: quite perfect Lyrics: AMAZING Skip? Definitely no Favorite Lyrics: “I hate accidents except when we went from friends to this” “I like shiny things, but I’d marry you with paper rings”

OMG THIS SONG! This song is so so so cute! I love it! It’s fun and catchy and makes you want to dance so hard! I’m really looking forward to seeing this song performed live. And don’t even get me started on the chorus: I like shiny things, but I’d marry you with paper rings… are you kidding me? Tell me this is not the most amazing declaration of love you have ever heard! Once again, I agree with secret sessioners: it does give Stay, Stay, Stay vibes and I’m totally here for it. These are the kind of songs that I missed the most during rep era and I’m so happy that we got Paper Rings, you have no idea!

9. Cornelia Street*****

10/10 Chorus: PERFECTION Bridge: quite perfect Lyrics: AMAZING Skip? NEVER IN ANY LIFETIME Favorite Lyrics: (too many to count) “I rent a place on Cornelia Street I say casually in the bar” “that’s the kind of heartbreak time could never mend” “as if the streetlights pointed in an arrowhead leading us home”

When the tracklist came out and we found out about the Cornelia flowers Easter eggs I just knew that this song was going to hit very hard in the feelings: it was the only Easter egg she has repeated plenty of times, ever since Me! Came out. When we found out that she had written this one by herself, my expectation flew to the moon and back. It did not disappoint in any way: I LOVE THIS SONG! It’s so soft and romantic, my heart can’t take it! I also very much liked the production on this one. Seriously, one of Taylor’s best song for me. The reason I can’t decide which one between this and Lover is my ultimate favorite is that whenever I am finally convinced about one being it, I listen to the other and I’m stuck again. I don’t know if that was clear enough for everyone to understand but… yeah, I’ll let you know if I ever make up my mind.

[brokendevilwrites]

In the 'Although I'm Not Making Plans' 'verse, what's their first Official Date like? Ooh, or first anniversary? Also, does Poplular!Lexa ask Nerd!Clarke (or vice versa) to Prom in a super cute way?

although i’m not making plans...

Lexa is very aware that she has absolutely no idea the exact moment that she fell in love with Clarke Griffin. She just knows that she is. And that is kind of the issue.

Falling in love with Clarke was never in her plans. Never. It was supposed to be a one-time thing, turned into a two time thing, turned into a weekly thing. Still, it was never supposed to go beyond that because Clarke was a heart breaker and Lexa only had one heart. She protected and nurtured it and yet she didn’t even notice Clarke steal it. 

She didn’t even notice that she gave her heart away willingly.

Not until it broke in half as it lay safe in Clarke’s chest.

There is nothing, and Lexa truly believes there won’t ever be anything, that will ever come close to the mistake she made with Costia. It was nothing more than a safe tactic, a play where she could prove to herself that Clarke was so much better without her and that this game they were playing was just a little bit of fun.

But as Costia kissed her, and Lexa let her, it all came crumbling down. She told her to leave and despite the confused cries and the nervous knock at the door, Lexa locked herself in her room. She cried and she mourned and she wallowed in self-pity and guilt for days, for long enough to know she was nothing more than a cheating scumbag.

Even if Clarke was never hers.

Even if they never really were anything.

“What are you thinking about?” Clarke’s voice breaks through Lexa’s thoughts and she startles a little, the eyeliner laying limply between her fingers clattering to the bathroom counter. “Hey.”

Lexa sighs, “I...Nothing. I’m just thinking.”

“About what?”

“Our first fight,” she chuckles but it’s sad and wet and Clarke looks beautiful in a black and white shirt that hangs low on her chest. This was supposed to be their night, their first official date night. And in true style they managed to end up in bed before they left the apartment, only making a valiant effort to get ready as evening fell. “This is our first date and yet we’ve done everything out of order. I don’t know...”

“You don’t need to know anything,” Clarke cuts her off and Lexa meets her eyes in the mirror, Clarke’s arms snaking around Lexa’s waist as she holds her. “Just feel. Feel me, feel us. So we did a few things out of order. Does that make us backwards?”

“We said ‘I love you’ before we even went out for dinner together.”

Clarke scoffs at that, her pink lips edging against Lexa’s neck and she meets the girls eye with a sly look. “We had lunch every single day with the girls,” she insists and her tongue presses against Lexa’s pulse point briefly. “We’ve had pizza in bed, naked and beautiful. We’ve eaten Chinese on your kitchen floor at three a.m. Lexa, we’ve been dating for years.”

“Not entirely true,” Lexa looks away, even as her heart beats to the rhythm of Clarke’s name. “I need to do this right, Clarke. I’ve done everything else wrong.”

Lexa finds herself spinning slowly, her backside pressing against the cold granite counter, as Clarke leans into her. She smells like Clarke and perfume and food she’ll deny she was eating at dinner that evening. She looks beautiful and handsome and a whole host of complimentary things that Lexa doesn’t know the words for. 

She looks like her future and her past and all of her best moments rolled into one.

“I’m still here, aren’t I?” She asks and Lexa can do nothing but nod because she is and she’s real and she’s solid. “Lexa, I love you. I’ve always loved you. Maybe I haven’t loved all of your choices but you haven’t enjoyed all of mine either. But I don’t care about that, I can’t. We made mistakes and we’re better now. Just tell me you love me too and take me out on a date because I’ve been waiting for such a long time.”

At that, Lexa grins. Because this romantic, idiotic, beautiful girl is hers and it doesn’t matter why or how or what she did in a past life to deserve it; she just is and she loves her. “I’m devastatingly in love with you,” she says into Clarke’s mouth, the other girls lips parted in a soft gasp at the words. “I’m in far too deep when it comes to you, Clarke Griffin. So let me take you on a date. We’ve waited too long.”

They make it as far as dinner, but not dessert, before Clarke is dragging Lexa against a wall to kiss her hard enough to see stars and galaxies and years and years of their future together. 

Lexa can’t say when she fell in love with Clarke, or when their real first official date was, or why she deserves Clarke Griffin. 

All she knows is she’ll die before she let anything ruin it again.

sunday’s...

Unfortunately, Clarke and Lexa don’t go to prom together in Sunday’s. Lexa is still too nervous and Clarke’s family is breaking at the seams a little. Lexa goes to her school’s prom with Luna, who grows so bored of hearing about how angelic and beautiful and talented Clarke is that she literally stands up in the middle of the conversation and leaves to get a drink. 

(That doesn’t stop Lexa though. She just tells Ontari instead.)

Clarke ends up not going. There is no Wells and Finn is...Finn. Raven and Bellamy have left and she’s just not close enough with Octavia to go as a group. She doesn’t particularly mind because she doesn’t want to go and be stared at all night anyway; her mother is the talk of the town and her fight with Wells is still quite big news. 

[00:43]: Come outside.

When Clarke sees the message her reaction is immediate. Thoughts rush her. Is Lexa okay? Is she hurt? Why is Anya texting her at almost one in the morning?

She rushes downstairs, hair a mess and her dad’s old college sweatshirt hanging from her shoulder. Outside stands Anya; her face is cold and distant, arms folded angrily, and Clarke ignores it all to run over to her.

“What’s going on?”

Anya rolls her eyes and Clarke can tell if she wasn’t currently the reason for Lexa’s happiness, Anya would think nothing of throwing her into the dirt and walking away.

“Get in.”

She does as she’s told because it’s Anya and the girl drives them in silence to the Woods household. The garage doors are open and there are fairy lights lighting the building rather than the harsh fluorescent light that is usually there. 

Standing there, nervous and stunning and incredibly captivating is Lexa. Her green dress hugs her body tight, the body skimming over her chest and around her neck, and it leaves her sides and arms bare.

“You have twenty minutes,” Anya is gruff but she’s softer now she’s in the presence of Lexa. And really, isn’t that just everyone? “Go.”

Clarke scrambles out of the Mercedes and runs to Lexa, practically barreling into her with a force of pure longing and devotion and --

“I love you,” Lexa tells her and Clarke marvels how someone can be so strong and so soft at the same time. “I’ve missed you tonight.”

“So you’ve dragged me out of bed because you missed me?”

“No,” Lexa hums and Clarke rolls her eyes when Anya plays the cheesiest music she can; the sound from the car filling up the relatively small space of the garage. Her hands drop to Clarke’s waist and she sways softly. Clarke’s feet move on instinct, trusting Lexa to lead her, and she watches as her eyes change colors under the lights. Like leaves in the fall, she’s ever changing, and Clarke falls deeper. “I wanted to dance with you all night.”

“You could have danced with me tomorrow.”

“No I couldn’t,” Lexa smirks and they both try to ignore the deep sigh of Anya as she moves past the two of them to use the door leading into the house. “I needed you now.”

“You have me,” Clarke sighs, leaning up to press a tender kiss on wanting lips. “You always have me.”

But there you go.

[musicallysublime-blog]

Ride the bullet

In bringing an end to the 60s and 70s, I was having a hard time choosing an album to end it on. I had some thoughts but kept digging through my collection, trying to find that lucky album. I finally settled and was happy with the choice that I made.

Live Bullet, a live album by Bob Seger and the Silver Bullet Band was the chosen one. Released in the mid-60s, I knew this would bring if full circle for me. I put on the album and immediately fell in love. The album was recorded at Cobo Hall in Detroit Michigan and the music produced is nothing short of amazing.

Side one brings the party to life! The sound of the crowd echoes out, as Bob gets ready to rock. The first song is 'Nutbush' a song by Tina Turner in which Bob rocks out to and the band does a great job alongside him. It's easy to say they do the song justice. 'Beautiful Loser' is also on this side and it's such a good song. Bob has some amazing writing skills and it's become one of my favorite because of it. The first verse and chorus are just poetry to my ears:

He wants to dream like a young man With the wisdom of an old man He wants his home and security He wants to live like a sailor at sea

Beautiful loser Where you gonna fall? When you realize You just can't have it all

The second side features a song originally done by Van Morrison titled 'I've Been Working', it’s a song full of rhythm and blues. I've listened to the original song and as much as I enjoy the original, there is no doubt in my mind that Bob and the band do a fantastic job covering it.  This side also has one of Bob's more well-known songs, 'Turn the Page' which talks about life on the road; the song has a slower tempo to it but it doesn't fail to deliver. This side ends with 'Bo Diddley' a cover song originally done in the 50s by Ellas McDaniels. The song is a little over 5 minutes and it finishes off with the sound of the crowd, who from the sounds of it are having a good time.

Side three is one of my favorites. If there is any chance that you might be curious about Bob Seger and the Silver Bullet Band, I encourage you to listen to this side! It features three songs all together for about 18 minutes of great music. The interaction that Bob carries with the crowd is amazing. 'Ramblin Gamblin Man' starts this side off and really sets the vibe. Next is 'Heavy Music' in which he lets the crowd know that he is indeed recording the set and in turn, the crowd goes crazy. It is during this song that he gets the crowd to sing with him and the band. This song leads into 'Katmandu', which if you haven't heard before, please do me a favor and listen to it. The way all three songs are done, it allows the listener to enjoy it all the more. The songs are full of rock and roll goodness. There is no way that if you listen to them you won't be moving your body to the music.

Side four is equally as great and features some more incredible musicianship. The song 'Get Out of Denver' features a bone-chilling guitar solo followed by a piano solo both done exceptionally well. The song is fast and a perfect transition into the last song, appropriately titled 'Let it Rock' originally done by Chuck Berry; and features a wonderful sax solo. Once more Bob's engagement with the crowd ends the album beautifully.

The album as a whole is in my top 20 to listen to. It's good fast rock and roll, which I love it and I highly recommend it. While writing this I was having a conversation with a friend of mine and she has been to every Bob Seger show in California since she was in her early 20s. She mentioned he is more amazing live, and that this album is just a snippet of what to expect. Bob recently announced this year that he and the Silver Bullet Band would be doing a final tour and has released dates and tickets. I am hoping to catch him when he makes his way to California early next year, this is one silver bullet I don't want to miss.

[grimelords]

​My March playlist is finished and posted on time for once! Please enjoy three and a half hours of my new and old favourite music. A lot of post-hardcore, country of a few different flavours and a thirteen second long song that goes beep beep boop. Enjoy.

Old Money - Omar Rodriguez-Lopez: Who among you will join me on my podcast ‘Omar Podriguez-Locast’ where we discuss one of Omar Rodriguez’s 60+ insane solo albums every week and grow gradually infuriated with the very existence of each other until listeners are just tuning in each week for the episode where one of us finally snaps and attacks the other with a microphone?

America’s Most Blunted - Madvillain: It’s weird that this song about the wild and wacky world of jazz cigarettes opens up with a Steve Reich sample before moving into some real Reefer Madness type lameness at the end. Songs from so long before any type of legalisation are so lame like 'recent research shows that it’s not so darn harmful!’. This song is still very good though. I only found out that Lord Quas was just Madlib recently but I really respect the idea of having a rap alter-ego that’s just you with a pitch pedal.

Love My Way - The Psychedelic Furs: An underrated part of Call Me By Your Name is when Armie Hammer hears this song playing from a car and sprints over to dance with a woman who looks like she’s doing the monster mash.

Seven Stop Hold Restart - Bear Vs. Shark: Despite their bad name Bear Vs. Shark are a very good band and the best lyric in this song is when he says 'I am nine years old with short legs and arms.’ What I like about this song, and this band, is that the screaming is not the sort of affected scream-singing of a lot of their contemporaries it’s just a stocky guy absolutely yelling his guts out, which I appreciate.

Turncoat Revolution - Hot Cross: I think that’s close to what I like so much about Hot Cross too, I’ve never listened to Saetia either (the other band this guy sings for) but maybe I should because I just love this guy’s voice. The central hammery riff is so appealing to me but my favourite part of this song is the ending where the three chords just shrink away as the whole thing mellows down, it feels like realising you’ve been mad at something that happened in a dream this whole time.

Mag11 P82 - Venetian Snares and Daniel Lanois: Venetian Snares is apparently doing an album with Daniel Lanois who produced a bunch of U2 albums so my dream of a Bono/Venetian Snares team up is one step closer to reality. I like collaborations like this where you can very clearly tell who did what part. It’s hard to mistake when and how Venetian Snares is involved in a song a lot of the time. I really like this team up because freeing Snares from any kind of melodic responsibility allows Lanois to give the song a huge amount of space, unprecedented in a Snares song where the melody is often just as frantic as the rest of it.

Cornflake Girl - Tori Amos: Do you remember when Tori Amos had that album called American Doll Posse where she was doing a bunch of characters or something and it’s got one of the worst covers of all time in my opinion and I think about it a lot. Had a song called Big Wheel on it that I get stuck in my head a lot. But this isn’t that song so never mind! I was thinking about the production on this song, and how crazy it is to have whistling as a big part of your song while avoiding having everyone think of it as 'that whistling song’. All the instrumentation on this is great, the mandolin and acoustic next to each other making a huge bed for the piano to move under, then the harpsichord sounding keyboard and the guest vocal near the end, there’s just so much happening I love it.

The Field That Touches My House And Yours - Sarah Louise: This is probably the upcoming album I’m most excited about right now. Sarah Louise (who’s one half of House And Land who I’ve posted about before) is pulling a real James Blake by releasing a lot of amazing instrumental music and then suddenly revealing she’s an absolutely incredible singer and songwriter as well.

Jezebel - The Drones: The Drones have a lot of good songs about how it’s the end of the world and we’re all fucked and we’re all gonna die but this is one of my favourites. The sort of wide ranging scientific nihilism of an opening line like 'strontium 90, removed from milk’ really sets the tone for the rest of this song as it lays out every war like an ongoing nightmare that you have no option but to participate in as your body and the earth turn to muck in their wake.

How Sweet It Is - Karen Dalton: Everyone always talks about Karen Dalton as this mercurial folk phenomenon but I really love her second album where she just does standards with a full band. Hearing her bring her insane, complete chaos sense of rhythm to these regular-ass songs is such a delight to me. The way she just swoops in on the first line with absolutely no regard for whatever else is going on really cracks me up. That the song has backing vocalists for the chorus just makes it better, I imagine them singing while glancing at each other with panicked eyes as she just wildly darts around the microphone and sings absolutely whenever.

Bang Bang - Vanilla Fudge: Pitchfork had some video about the origins of heavy metal and I lasted about ten seconds becuase they mentioned a 60s psychedelic metal forerunner named Vanilla Fudge and my brain went 'funy’ so I looked them up instead. This song is a nightmare I absolutely love it, there’s simply not enough organs around anymore. The organ sounds absolutely immense and balanced against their cursed harmonies it sounds even bigger, what a jam.

Ride For Me (feat. Young Thug & 24 Hrs) - A-Trak and Falcons: Young Thug has finally brought back his insane Harambe voice and I for one couldn’t be happier. I have no idea who 24hrs is but he for real sounds like when Justin Beiber first came out so that’s a thrill.

Space Song - Beach House: This might be the platonic ideal of a Beach House song, it’s just beautiful and I don’t think I really have anything more to say about it. Beach House put out two albums in 2015, they put out the on that this song is on and then like three weeks later they surprise released another one and I was so shocked by the deluge of content that I have never listened to the second one. A powerful lesson for Beach House.

Anna - Will Butler: This song is so good I have no recollection of what the rest of the album sounds like, I just listen to this song over and over and over. Every part is good. The brass, the 'ba ba ba’s, they way he says 'you Got to get Mo-nay’, the piano breaks that sound like he’s just slamming it with flat hands. What a gift.

Hawkmoon 269 - U2: Here’s the straight up truth that nobody wants to hear: Rattle And Hum is U2’s best album. It’s literally just The Joshua Tree except better. It’s every bad instinct of U2 turned up to 11, which is what makes it good. He mentions preachers like twenty times on this album and there’s a gospel choir on two songs, it’s all happening all the time.

Silver And Gold - U2: Here also, is the straight truth: this is U2’s best song. A proper straight up political song about a specific idea, incredible instrumentation and Bono realising halfway through his speech that the crowd unfortunately does not care about Desmond Tutu’s request for economic sanctions against South Africa.

Hunting For Witches - Bloc Party: Post 9/11 war on terror indie is such a good genre. Kele’s always been a bit of a lame-o and he’s really on display here but when the instrumentation bangs like this it’s forgivable. Bloc Party have always seemed like a band where absolutely everyone is pulling their weight and doing the most in every single song and this is a good example. The drums! Matt Tong deserves a trophy!

All Of The Lights - Kanye West: I literally remember where I was the first time I heard the drums in this song, that’s how good it was. I can’t believe I only just found out that every single famous person features on this song. I thought it was just Rhianna but it turns out it’s La Roux in the 'fast cars shooting stars’ bit, Cudi in the 'getting mine’ bit, and fucking Fergie in the 'unemployment line’ part PLUS Elton John and Alicia Keys in the outro? This song is ridiculous. It’s almost a shame that such an incredible song in every aspect features some of Kanye’s most boneheaded verses but I suppose that’s what I love about him.

Let’s Hear It For The Boy - Deniece Williams: I’d like to invite you all now to stand and give a round of applause for my dipshit miser boyfriend that dresses like shit and can’t sing, I love him. I love this song a lot because I feel like she’s talking about me. This is a great song that’s right at the top of my long list of potential wrestling entrance themes.

Hey! - The Go! Team: I was premature when I said that new Go Team album wasn’t that great because it is in actuality very very good. This song would make a good wrestling theme too now that I think of it.

Monument - Royksopp & Robyn: I put the T.I.E. version of this song on my list last month and that prompted me to give the original another listen because it’s honestly just as good in a totally opposite direction. A long bit of space-jazz instead of a monolith threatening to crush you.

Merrymaking At My Place - Calvin Harris: My friend sent me this song and said it reminded him of Mother! which is very funny in my opinion. Loads of people come to my house, they take stuff inside of my house, and smoke stuff outside of my house, lots of people at my front door, lots of people in my front door, trying to get into my house. At my place [leaning into the mic] Baby. [panicked] Baby at my place.

Precious Lord (Take My Hand) (Parts 1 & 2) - Aretha Franklin: I was searching spotify for a good version of The Day Is Past And Gone and ended up finding this Aretha Franklin album that is absolutely incredible. It turns out it’s her first ever recording from when she was 14, which is mind boggling. It sounds like it was recorded from the back row of the church so it has this incredible amount of space to it and she just completely fills it with immense power. Even her piano playing is amazing. The whole thing is just an astonishing piece of music.

Big Iron - Marty Robbins: I was camping this month and thinking about country music, and so this and the next few songs are the result of that. I think Taylor Swift should not only pivot back to county for her next album but pivot back to this kind of cowboy story-song country. She should, in fact, just cover this song. This is The cowboy album and I feel like Marty Robbins may have been the most American man that ever lived, he used the money he made from cowboy songs to finance a NASCAR career.

Country Dumb - Josh T. Pearson: I spent a long time on the fence about Josh T. Pearson because music like this always raises the question of authenticity. He sort of feels like the country version of Nick Cave to me, straining for a very very authentic thing but in actuality a Berlin art boy. The main difference between Pearson and Cave though is that Pearson is actually very good. So I reconcile it by telling myself he’s a sort of Lana Del Rey character singer or something like that. This song is so great and I especially like his guitar style of letting the words lead and the guitar follow, where the lyrics are at the forefront and every part of the music is purely in support of them. 

Angel From Montgomery - John Prine: I’m so glad that John Prine is enjoying a bit of a late life resurgence in popularity among the Youth right now because he really deserves it. He feels like the songwriter that every songwriter loves but nobody else has ever heard of. I love this song, it feels like it was custom built to be some 70 year old country woman’s 'Hurt’.

Bogota Affair - Kid Creole And The Coconuts: A good and tropical song about getting cucked on an island and absolutely loving it.

Mientras La Veo Sonar - Rx Bandits: I figured out the reason I like this song and it’s honestly just that it sounds like watered down Mars Volta and I’ll take all of that you’ve got.

Joan, I’m Disappearing - City Calm Down: The way the first line of this song is an unexpected anacrusis makes me laugh cause it feels like the guy from The National just suddenly stepping into your room and collapsing into a seat to complain. I absolutely love this song, I’ve been listening to it on repeat. It’s melodically brilliant in the chorus, it just keeps giving, and structurally it never gets boring by just getting bigger and expanding the entire time to this huge emotional outpouring. I love the lyrics to this song because they’re so pathetic, which sounds like a strange and cruel thing to say but it’s true. It’s such a specific misguided melodramatic plea for a childish love that went on for too long and it’s just so heartbreaking and pathetic, and when it’s turned up to the emotional peak it’s believable and you sympathise. I wish this song went for five minutes more.

Footsteps - Dardanelles: This album was the critical darling of Australian music in 2006 and then this band just totally disappeared and I couldn’t find it for a long time before someone added it to spotify last year and now all their songs have <1000 plays. Very mysterious. I go through stages of being totally obsessed with this song, every part of it is just my favourite kind of pretentious art rock shit. 'This trail of breadcrumbs below your feet whispers like muscle cars on heat’? That’s good lyrics!

Queen Majesty - Techniques: I heard this song late at night when I was listening to ABC RN to fall asleep and some old guy was explaining how rocksteady was better than reggae and now I agree with him.

Opal (Four Tet Remix) - Bicep: The way this song builds around the central strong chords is just incredible, it’s a really simple motif and the way it comes back and sits foundationally through the whole piece. I love in the later half how the extra off-time melodies that seem to have no relation at all to the just come swooping through and almost destabilise the whole thing before those strong strong chords come through again. Also I have a strong suspicion that the snare sound in this is just Four Tet slapping his desk which I respect.

Jesus Came To My Birthday Party - The Middle East: I can’t overstate how much this song is directly wired to my brain stem. It is just perfect. This song is so simple but it feels like it came from another dimension to impart wisdom to me. It honestly makes me feel crazy. This whole album feels like the long lost brother of In The Aeroplane Over The Sea thematically and it really deserves a similar spot in the canon in my opinion. Please listen to it.

Eden - Talk Talk: The dynamics in the guitar playing is what really gets me in this song. The huge crescendo where it feels like the sound is being pulled apart from the inside dissipating to steam as soon as the groove kicks in. I don’t know, there’s not much to be said about Spirit Of Eden that hasn’t already been said, it’s transcendental music. It’s cliched but this is great driving music, music to space out and think about the universe to.

Outlaw Blues - Queens Of The Stone Age: What a treat to suddenly discover that one of my favourite bands has covered my favourite Bob Dylan song and done a great job of it too!

No Condition Is Permanent - Marijata: Ok this is embarrassing but the way I found out about this song was some goober on the overwatch subreddit had made playlists for every hero (Torbjorn’s was all electo-swing and pirate metal so who knows what the fuck was going on) and this and the next song were both on the Doomfist playlist, which was a lot of 70s afro-funk and highlife music which personally isn’t really telling the full story of Doomfist but that’s a whole other post. Anyway this song is great, and I’m glad I listened to this whole dumb-ass playlist to find it. I have a real affinity for songs like that that feel like the recording only ended cause they ran out of tape or the singer collapsed from exhaustion. This song could go for another 20 minutes and I’d only love it more.

Love And Death - Ebo Taylor: The groove of the drums in this song and the melodies of the horns are just hypnotising, and combined with the lyrics this feels like some very dark magic that I completely love. The guitar is really amazing in this as well actually, especially the solo where he switches back and forth between jazz soloing and just frantically strumming open chords.

Automatic (12" Version) - The Pointer Sisters: Huge fan of the extremely powerful megaman synth that comes in about halfway through this song and just charges the whole place up. I love how rich and deep her voice is, how it’s built on by the harmonies in the prechorus and then unleashed in the chorus. I also love how simple the chorus is, it doesn’t overshadow the rest of the song and the verses are just as good which is exactly what you want from a long mix like this. Huge fan of the deep guy’s voice just saying 'au-to-ma-tic’ during the fade out too, give that guy some more to do.

White Girl - Soul Coughing: Lyrically most Soul Coughing songs sound like somewhere between echolalia and reading out every street sign that you see, which is very appealing to me because that’s essentially how I communicate, but this one feels like a dire warning about an approaching conqueror. Also the ending of this song make me laugh because it’s the same as at the end of New Noise by Refused where he just screams 'THE NEW BEAT’ over and over and over after the instruments have all finished and in my eyes that’s a very very funny thing to do with the phrase 'white girl’.

Tone Tone Tone & Tone Tone Two - Shuta Hasunuma and U-zhaan: This album feels like some real Tiny Mix Tapes-core; a collaboration between two Japanese composers - a found object orchestra composer and a tabla player but against all odds it’s actually good. Unfortunately my favourite part of it is this 13 second piece of music that sounds like the brand ID for a very high-end podcast network.

I Won’t Be Found - The Tallest Man On Earth: I listened to this song eight times in a row and sang along the whole time on my drive home from work the other day. His voice is so uniquely good, a cowboy yodel with a slight swedish accent. I’m hooked right from when he sings 'morning’ as 'morning-AH’.

Now U Got Me Hooked - A.A.L: I can’t get over how good this new Nicolas Jaar side project album is. It’s just wall to wall bangers, a perfect party album. I love the really raw sound of a lot of the drums in this song; the huge clap that’s on the edge of being over-distorted mixed with a huge rumbling kick blowing out the low frequency that eventually cleans up and brings the sample back in and almost eliminates the bass entirely before it drops again and the sequence starts over. I love how long a lot of the songs on this album are, every idea is given so much room to completely stretch out.

Ride - Lana Del Rey: I saw Lana live last night and as soon as the first notes of this song played the girl in front of me absolutely screamed 'BITCH!!’ and I felt a real kinship with her. I really think this might be my favourite song of hers. It makes me so emotional every time and I can’t even pinpoint why. The way she sings 'fucking crazy’ the huge, sweeping chorus. It’s just amazing, I love her so much! Bitch!!

listen here

[nintendotreehouse]

Localizing “Jump Up, Super Star!”

Life in the Treehouse moves pretty fast, and it can be hard to remember when you did what, and sometimes even why, so I had to check my e-mail archives to figure out that we started working on the lyrics for the songs in Super Mario Odyssey back in January of this year. (…Unless it was earlier? Who knows, man.)

Faults in my memory aside, the prospect of working on some songs at work was an exciting one. As a former music and Japanese double major, the idea that I would be using BOTH my degrees at my actual job was amazing. Who does that? Besides, I mean, people who chose their majors for more practical reasons…

When I became involved, the song that would eventually become “Jump Up, Super Star!” was basically done, at least as far as the music was concerned. The song was already going to be a hit in my mind, no matter what the lyrics ended up being, and at that time, the first section already had Japanese lyrics, written by Nobuyoshi Suzuki at NCL. I translated them thusly:

The symbol of a voyage, let’s start to raise the sails A tailwind dances at our backs

Flip a coin, the goddess who’ll tell our fortune Blows a kiss

Let’s sing our love as brightly as All the lights in all the world Then jump! (JUMP SE) And grab! (COIN SE) Say yeah!!! (yeah!!!)

Let’s dream together Love together If we walk with our eyes to the sky Once all our tears have fallen We’ll get a 1UP

Let’s all Jump up high and high five Tap and dance

I’m a superstar lighting up the world Switching you on to happiness So, let’s dance the Odyssey!!!

(Chorus) Odyssey, ya see! etc.

Obviously, directly translating song lyrics leaves you with…well, something that won’t actually work as lyrics in the target language. But it’s clear that Suzuki-san and the team wanted something big and romantic. A love song of sorts. I listened to the song a few more times and set about creating a first draft of the English lyrics, taking the ideas from the above and fleshing them out so there would be enough syllables to match the rhythm and melody of the song. 

Mayor Pauline is a fantastic vocalist, so we had to make sure she had an equally fantastic song to sing.

Here’s what I ended up with:

Oh we're ta- / -king a trip / Here we go it's time to raise the sails The wind is dancing at our backs

Flip a coin / Make a wish / and the goddess might just blow a kiss Boy I'd say your fortune's looking good

Le-et your love shine as bright as the lights in this whole wide wonderful world Jump with me / (grab) coins with me / Oh yeah!

Together we can live our dreams / This love is what it seems / So keep your chin up as you trek alone/ And when the tears they start to fall / There'll be no need to fear 'cause / I'll be your 1UP girl

So let's all jump up super high / and high five in the sky / There's no power-up like da-a-ncing / You know that I'm the superstar / No one else can take you this far / I'm flipping the switch / are you ready for this / Oh, let's do the Odyssey

Odyssey, ya see!

As you can see, a lot of that first draft did survive through to the final version of the lyrics. At this point, Rob Heiret (main English writer on Super Mario Odyssey) and I passed the lyrics back and forth a few times, until we had the following:

This time we're / off the rails / Here we go let's raise our sails It’s freedom like you never knew

Grab a coin / Make a wish / and the goddess might just blow a kiss You could say my hat is off to you.

We-e can zoom all the way to the moon from this great wide wacky world Jump with me / (grab) coins with me / Oh yeah!

Together we can live our dreams / This love is what it seems / So keep your chin up as you trek alone/ And when we’re underground in gloom, / Don’t fear, don’t shed a tear, 'cause / I'll be your 1UP shroom

So let's all jump up super high / high up in the sky / There's no power-up like da-a-ncing / You know that you’re my superstar / No one else can take me this far / I'm flipping the switch / are you ready for this / Oh, let's do the Odyssey

Odyssey, ya see!

We now felt like what we had was worth sharing with the folks on the Japan side, so I went into my home studio (living room) and whipped up a demo version. I’m not sure if it is fortunate or embarrassing that I didn’t delete these demos once the project was done, but here’s what that sounded like:

Too bad it couldn’t have been “Mayor Paul.” If you’re curious, I’m singing the song down a 6th in Eb because singing in the original key of C was not going to happen for me.

After we sent off the demo, the first round of feedback we got from NCL was really illuminating. They liked a lot of what we’d done, but also wanted a lot of it to change. For one thing, we’d leaned a little hard on the Mario references.

Through conversations with Suzuki-san, Naoto Kubo (the composer), and Shigetoshi Gohara (the overall sound producer), we learned more about their vision for the song: that it should be a fun, bombastic jazz number you could enjoy even if you had no connection or familiarity with Mario, but that would reward you even more, with little allusions to the Mario universe, if you were a Mario fan.

The same can be said of the music video that was produced to help promote the game as well—it’s fun to watch no matter who you are, but Mario fans will catch little details like Mario’s classic block-punch in the choreography.

The Mario references had to be at such a level that if you knew, then you knew, but if you didn’t, you wouldn’t really notice.

Another big goal from the dev team was to make the chorus as catchy as possible—simple and repetitive so even people who don’t speak English might be able to pick up on the lyrics and sing along. So, we had our work cut out for us.

Over the next couple of months, I settled into a pattern of adjusting and rewriting the lyrics, sending those around internally at NOA for more feedback, recording a demo, sending that to NCL, getting more feedback, rewriting, and then doing all of that again.

More than a few times, we even had video conferences with Gohara-san, Kubo-san, and Suzuki-san at NCL headquarters, where we would come up with new ideas on the fly that I would sing back to them then and there. I wonder what that sounded like outside the room…

At the end of that long (but fun) process, we had the lyrics for the first verse nailed down and realized that we were going to need two more verses. Oh, and we realized we had to record the song in about three weeks’ time. So, yeah… Things were going to need to speed up.

And they did! Here’s the first draft of the second verse:

Spin the wheel / take a chance/ every journey starts a new romance A new world’s calling out to you

Take a turn / off the path / find a new addition to the cast You know that any captain needs a crew

You can play it in 3D or 8-bit they’re just different points of view Down the pipe / there’s an extra life / oh yeah!

(Come on and) Jump up in the air / Jump without a care Jump up ‘cause you know that I’ll be there And if you find you’re short on joy Don’t fret, just don’t forget that You’re still our 1UP boy.

So go on straighten up your cap / let your toes begin to tap This rhythm is a power shroom / Don’t forget you’re the superstar / No one else could make it this far / Put a comb through that ‘stache / you’ve got panache

Oh, let’s do the Odyssey

Except for the “3D or 8-bit” line, and the “down the pipe” stuff, that’s pretty much what the final lyrics ended up being.

One thing Gohara-san and company really focused on was making sure that the lyrics felt good to sing, and that’s always been something I’ve really focused on in my own songwriting over the years as well. Aside from the actual meaning of the words, lyrics should have an intrinsic aesthetic appeal.

Gotta get those toes tapping, after all, right?

Which isn’t to say that meaning isn’t important, or wasn’t important when working on these lyrics. That said, I’ve found the various interpretations I’ve seen of our final lyrics to be way more thoughtful than my own.

A lot of people think there’s a deliberate “sails/sales” pun in the first line, as in: “Here we go, it’s time to raise our sales!” Sadly, I’m not that clever.

The best interpretation I’ve heard seems to have come out of Japan. I heard about it during the height of E3, when the song debuted. See, people read a lot into the idea that Pauline (in their eyes, Mario’s ex-girlfriend, though I’d never really thought of her that way) was singing a song to cheer him on as he undertakes an epic journey to rescue his current girlfriend (again, feels weird to type that out, but who am I to argue with other people’s headcanons?).

Kinda makes you think about Pauline differently, doesn’t it? Especially when you take a shot of her in Snapshot Mode and the moment you caught the fireworks almost makes them look like tears. I’m sorry, Pauline!

Viewed through that prism, the song becomes—while still joyful and upbeat—incredibly bittersweet at the same time. Again, I’d love to take credit for that, but I know I at least wasn’t cognizant of any of that stuff, really. I just wanted the song to feel good when you sing it.

And from the very humbling reception the song has gotten, it seems like it does! So thanks for listening, singing, and reading.

—Rob T.

[therappundit]

June 2018 - *PlayLi$t of the Month*

SUMMER IS HERE, AND THE RAP WORLD IS ON FIRE RIGHT NOW.

Where do we begin? Pusha-T vs. Drake, Drake vs. Kanye West, the whole damn world vs. Kanye, Rhymefest vs. Kanye vs. Kim Freakin’ Kardashian, cynical rap fans like myself vs. all of the Kanye stans - and there are numerous other rap skirmishes happening around us (ranging from petty to serious), plus a critically panned A$AP Rocky album, rumors of a new Clipse song - how can anyone keep up!? It’s like the summer heat already has folks going crazy...

As always, The Rap Pundit is going to focus more on the music, because we have a whole lot to be thankful for. There has been so much sensational new music to drop over the last few weeks, so I did my best to try to acknowledge most of my favorite projects that are currently seated high in my rotation (even though, truth be told, I could have dedicated slots 1-7 to DAYTONA, just sayin’).

My soundtrack for June is packing heat like the oven door, so enjoy this extra long, extra ‘eghck!’ edition of the Pundit PlayLi$t...

1. “The Games We Play” - Pusha-T

https://www.youtube.com/watch?v=j98tczxXKtE

(Some of the best bars on DAYTONA can be found right here. And this Booker T. Averheart sample....sheeeeesh, I might not be a fan of Ye the album, but I am a huge fan of Ye the producer. Pusha-Ton dedicates this one to his core fanbase, declaring DAYTONA the “Purple Tape” for a new generation. Personally I don’t think this project can be compared to the legendary Raekwon album, but I would put this song up against the any song made by anyone else rapping today. And regardless of whether this album turns out to be a classic or not, I can say this with certainty: “The Games We Play” will be a classic rap song.)

2. “Hard Piano” - Pusha-T feat. Rick Ross & Tony Williams

https://www.youtube.com/watch?v=wEEAqPMSZqU

(DAYTONA is a relentless smash of a project from start to finish, so ranking each song on the album is more of a 1a, 1b, 1c scenario. Right now I’m vibin’ with “Hard Piano” like it’s “New God flow Pt. 2″. Pusha glides across Kanye’s slick sampling of Charles Wright & Watts 103rd Rhythm Band’s “High As Apple Pie Slice II”, and by the time we get to Rozay’s “this is for the sneaker hoarders and coke snorters”, you know that he’s about to bless us with one of the best verses that he’s done in quite some time. He knows that you gotta bar-up when Pusha is in album mode! I don’t know if any other song in Pusha’s catalogue better showcases his “be Sosa not Tony” mentality like “Hard Piano”. DAYTONA should be coming out of speakers everywhere.)

3. “Dostoyevsky” - Black Thought & 9th Wonder feat. Rapsody

https://www.youtube.com/watch?v=54OUwQA2wQs

(Welcome to 2018, Black Thought “solo” project. No, it’s not the dream solo debut that Black Thought fans have been dreaming about for decades, but it is a highly successful byproduct of Thought’s collaboration with 9th Wonder & The Soul Council. As an EP it’s more of a sterling appetizer than an opus, but rest assured, Streams of Thought, Vol. 1 is a non-stop bar-fest and a feast for the ears. As if five Black Thought songs alone weren’t enough, Rapsody comes through on “Dostoyevsky” and more than holds her own alongside the Roots frontman. Let this EP be further confirmation of the embarrassment of riches that is rap music in 2018.)

4. “If You Know, You Know” - Pusha-T

https://soundcloud.com/pushat/if-you-know-you-know

(Simply one of the best openings I have ever heard on a rap album. The build is perfect, and the beat is vicious. Not the traditional fair that fans associate with Pusha from back in the Clipse era...but remember how different those Neptunes beats once sounded to the traditional hip-hop ear? Kanye clearly considered what made Pusha’s presence so effective on YOGI’s commercial smash “Burial”, and then it dialed up to 11 with “If You Know, You Know”, a rare triumphant rap-EMD hybrid. It’s an attention grabbing intro, a rap star anthem capable of getting any crowd hyped, and the best catchphrase to come out of DAYTONA and into the rap lexicon.)

5. “Leaps” - Rigz

https://soundcloud.com/prodbymichaelangelo/rigz-leaps-prod-by-michaelangelo

(I don’t know much about MichaelAngelo - the producer, that is - but I know I enjoy the limited sample size that I have heard thus far. What I DO know and have known for some time, is that Rigz is one of the dopest MC’s in the game right now. If you haven’t checked out the Rochester native’s catalogue, I highly recommend his mixtapes, but you can also start with this loosie right here. Rigz can flat-out rap.)

6. “Hun43rd” - A$AP Rocky

https://www.youtube.com/watch?v=cp8sSx06Bds

(This track is gorgeous. The soothing instrumental cruises along as Rocky waxes nostalgic about Harlem. Sure, it’s good stuff, but then the song goes to another level when Devonté Hynes/Blood Orange releases a smooth hook that could easily be mistaken for a sample from an 80′s New Wave band...or maybe a song that would have felt at home on the Batman Returns soundtrack? Yeah I should probably stop before I date myself any further. Anyway, this one is easily a contender for Testing’s strongest track, textbook Rocky right here.)

7. “Come Back Baby” - Pusha-T

https://www.youtube.com/watch?v=2SkMJqlZ6Y0

(Elements of classic Ye can be found all over track #4 on DAYTONA. Three braggadocios verses from Pusha are broken up by a soulful George Jackson sample, and to great effect. As with so many of Pusha-T’s classic tracks, “Come Back Baby” succeeds in making a dangerous lifestyle sound awfully seductive.)

8. “Buck Shots” - A$AP Rocky feat. Smooky MarGielaa & Playboi Carti

https://www.youtube.com/watch?v=yBTeuZhftTY

(If Ryan Gosling and company were to do a sequel to Drive, I could picture him listening to “Buck Shots” during a brooding moment from behind the wheel of his ‘73 Chevy Malibu. To some the “buck shots” repetition might sound grating, but I feel like it really helps take the catchiness of this Kelvin Krash beat into maximum overdrive. The song personifies the emphasis of style over substance on Testing, which works for me in this case because of how well that vibe is reinforced with this album, at least sonically.)

9. “Self Destruction” - Boogie

https://www.youtube.com/watch?v=DXNMVRsIeB4

(Is there a non-TDE West Coast rapper better than Boogie right now? I was expecting him to explode right after “Oh My” started to catch heat in 2015, but after a strong appearance on Royce Da 5′9′s Book Of Ryan and a buzz-worthy album on the way, it looks like 2018 might actually be the year for Boogie to ascend to the next level. Want further proof? Check out the feast of rhymes on his trippy new single, “Self Destruction”. The Compton MC’s future is looking very, very bright right now.)

10. “Percs” - Denzel Curry

https://www.youtube.com/watch?v=B7PS4gJe5Y4

(If a scientist took elements of A$AP Rocky, Kendrick Lamar and Chief Keef and stirred them together in a pot, Denzel Curry would be the outcome. It’s refreshing to hear a trap-inspired rapper denounce some of the drugs that are currently frying the brains of his peers, but it does make sense that the message would come from Curry, who seems to be wise beyond his years. I am pretty eager to hear what else lies in store for us on his upcoming album, Ta13oo.)

11. “Ministry” - MIKE

https://mikelikesrap.bandcamp.com/track/ministry-4

(If you’re not familiar with MIKE, now is the perfect time to fix that. His newly released album, Black Soap, confirms that the young NYC rapper follows his own path and has a very bright future. “Ministry” reminds me of the type of subterranean NY rap that we haven’t heard enough of since the Def Jux era.)

12. “Jujitsu” - Tuamie & Henny L.O. feat. Fly Anakin

https://www.youtube.com/watch?v=sp1C09p_XbI&index=9&t=0s&list=PLqD8s2lDRYOtiHUSkTpi6eUe8n9Fs-iDl

(Another month, another incredibly dope project from the Mutant Academy collective. Henny and Fly sound blissful over this sweet Tuamie production, one of many wonderful cuts on their new Emergency Raps, Vol. 2 compilation...one of many projects that got lost in the shuffle of Drake vs. Pusha T hoopla over the past week. Do yourself a favor and add this to your collection right now!)

13. “Sunoco” - Al.Divino & $auce Heist

https://www.youtube.com/watch?v=tMQSBpvZJKo

(WOW, hard NYC rap doesn’t get much better than this crazy new Al.Divino and $auce Heist project! Pretty crazy considering only Heist is from NY, while Divino hails from Massachusetts. I’m really loving the beat on this one, it sounds like a Bjork “Human Behavior” sample but I’m not sure if that’s the case? The whole BENGAL BONE MARROW tape is worth the $40 price tag, it is brutally good.)

14. “Infrared” - Pusha-T

https://www.youtube.com/watch?v=Ytzc6ehAvOM

(Hey have you guys heard this one? Pretty under the radar, yeah I know. Seriously what more can be said about this one.....except that it’s pure FIRE, no matter whose corner you stand in with the Drake-Pusha beef.)

15. “Soul Reaver” - A$AP Ant feat. A$AP Twelvyy

https://www.youtube.com/watch?v=ZnRFRhv-EGI

(Before A$AP Rocky released his album, A$AP Ant dropped a new album titled Lil Black Jean Jacket. As one of the less heralded members of the A$AP Mob, it’s easy to overlook this project...but you would be making a mistake. To me, this tape succeeds in all of the areas that Playboi Carti’s Die Lit album failed. You won’t find much lyrical depth on Jacket, but you will find catchy flows and hypnotic production. And on “Soul Reaver”, you will also find the best verse on the album, courtesy of Twelvyy. This sleepy gem really goes!)

16. “Long Way” - Benny feat. El Camino

https://soundcloud.com/bennythebutcher1/benny-the-butcher-long-way-ft-el-camino-prod-by-dj-shay

(The loop and Camino’s hook-work gives this joint an old school Dipset aesthetic, while Benny’s bars remind me of prime Beanie Sigel, and I’m loving all of this!  “Long Way” is favorite joint off of Benny’s new A Friend Of Ours project, but the whole tape is worth playing front to back.)

17. “Brotha Man” - A$AP Rocky feat. French Montana

https://www.youtube.com/watch?v=QYbWAgF02no

(The most soulful song on Testing, and there’s a lot to like here. French Montana channels his best Marvin Gaye impression - there’s a sentence I never thought I would type - and "Brotha Man” also includes some of the album’s finer written moments from Rocky. True to form, his reference to caring more about personal style rather than important social issues is a display of brutal honesty that only adds to the track’s authenticity.)

18. “Hoop Dreamin” - Blueprint feat. Has-Lo

https://www.youtube.com/watch?v=Drv4yESEMFM

(A few weeks back, rapper/producer Blueprint slipped out a brand new project titled Two-Headed Monster, where he explores a number of topics over some beautiful production. The palpable sense of urgency felt on “Hoop Dreamin” makes this cut my favorite off the album, but the whole project warrants more attention.)

19. “Helvetica” - CODENINE & Mr. Rose feat. Milano Constantine, Al.Divino & Estee Nack https://www.youtube.com/watch?v=4AWJEJj3oT8

(Proving that the underground collective swirling around Al.Divino and Estee Nack is one that you need to watch, CODENINE and Mr. Rose’s project is another notch on the team’s belt. “Helvetica” has the feel of one of those classic late 90′s underground hip-hop cyphers.)

20. “Kevlar Tux” - SONNYJIM & Conway feat. Roc Marciano

https://soundcloud.com/sonnyjim01/03-kevlar-tux-ft-roc-marciano?in=sonnyjim01/sets/conway-x-sonnyjim-death-by-misadventure

(I’ve heard chatter suggesting that this SONNYJIM & Conway project wasn’t official? Well this Conway & Roc Marci joint sounded officially dope to me, so it still belongs on this playlist, no doubt.)

*Bonus - Honorable Mention*

“Twofifteen” - Black Thought & 9th Wonder

https://www.youtube.com/watch?v=tgJ434TL-bo

(Black Thought sounds like he is unleashing 25 years of lyrical tenacity on this one, the first of five great tracks off of his project with 9th Wonder & The Soul Council.)

“Onna Gang” - DaBoii (of SOB x RBE)

https://www.youtube.com/watch?v=OZ-FTDFkwAM

(The SOB x RBE stand-out showcases his solo skills all over this bouncy head-nodder.)

“Tony Tone” - A$AP Rocky feat. Puff Daddy

https://www.youtube.com/watch?v=Z6z6oiTirFQ

(Another sharp cut from Rocky’s new album, which seems like it will be under-appreciated for the foreseeable future. The menacing, teeth-grinding beat alone is worth the price of admission.)

“Mob Era” - Tha God Fahim & Jay NiCE feat. Left Lane & Mach-Hommy

https://soundcloud.com/thagodfahim/tha-god-fahim-x-jay-nice-x-left-lane-x-mach-hommy-mob-eraprodby-jlvsn

(JLVSN laced Fahim, Mach and company with a tense little piano loop, and all four MCs deliver. )

“Unknown Worlds” - Planet Asia feat. Montage One

https://planet-asia.bandcamp.com/track/unknown-worlds

(Planet Asia’s second project of 2018 - maybe more, it’s hard to keep track because the guy is a workhorse- Mansa Musa is as strong as all of his previous projects, but there’s a freshness to the samples used on this one that make it one of my favorite PA projects from the last few years. Both West Coast icons kill this one, and Planet Asia deserves the AC Green award for longevity in the game at this point - he may never fall off!)

“NYCHA” - Dave East feat. Nas

https://www.youtube.com/watch?v=CsrMVAB3weY

(The soundtrack to Netflix’s Rapture dropped a few weeks back, mostly unnoticed, but it had some strong joints. Perhaps none hotter than this NY-centric Dave East & Nas jam, my favorite collaboration that I have heard from the Mass Appeal duo thus far.)

[ICYMI: Last month’s list below]

https://therappundit.tumblr.com/post/174009402131/may-2018-playli-t-of-the-month

[snokesmagicalmusicblog]

After Laughter - Paramore

Hello! Welcome to my first blog post. I’ve been wanting to do something like this for awhile and i finally did it so here we go, my first review, After Laughter by the well known alternative band, Paramore!

Let’s jump right into this, I have been a Paramore fan for 11 years so you could say I was really anticipating this album. They are a band that change their sound every album so it never gets boring but it never loses that genuineness and signature style. 

Hard Times - An excellent pick for the first single. All I can say is WOW. This is one of the best songs I have heard all year, it is perfect for a summer jam. It is obviously about going through tough obstacles but it has this optimistic perspective that the music gives it. It clearly was the best choice for the first song, it lays down the general theme of Hayley’s lyrics throughout the album. It has catchy guitar and disco synths with a drum beat that Zac really helps carry throughout. Honestly I do not know how anyone could listen to this and not have it in their head all day. Do you wanna dance and forget about your life spiraling downward? This ones for you.

Rose-Colored Boy - I really thought this was an 80′s song for the first few seconds, it has this “hey Mickey you’re so fine” type of chanting intro and it absolutely works. The rest of the song doesn’t disappoint with the 80′s nostalgic feel. Again the instrumentation goes so well together. One of my favorite things about this track is Taylor really riffing it up on the guitar and it gives it a more funky groove. This song basically is about someone who just does not have any understanding of being sad or depressed and just kind of pushing you to get over it. With the obvious frustration Hayley says, “Just let me cry a little bit longer, I ain’t gonna smile if I don’t want to!”

Told You So - This one took some time to grow on me. I still find the chorus too weak and too repetitive and I definetely enjoy the verses more. The beat on this one is pretty irresistible and then you have some impressive guitar going all down the neck. Strange enough there is a voice edit of what sounds like sort of an autotune filter and the end of each line during the verses and again, it strangely works. This album does so many risky moves that sound like it would be horrible but just really gives the album character. It’s again relatable much like Rose Colored Boy, basically people will love to tell you when you’re wrong no matter how much you try.

Forgiveness - This song is such a straight up pop song and one could say that there is not a lot going on but honestly the hook is irresistible; I find the chorus extremely irresistible to sing along to. Hayley basically is stating look I try but it’s taking time to forgive you, you really hurt me and it really hits you deep. After the second chorus the back up vocals that are almost beautifully haunting come in and make this song all worth while. While at first this may seem like a snoozer, do not overlook it!

Fake Happy - This song kicks off with a beautiful acoustic opening with Hayley calmly singing in what is more of a depressing tune. Then it kicks off with major synths that really take the lead on this one. The pre-chorus has a catchy rhythm and you can’t miss the little things like when Hayley sings, “If I smile with my TEETH, bet you believe me” Then the guitars in the main chorus kick in and Hayley writes about her issues with people feeling the need to always act like everything is okay. I mean seriously when have we not faked happy? This song takes a chill turn towards the bridge with a soothing “ba da ba ba ba bum” that seems to mix in well for comfort with all of the hints of depression that seems to strike in this song.

26 - This one’s a very powerful, emotional acoustic track that Hayley’s vocals and lyrics that cut through your heart. The evident depression that she has been going through is present and it has a genuine sadness. Hayley sings in the chorus, “Hold onto hope if you got it Don't let it go for nobody, And they say that dreaming is free, But I wouldn't care what it cost me.” Amongst the album’s happy sound that comes with it, the lyrics are real and not exactly positive, this is one of the tracks that really hits you hard because instead of the hopeful sounding synths in the back, you have a tearjerking guitar and beautiful voice longing to hope again. 

Pool - Right form the beginning this was one of my absolute favorite tracks. You get the beautiful percussion and mallets at the beginning and again Taylor delivers with an excellent riff. One of the things Zac always does well is his upbeats with cymbals that make a bright sound, and it really shows in this song. This song just gives you such a rush but by far the best part is the chorus where Hayley’s back up vocals go soft and deep and she sings, “I’m underwater” while the main vocals go “No air in my lungs”. And it just keeps going back and forth with that pattern but the emotion that it brings to me is honestly indescribable, i really recommend this track. 

Grudges - This song relates to the awkwardness that was once between drummer Zac Farro and the band. If you have no history on the members I’ll just let you know it has been a wild ride. Zac was the original drummer and after two albums has come back on this one so it was a big deal. This song is bright and cheerful compared to most of the album and basically stating you just can’t keep holding on to these grudges. It’s one of those songs you just want to clap to like seal when you hear the chorus. I love the hook in this chorus, it’s incredibly catchy and just when you think it gets good ZAC sings back up during the bridge and it compliments the song so well. 

Caught in the Middle - The instrumentation opens this up and flows so well together and you can really hear the bass groove which adds so much to it. Hayley’s first lyrics are, “I Can’t think of getting old it only makes me want to die” Yikes! It just has that no sugar-coated lyrics that we get throughout this whole album and you can tell she’s pouring all of her emotions in this. Being at a time in life where you feel like you’re too young to be a kid and look back but looking ahead is so scary is extremely relatable. Also this chorus has a great hook and gives me a nostalgic feel for older Paramore. 

Idle Worship - This song took me a bit to fully appreciate but I love it. The way Hayley sings on this is so perfect, she sounds annoyed and done, it’s loud and it’s in your face. This chorus could honestly be on the radio like any pop song but it is nowhere near bubble gum pop, it is a super genuine song that still has that ultimate Paramore flare and it has grown to be one of my favorites. Zac really delivers with an awkward challenging beat to drum but he completely kills it. The “la la la la” before the chorus is to die for.

No Friend - This one is an experimental songs with vocals from Aaron Weiss of mewithoutYou. I tried to keep an open mind with this one and I could understand why they put it on here, it gives a trippy different vibe but it just doesn’t work out. This song just sounds nothing more than a filler and I’m so sure that all of the songs that did not make the cut could have taken its place. I cannot really describe this without saying this man literally rambles on and on about Paramore’s career with this weird instrumentation. I honestly thought that it was the illuminati taking over my computer for a minute. Give it a try but I’m not a fan.

Tell Me How - This closing song is another tear jerker that lies on a beautiful piano and solid emotion much like “26″. The song relates to losing band members including Jeremy Davis who had a rough patch with the band after he left. Again this is a wonderful pop song that just cuts right into the heart strings and I think it was the perfect choice for the closer. With all the “hard times” and turmoil that is scattered throughout this record the final line Hayley leaves us with is, “I can still believe”. 

Thank you so much for reading the review! I’m going to give this album a solid 4/5. With my favorites being “Pool”, “Hard Times”, and “Idle Worship”. My least favorite being: “No Friend”. Overall I do think they could have tried a bit harder to make some songs more stylistically different but overall this is a wonderful record. I know there are Paramore fans that are pissed off because this doesn’t sound like “Misery Business” or whatever but that’s what I like about this band. No matter how many times they change their sound it still sounds good and it is still genuine. This is one of the most genuine albums I have ever heard and it does not hold back.

[365daysofj2]

Talkin' Texas (Kitten 'verse, 6/?)

“So, you owe me dinner,” says Jensen as he and Jared are changing out of their work clothes. “Does that mean I get to pick the place?” “Within reason,” answers Jared with a grin. “Nothing over $25 bucks a plate.” “You know, if you didn’t buy her the most expensive food in the pet store, you could afford to feed both of us.” Jensen pulls on his gray sweater and wraps a scarf around his neck. After what seemed like early spring, the temperature’s dropped back down below freezing, and they’re set to get a massive blizzard later in the week, so they’ve got to enjoy time outside their homes while they still can. Jared blushes. “I just—” Jensen holds up a hand. “I was teasing. I know you only spoil her because you care about her so much.” “It’s not just that,” says Jared, looking down at the floor. “I just feel so guilty about what happened to my dog. If I’d been more careful about what I fed him, he’d still be here.” Jensen crosses the room and puts a hand on Jared’s shoulder. “I’m sure you did the best you could. I know you’d never hurt an animal on purpose.” Jared shrugs and pulls on his boots. “I thought hey, if they sell it in the pet store, it has to be safe, right?” He kneels down to tie the laces. “I had no idea that they made it in China in completely unregulated factories.” He sniffles. “But I’ve learned my lesson.” “Jared, hey.” Jensen kneels down beside him and wraps an arm around his shoulders. “It was not your fault. You did nothing wrong.” Jared scrubs a hand over his face. “But I could’ve done more.” He shrugs off Jensen’s arm and stands up. “Maybe it’s not my fault, but it’s my responsibility.” “You can’t beat yourself up about it forever.” Jensen stands up and puts on his own shoes. “It was a tragic accident, but I’m sure he had a great life with you and loved you very much.” Jared nods. He takes a deep breath and crosses the room to a half-full laundry basket that Jensen didn’t realize Jinnie was sleeping in. Jared tenderly strokes her tiny white belly and she curls around his hand with a little sigh. Jensen can’t help grinning at the incredibly cute sight. Jared smooths her fur back into place and gently retracts his hand. Jinnie stretches out on her back without waking up and Jared fluffs the (clean, Jensen hopes) sheets she’s lying on. He then stands up and runs a hand through his hair. “You ready?” “Definitely,” answers Jensen. “But where are we going?” “Your choice.” Jared puts his wallet in one pocket and his phone in the other. “How about Macaroni Grill?” “Sounds good to me.” Jared grins and follows Jensen out of the room. The restaurant is semi-crowded when they arrive, so they wait for a bit before they get an intimate booth in the corner. They both order beers and pasta dishes, and Jared chuckles at how similar their orders are. “Guess we both have good taste.” “Seems that way.” Jensen grins at Jared, who’s drawing something on the tablecloth with a blue crayon. After a few minutes, he realizes it’s a “family portrait” of sorts—the two of them and Jinnie. It’s not photorealistic by any means, but it’s pretty good for crayon on butcher paper. “You should sign that.” Jared grins back and scribbles his name underneath with a flourish. Their beers arrive then and Jared holds his up for a toast. “To working hard and playing harder.” “Hear, hear.” Jensen clinks his glass against Jared’s and they both sip their beers. The warm bread arrives soon after, and they tear through that in a matter of minutes. The dish of herbed oil is nearly clean enough to eat off of. Jensen raises an eyebrow. “We really must’ve worked hard.” Their food doesn’t come as quickly as they would like, but once it does, they both devour it with little hesitation. When the server comes to collect their plates, there’s no question that they’re ordering dessert. Jared gets chocolate cake, which doesn’t surprise Jensen at all, and Jensen orders the lemon cake. They make quick work of those as well. Jared settles up the bill without letting Jensen see it, which makes Jensen believe that he’s probably spending more than he should be, but he doesn’t seem upset at all as they walk to his car. Once they’re inside, Jared turns the heat up nearly full blast. “Fuck, it’s cold. I can’t believe it was 70 degrees last week and now it’s sub-Arctic again.” “And we’re gonna get snowed in on Tuesday.” “Well, if that’s the case, you better come over to my place Monday night,” Jared says, and then winks at Jensen. “I think that can be arranged,” replies Jensen with a grin. “Why don’t you just stay all weekend?” Jared slides a hand up Jensen’s knee to his thigh. “You can grab clothes sometime tomorrow, and I’m sure I’ve got an extra toothbrush. I’ll even have clean towels by the time we get home.” Jensen smiles. “I think I like this plan.” “Good.” Jared’s hand edges further up Jensen’s thigh to tease at his cock. “We’ll be home in ten minutes. I’ll put Jinnie in the bathroom and we’ll have the bedroom to ourselves.” “I like that plan even better,” replies Jensen. By the time they get back to Jared’s place, Jensen’s half-hard and starting to sweat. When Jared unlocks the door, he races inside ahead of him and sheds his jacket, scarf, and sweater. He’s starting to unbutton his shirt when Jared enters the room and makes a beeline for the laundry basket. He puts the whole thing in the bathroom and shuts the door tight. Jensen almost wishes he could lock it from the outside, just to be safe. His knees still haven’t quite forgiven him for last time. Jared kicks off his shoes and unfastens his jeans. “Not wasting any time, I see.” “You’re the one got me all riled up,” retorts Jensen, a little bit of Texas twang coming out in the heat of the moment. One corner of Jared’s mouth turns up in a smirk. “I musta gotcha hot ‘n bothered, if you’re talkin’ Texas now,” drawls Jared, over-exaggerating for comic effect. “You come by those bowlegs the old-fashioned way?” “How ‘boutcha hop on ‘n find out?” Jensen strips off his jeans and boxer-briefs and kicks them aside. Then he pushes Jared up against the bed and yanks down his jeans and boxers. He shoves Jared down on the bed hard enough to bounce, then pulls off his pants and tosses them on the floor. Jared scrambles up toward the head of the bed. “Ride ‘em, cowboy.” Jared bites his lip. “I’ve, uh…never done that.” “Ain’t that hard,” growls Jensen. He climbs on the bed next to Jared and grabs the lube from the nightstand drawer. “You’ll git the hang of it.” Jared nods, but he looks a little dubious. Jensen squeezes lube onto his fingers and teases around Jared’s hole until Jared starts to relax enough to let him in. “Do you trust me?” “Yeah,” breathes Jared. “Completely.” “Then jus’ do what I say ‘n you’ll be fine.” Jensen draws out the fine until it sounds more like faaahn. “Now, settle yourself and let me in.” “‘M tryin’!” Jared takes a deep breath and closes his eyes. Jensen slides one finger in and circles the thick, taut muscle, trying to get Jared used to relaxing on command. Jensen has to wonder how he ever managed to get laid in college if he was this uptight, unless…fuck, Jensen really doesn’t want to pursue that line of thought. He decides to add another finger instead. “You’re so fuckin’ tight, Jay,” says Jensen. “Y’all right?” “Peachy,” replies Jared, and Jensen can see from his bright, engaged eyes that he’s telling the truth. He gently scissors his fingers and Jared sucks a harsh breath in though his nose. “Breathe, kiddo. Y’all do that nat’rally. so jus’ go with it.” Jensen adds a third finger, trying to coat the entire ring with generous amounts of lube, not withstanding what he’s going to put on his own dick. Somehow, this has become less about getting off and more about making sure Jared has a positive experience. But Jensen’s really fucking ready to get off. “‘M good, Jen. I’ll do whatever y’all want me t’do.” Jensen adds his third finger and scissors as hard as he dares. “You’re almos’ ready. Y’all just throw a leg over me and ride me like a fuckin’ pony.” Jared takes another deep breath. Jensen pulls his fingers out and slicks up his own dick in preparation. Jared straddles Jensen’s hips, but Jensen can tell he’s hesitation. He grips Jared’s hips and guides his dick into place. “This is s’posed to be fun, babe.” Jared nods. “I know.” “So stop thinkin’ and start fuckin’!” Jensen thrusts his diamond-hard, leaking dick into Jared’s ass. “Ride me like the fuckin’ cowboy I know y’are.” Jared lets Jensen ease his way in and then stops, seemingly unsure of what to do next. “Fuckin’ move! Y’all got me doin’ all the fuckin’ work.” Jared gets the hint and starts moving in a halting rhythm. Jensen plants his hands on the kid’s hips and establishes the rhythm for him. Jared seems amenable to it, so Jensen eases off and Jared picks up where he left off. “Yeah, tha’ss it, baby. Jus’ like tha’.” Jared grips Jensen’s shoulders hard enough to leave bruises and crushes his lips atop Jensen’s. Jensen pushes him off. “Y’all got enough to do.” Jared falters and starts to have difficulty keeping the rhythm, so Jensen grasps his hips again and starts to thrust in earnest. “Lemme do the work, baby. I got this.” “Yer awesome,” murmurs Jared. His head drops onto the pillow next to Jensen’s, and Jensen’s doing the majority of the work here, but he’s not upset, not in the least. Jared’s got to learn somehow. His hips buck so hard they leave the mattress entirely. Jared’s panting like a marathon runner, and Jensen’s not doing much better. He tilts his chin up and sucks in air like a dying man. He’s sweating so much that it’s dripping down his cheeks and settling in the hollow of his neck, and he can see that Jared’s hair is damp as well. Jensen keeps pumping, and Jared pushes back up to his full height and starts to try to match Jensen’s rhythm. Jensen eases off and lets Jared do the bulk of the work. “Yeah, yeah, tha’ss it, baby.” He figures encouragement is what Jared needs the most. “”M so fuckin’ close.” Jared’s head drops down to Jensen’s shoulder and before Jensen knows what’s happening, Jared’s shooting his load right onto Jensen’s chest. Before he can pull out to recover, Jensen thrusts the last few times and achieves his release as well. Once he does, he eases out of Jared and lets Jared flop down beside him with a noticeable wheeze. “Holy shit,” gasps Jared. “That was intense!” “Tell me ‘bout it,” mutters Jensen, struggling for air and control himself. “Y’all did yerselt proud.” “Thanks to you.” Jared rolls over and presses his lips to Jensen’s. They’re both too worn out for a prolonged kiss, but Jared gets the message across. “You’re the bes’ boyfrien’ ever.” “Well, thanks a bunch, darlin’,” drawls Jensen. “Yer no’ so bad yerself.” “I mean it,” insists Jared. “You’re so patient, and you don’t get mad when I do stupid shit.” “‘Course not,” replies Jensen, kissing Jared’s jaw. “I love you the way you are, not the way you think you should be.” Jared pushes himself up on one elbow and regards Jensen with wide eyes. “You—you love me?” Jensen kisses him for a long moment. “Yeah, I think I do.” Jared beams. “I love you too.” He collapses onto the bed next to Jensen, clearly spent. “Not as much as I love her, but give it time.” Jensen ruffles his hair. “Believe me, I intend to.” Jared rubs his chest the same way he would rub Jinnie’s belly. “Good.”

[1nebest]

Upgrade tells the story of a Grey Trace, a man in the near future who’s left quadriplegic after a car accident and mugging.

Following an interlude that sees Grey struggling with his new disability, an experimental computer chip called Stem is placed in his spinal cord, which it doesn’t just allow him control of his limbs again — it turns him into something close to a superhero, ready to track down the men who paralyzed him and murdered his wife.

The film, which comes out today in the United States, may sound like a straightforward revenge plot, but it was written and directed by Leigh Wannell, who’s best known for writing Saw and Insidious. (More recently, he made his directorial debut with Insidious 3.) He explained that he wasn’t interested in turning this into a superhero movie. Instead, he wanted to tell the “Taxi Driver version” of this story.

Without getting into details, it’s fair to say that Upgrade doesn’t feel that far removed from Wannell’s horror films. It also includes plenty of visceral action scenes and touches on bigger questions about our relationship with technology.

I met with Wannell in New York City last week to discuss the film, and an edited transcript of our conversation follows. There’s one passage that gets a little spoiler-y, but I’ll warn you so you can skip ahead.

Wannell shot Upgrade in his hometown of Melbourne, Australia, so we started off by talking about the rivalry between Sydney and Melbourne.

Leigh Wannell

Leigh Wannell: I’ve lived in L.A. for 12 years now, so I no longer care about Sydney-Melbourne. We shot this film in Melbourne but we actually edited in Sydney.

I was in Sydney for a few months and I absolutely loved it. I insisted on living in an apartment on Bondi Beach, which was not practical at all to the location of the editing room, but I didn’t care because I was like, “Look, if I was going to walk on ice, then I’m going to tap dance.” If I’m going to live in Sydney, I want to live on Bondi Beach.

TechCrunch: So the big science fictional idea of Stem, where did that come from?

Wannell: The idea really just came into my head, the way all my ideas do. It’s a very random process, and in its randomness it’s frustrating, because I feel like I’m always trying to think of movie ideas. And most of the ideas aren’t good, and they instantly get filed away in the drawer for terrible ideas.

Every now and again, something will pop into my head when I’m driving or I’m in the shower, you’ll just get an image and it stays with you. It doesn’t have to be much, it doesn’t have to be a story, it could just be an image. But it won’t leave your head and that’s when you know you’ve got something.

That’s how this started. It wasn’t like I read a magazine article about where tech is going. I was in my backyard, I remember that, and it was a nice day like this, and I just suddenly had this image of a quadriplegic in a wheelchair who stood up out of the chair and was being controlled from the neck down by a computer. That image and that scenario wouldn’t leave my head and I started reverse engineering a story into it. I kept writing away and making notes and then, cut to many years later, I’m sitting here talking with you.

TechCrunch: It’s interesting that it came from your imagination, because in some ways it feels very prescient. We had our own robotics event a couple of weeks ago and one of the big moments on-stage was someone in a wheelchair who was able to take a few steps thanks to an exoskeleton.

Wannell: So the exoskeleton that helps people with paralysis walk and move, this movie is the internalized version of that, where it goes one step further and there’s nothing exterior. It’s a chip.

It has been interesting to watch the world catch up to my script. Because when I wrote the first draft of this script, automated cars and smart kitchens were still science fiction. And in the ensuing years, they’ve become ubiquitous. I mean, my wife’s car parks itself and talks to her. And my daughter thinks it’s perfectly normal to have a voice talking to her in the kitchen, and she asks it to play songs and it does. So in a way I feel like I’m living in the world of the movie I wrote all those years ago.

TechCrunch: And when was that?

Wannell: God, the first draft was probably at least six years ago.

TechCrunch: You said a lot of ideas will come to you, and you’ll think: Some of these are bad, some of these are good.  Obviously, you’re known for horror, so in this case, when you think of a science fiction idea, does that create any trepidation?

Wannell: There was a bit of trepidation on my part as I was gearing up to direct the movie. Not so much when I was writing it. But I started to worry about science fiction fans because I’m very well-versed with horror fans, I’ve been fortunate enough to meet a lot of them, I feel like I’m in that community, and I was a horror fan myself. But I realized that science fiction has its own community of these staunch fans who pick apart things like Star Trek and Star Wars. And I did remember having a moment where I thought, wow, are they going to see this and think that I’m a fraud, that I’m a tourist in this world?

I’ve just gone through a two week trip around the country, screening the movie in different cities, and afterwards I’ll always chat to people. And in the acceptance of the movie, I realize that these genres, they’re not the province of any one type of person. What I feel like science fiction fans respond to is just people trying to hit them with something new, something they haven’t seen. And if you do that you’ll be okay.

TechCrunch: When you were directing, did you feel like you were using a different skillset?

Wannell: The mechanics of making a horror film are so specific that I obviously wasn’t using any of that. Those quiet moments in a horror film where you really lean on the anticipation of things, this movie wasn’t using any of that. But I felt like some of the rhythms and filmmaking beats that I’d learned in horror, I think they’re just naturally ingrained in me.

So, for instance, I liked creating moments of silence that were suddenly punctuated by action. And I think I must be subconsciously looking for that vocal reaction that you get from a horror film. It’s almost like I was putting those horror beats into a sci-fi context: Build, build, catharsis. Build, build, catharsis. So maybe that’s in there, just ingrained.

[Skip the next few paragraphs if you don’t want to be spoiled for an early scene in Upgrade, as well as the general direction of the film.]

TechCrunch: That’s certainly true to my experience. For a lot of it I was incredibly tense, and the moment when his head gets cut open, I just screamed.

Wannell: [laughs] In the operation?

TechCrunch: No, in the first kill.

Wannell: Ah, yes, the Pez dispenser!

TechCrunch: God, yeah. That was very upsetting.

Wannell: If you look at that scene and you analyze the structure, there is kind of a horror-esque metronome to it, where it’s quiet, it’s tense, and then there’s an explosion of something.

And in watching it, it’s been interesting to see that that scene gets a vocal reaction. It’s not the same reaction that a horror movie gets, that sort of scream in the audience, but it’s almost like an adrenaline rush, and when he gets up off the floor, I see people clapping along. I’m like, “Oh cool, this is a spectator sport, they’re getting into it as participants.”

TechCrunch: When I read the description of the film — obviously, the marketing is emphasizing this dystopian, almost horrific element, but you still think, “Oh, he’s basically going to become this superhero, and there’s maybe going to be this dark side to it, but it’s still going to be this ultimately triumphant story.” Whereas throughout the whole film, there’s this darker undertone that feels very different.

Wannell: I feel like the superhero version of this movie where somebody is given something — a power or a computer chip, whatever it is — that’s been done, especially in this age we live in, it’s been done a lot. So I found what was more interesting was to do the Taxi Driver version of this, to do the version where you realize the bad guy is in your body and the fight is not between you and external forces. It’s actually two entities fighting over the same physical body. That was interesting to me.

[End spoilers]

TechCrunch: One of the things you also mentioned in the press materials was this idea of having the freedom of an independent film but also having the scope of a larger science fiction film. I don’t know what the budget was, but I assume it wasn’t Avengers-scale.

Wannell: [laughs] Very low.

TechCrunch: What was the overall approach you took to saying, “Well, we don’t have all that money but we’re still going to try to build a world that has scope”?

Wannell: It’s just been a real goal and a dream of mine to do that. To make a movie that enjoyed the worldbuilding of sci-fi but took advantage of the creative freedom of an independent. The problem is that one is supposed to cancel the other out. You’re supposed to need studio money if you’re going to go off and make the future-set action movie. So I really was trying to have my cake and eat it, but I was obsessed with doing it.

As a model, I used ‘80s sci-fi films that I grew up with. I used the original Terminator as a great example, because if you really study that movie scene-by-scene, the science fiction and the tech is doled out very judiciously and sparingly. It’s kind of this lean-and-mean, slash-and-stalk movie that is dressed in this sci-fi skin. And I loved that.

I feel like, if they can achieve that sort of sleight of hand in the ’80s, then we could do it now. Especially with the new advantage that they didn’t even have back then of CG. We could use CG to augment some of the scenes. We couldn’t go bananas with it, but we could utilize it at certain moments. And I guess I’m too close to the movie, I’ve spent too long with it to know if we really succeeded, but I’m hoping that audiences feel like they’re watching a bigger movie, you know? That they’re part of a bigger world.

TechCrunch: Right, and there’s a couple of things in the beginning that feel very big —

Wannell: Like, here’s the world!

TechCrunch: Which, if I go back clinically and watched it, I would see that those are doled out very strategically. But it does the job. And it also is an interesting constraint because it means that in a lot of the other scenes, you have one or two science fictional elements, but you’re using primarily a real world location or set, rather than a created world.

Wannell: Absolutely, and that was something that was a very conscious decision. Not just budgetary, but a creative decision for me was: Let’s set this movie in the very near future. Let’s build a world that the audience can see themselves in.

Also, the world doesn’t change completely overnight, it happens incrementally. In 30 years time, you’ll still have buildings from the 1800s in New York City. They’re not going to knock them down and build a glass tower. So what you’re going to end up in 30, 40 years is a landscape in Manhattan that is the future sort of jammed on top of the past and it’ll be this hybrid.

And people will still be driving older cars! That’s another thing that you see in a lot of future movies, all of a sudden everyone on the road is driving the future car. And I’m like, well no, there will still be people 20 years from now driving around in early ’90s Hondas, crappy cars, you know? That scaling of the world was important, but a bonus prize was that it helped us budgetarily.

TechCrunch: You mentioned that this is something that you started writing six years ago. In that time, the technology has evolved, but also the ways in which we talk or think about disability, and the ways we talk about being quadriplegic or paraplegic has changed. To what extent was that part of your research, things like talking to disability activists?

Wannell: I didn’t talk so much to activists. When I was writing the film, I wanted the idea that a chip could cure paralysis, I wanted that to be a tangible thing and I talked to a surgeon and he said, “Look, what you’re talking about is hypothetical, but in theory, it could be done. That gap between our brain and our nerve endings could be bridged by a computer.” And that was great to walk away with, the knowledge that the tech was credible.

Certainly when we were preparing to shoot the film, we took the quadriplegic side of it very seriously. Logan [Marshall-Green], who plays Gray, he worked with a guy who was a quadriplegic who was nice enough to spend a lot of time with Logan, share his life with him, talk to Logan, let Logan see what his daily rituals were like, let him actually use a chair.

And Logan had a lot of integrity about that. He felt he owed this gentleman that he had worked with the responsibility of portraying that realistically, and he was really watching it, the way he held his hands. It’s not a long moment in the film that he spends as a quadriplegic, but it was important for us for that moment to have as much integrity as anything else in the film. Especially with something that in real life, people are experiencing. You don’t want to push back at them some wonky cinematic version of the real thing.

TechCrunch: Part of what I’m getting at is, is there’s this opening image that you mentioned of him rising out of the chair. It’s this incredibly moving scene for him because you’ve been through all of these terrible things with him. But at the same time, you can imagine somebody who is quadriplegic watching the film and you don’t necessarily want them to look at themselves and think —

Wannell: Them thinking, “Oh, you’re presenting this as triumphant, as if that’s much better.” Yeah, that’s interesting, that is part-and-parcel of putting films out into the world, isn’t it? The world reflects back at you and I think you just have to take those slings and arrows. Nothing was done with any malice.

And I don’t think we were trying to present the idea that quadriplegia is this hellish situation that only being able-bodied can cure. What I think we were doing is speaking to the story of a guy who hates technology becomes technology. The way that we were enabled to do that in the story was through his condition, his quadriplegia. So it’s the result of an accident, he’s given this chip, and now he’s completely reliant on it, you know? It’s totally a story point for us.

TechCrunch: And again, without getting into too many spoilers, you said that this is the Taxi Driver version of the story. How much of that was trying to express your own concerns about people becoming more automated?

Wannell: I think a lot of it. First and foremost, I’m trying to tell this genre story, I’m trying to build a unique movie. And then the themes and the questions of the film sit underneath it.

But I have a foot in both camps with technology. Especially in researching the script and reading books by Ray Kurzweil and authors that talk about the Singularity and the point at which humans and tech will merge. Because I didn’t want to make a robot film. A robot film has been done before and I wasn’t really interested in that. I was interested in human beings putting tech into their bodies voluntarily. That was something I felt I hadn’t seen a lot of.

Through my research and reading these books, I saw both sides. I saw the wonderful side of our reliance on tech in regards to medicine. If we can install something in our bloodstream or our bodies that cures cancer, that’s obviously going to be an amazing, wonderful thing. But there’s the other foot in the other camp, which is our overreliance on automation. I’m wondering if our cars do the driving for us and our kitchens do the cooking, are we actually designing ourselves into irrelevance? That’s an interesting road to look down. It seems to me the human instinct is to always make things easier. We’re always leaping towards convenience: “Oh, wouldn’t it be better if a machine could do that?”

I’m wondering where that road ends. The movie was definitely a reflection of that, too.

TechCrunch: The last thing I’m going to ask, which I think I’m sort of required to ask, is to what extent is this meant to be a completely standalone experience? Have you thought about a potential sequel?

Wannell: I haven’t. The thought enters my mind and I push it away. Because this is an independent film, and it’s really hard in today’s media landscape to get people to pay attention to things. We’re releasing the movie in summer, surrounded by giant movies. I can’t imagine what the marketing budget for the new Han Solo movie is. To compete against that is almost foolhardy, so I feel like planning a sequel is an assumption of success that I’m not ready for.

Sitting there being vexed about where to go with a sequel would be a great problem to have.

TechCrunch: Well, it certainly doesn’t feel like a movie that was written with a sequel in mind.

Wannell: No, it definitely wasn’t. I remember when James Wan and I did the first Saw movie, a lot of people would say to us, “Well, you left the door open for a sequel.” And we would say, “No, we literally closed the door!” We thought it was a nice ending. Little did we know that the producers had other ideas once the film was a hit.

To us, the ending to that movie, in our opinion, was the very definition of a cut to black, no more story. But then we got a lesson in commerce.

[dailyaudiobible]

04/22/2018 DAB Transcript

Joshua 24; Luke 21:1-28; Psalm 89:38-52; Proverbs 13:20-23

Today is the 22nd day of April. Welcome to the Daily Audio Bible. Here we are stepping through the threshold into a brand new week that is unlived, right? So it's brand new, shiny and sparkly. It's a gift that we get to unwrap slowly day by day as the week unveils itself. And we get to choose how we're gonna live it. And one of the ways that we make wise choices is to continue the rhythm of the Scripture in our lives and allow God's word to speak into this week. And so that's what we've come to do. This week we'll read from the God's Word translation. And today we will conclude the book of Joshua by reading the final chapter. Chapter 24. Commentary Okay, so as we begin this new week, we concluded the book of Joshua. And in concluding the book of Joshua, we also had to say goodbye to Joshua, who lived faithfully. And he lived an incredibly adventurous life but all the way until he was 110 years old. And then as his final days approached, we watched what he did. He followed in the footsteps of Moses who had mentored him into leadership. And he had his own final declarations to say, reminding the people who they were, where they'd come from and the path that was in front of them. Moses did all of this on the other side of the Jordan River. And that is all captured in the entire book of Deuteronomy. Joshua essentially followed in those footsteps from the other side of the Jordan River in the promised land as a reminder. And at the end of Joshua's life, he told Israel's leaders to choose, right? To choose whether they would serve the Lord and forever reject anything else, renewing the covenant. And the people affirmed their allegiance to God. And then Joshua dropped the bomb kind of. And this is the part where it's all of the sudden no longer a story that's ancient history. Now it's a story about our own lives. Joshua asked the people to choose who they were going to serve. And of course, he said the famous words: As for me and my house, we will serve the Lord. And all the people were like, of course, who else would we serve? And then Joshua said something striking. You are a witness to your own decision. What makes this powerful is that the people were agreeing that their lives would serve as a witness against them if they were untrue. It wouldn't take anyone else's verdict. The way they lived their lives would be the witness, which makes it a fascinating way to look at our own lives. We are the witnesses for or against our faith based on the way we actually live our lives, right? Because we can present an image of just about anything. But underneath all of that is the truth. And the way we live into our relationships today, the way we conduct our conversations today, all of the thoughts, words and deeds of our lives will be a witness for or against us. The words we choose to say today will be a witness. When we lay our head down to rest this evening, we will have testified to what we really believe about knowing and walking with God. So let's take this to heart as we move into this shiny sparkly new week. And understand that our lives are the greatest witness for or against what we say we believe. And may we come to the same conclusion the children of Israel did so long ago: we will serve the Lord our God. We will obey only him.

Prayer And Father, that is our declaration. And we won't be able to stay true to that without a collaboration. Without the guidance and counsel of your Holy Spirit that is always available. And we collaborate by opening ourselves and paying attention. Slowing down enough to walk with you. To be with you in all of our choices and decisions. Come Holy Spirit we pray. In Jesus name we ask. Amen. Dailyaudiobible.com is the website. It's home base. It's where you find out what's going on. So be sure to check in. Check it out. Dive into community. Find out where we are on social media. Visit the prayer wall. Check out the Daily Audio Bible shop for resources that are made for this journey through the Scriptures in a year. So check that out. If you want to partner with the Daily Audio Bible that can be done at dailyaudiobible.com as well. There is a link that just lives on the homepage. And thank you. Thank you for your partnership. We would for sure not be here if we didn't do this together. So thank you. So there's a link on the homepage. If you're using the Daily Bible app, you can press the give button in the upper right-hand corner. Or if you prefer, the mailing address is P.O Box 1996, Spring Hill, Tennessee, 37174. And as always, if you have a prayer request or comment, there are numbers you can call depending on where you are in the world. Of course, doesn't matter where you are in the world you can call any of these numbers. But they're located in places that are central so you pick. If you're in the Americas  877-942-4253 is the number to dial. If you are in the UK or Europe, 44-20-3608-8078 is the number. And if you are in Australia or the lands down under, 61-3-8820-5459 is the number to dial. And that's it for today. I'm Brian. I love you and I'll be waiting for you here tomorrow.

Community Prayer and Praise

Hey Daily Audio Bible family. It’s James the teacher in LA. And I’m actually calling in to respond to Margo in Australia who called talking about your relationship between believers and unbelievers. Really, it’s not a response so much as it’s a testimony. And I’m agreeing with you. Gosh, I don’t know how many years ago now. I was not a believer and I met someone in college who was or she claimed that she was and say that she was. But (inaudible) and we started a relationship. And, honestly, for a long long time I believed that no one was ever going to have a relationship with me. And so I clung to that thing for dear life. It became my idol. (inaudible). And she got advice from a Christian friend who happened to be my best friend telling her to break it off because I’m an unbeliever. So my best friend told my girlfriend to dump me. And if it hadn’t have been for that, I wouldn’t have gotten saved. I wouldn’t have been driven into the arms of Jesus. I wouldn’t have been broken enough. And seeing the genuine love in her eyes and the tears when she told me that she needed to let me go because she didn’t know where I was going to end up in eternity, it triggered something in me that I don’t think anything else on earth would have. So guys, you just may save someone’s life. Obedience, yeah.  Alright, I love you guys.  Talk to you soon. Bye.

Hey everyone. This is Mel. M-E-L from central Florida. And I wanted to call in today and read to you a prayer that I recently received and found out about two weekends ago at a church retreat that I went to and it’s called the Prayer of Transformation and I know a lot of you… I hope this helps a lot of you or cause I know change is hard and transformation is not the most easy thing to go through so I’m gonna read the prayer and I hope you guys enjoy (it).

Loving Father, Here I am.  You made from the (inaudible) that I am right now. I trust that you have an incredible plan for me. Transform me.  Transform my life. Everything is on the table.  Take what you want to take and give what you want to give.  Transform me into the person you created me to be. The very best version of myself. So I can live the life you have envisioned for me. I hold nothing back. I make myself one hundred percent available to you. Lead me. Guide me. And show me what it is you are calling me to. And fill me with the courage and grace to do it. Amen. Well I hope you all can take something from this as I have. It really helped me. I read it everyday. I'll post it on the Daily Audio Bible friends (page). DAB Facebook friends page or whatever it's called. And I hope that... Like I said, I hope it helps somebody out there. I hope you all also have a blessed day. Thank you. Hi. This is Vicky from Arizona. And I'm calling because my husband was diagnosed with cancer. Right now he's at the end stages of lung cancer. And he has never cried out for Jesus yet. I've been believing for this man for 37 years. He got saved when we first were married, but does not walk with Jesus. And I just want prayers that he would when he takes his final breath that he will go home and be with the Lord. That's the cry of my heart. And if everybody could just lift him up. (inaudible) going through a lot of intense suffering right now. And our whole family is just watching him slowly succumb to this disease. So when Brian was talking this morning about hope deferred makes the heart sick I thought that that is me because I have hope for his salvation and deliverance. For these years I have seen the fruit of my prayer. And I just want that reassurance that God is gonna take him into his arms when he takes his last breath. So if you could pray just peace for our family as we walk through this. Somehow we'll have the miracle but I don't even know what the miracle is. And I just want God's will to be done in our life. And I thank you all for praying. Thank you. This is Dave from North Carolina. I wanted to thank you for your message where you shared with us Ezekiel and his simple faith the other day. That was so awesome. But mainly I wanted to call because of what you said today Brian about hope. This truly was something that God was speaking to me through you. And that verse, hope deferred makes the heart sick but when desire comes.. That is something I've heard many times through the financial peace class with Dave Ramsey. And there was a time when I did not have hope financially but today or recently I've had fear and anxiety related to different issues with my personal relationships as well as with my work. And your message really helped clarify where that fear's coming from. It truly is coming from deferred hope. And I'm just appreciative so much. And II just encourage everyone who didn't hear the message on the 19th who has any anxiety or fear about anything to listen to that - Brian's comments about hope. Because putting all our hope in God truly is the answer to any anxiety or fear we have in life. So appreciate you all. Have a great day. Hi family. I am Grateful To Be A Mother and I'm calling in today to encourage my sister anonymous. I've been married for 40 years. I've made a lot of mistakes and I continue to make mistakes. But I've had a lot of wise people to give me advice. Sometimes our marriages are balloons and fireworks and sometimes it's just work. Because marriage is just like many other things in our lives. It goes through phases and there are seasons. So sometimes you're in the season of winter. But be encourage because spring is next. Sometimes the thing that attracts us to a person becomes the very thing that offends us. And I believe that somehow that is the work of Satan. I want to pray for us, family. Father God, we thank you for all things. We thank you for being all things in our lives. We thank you for blessing us and giving us direction. I pray, Father, for the people in our lives that get on our nerves. I ask you Lord to let us see them through fresh eyes. To let us see them the way that you do and that we can see their redeeming qualities. And I also pray,  Lord, that you give them a fresh look at us because there are probably things that they can see in us that they don't appreciate as well. Thank you, Father, for giving us a fresh look allowing us to cherish the people in our lives and to learn more to love... Good morning DAB family. This is Joyful Noise from Southern California, I'm gonna talk really fast because I heard a couple of women call in and crying out for  their marriages and I just want to share with you, that was so me. Between years seven and like ten, I spent  entirely too much time looking at what was wrong with my marriage. We will be celebrating, by God's grace, 25 years of marriage this summer. And we are not perfect. My husband and I decided to work through a lot of things through prayer and supplication, making our requests known to God. There is a poem that...it's not a poem but but it's just a little letter to, an open letter to husbands that I shared a couple of weeks ago and I just wanna encourage you, anonymous. And then the other lady that was calling in saying you've been married seven years and your heart is breaking because you feel abandoned. Your husband I guess is choosing a different church and there's some conflict around that. But I just wanna encourage you the mystery and the beauty of marriage is God's will. (He’s)  there to reconcile if we will only humble ourselves. Humble ourselves. So I know that I don't have a lot of time, but one thing that Lisa the Encourager brought to my attention a couple of months ago is we kept going  through these Scriptures about God's outstretched arm. Is God strong enough? I dunno. Is he strong enough? Do we believe that he's strong enough? And Brian called it out as well. So I just want to share with you these Scriptures. I'm gonna be praying for you because on the other side of this, God's gonna be glorified, his plan is reconciliation. That's why he sent his son to die to reconcile a dark world back to a glorious saviour and a glorious Father in heaven. So God's strong  enough to get you through this. We just have to discern God's will, right? So Psalm 136:12: with a strong hand and an outstretched arm, his mercy endures forever. His mercy's over you and over what you're feeling about your marriage

[atrocitycl]

EXO - “Call Me Baby” Review

(Music Video)

EXO – Call Me Baby

Reviewed on April 15, 2017

Nevertheless, despite how creative and effective the instrumental is to the song and even despite the song’s massive popularity during its promoted era, I argue the song in its entirety is not as strong as people perceive it to be. In particularly, while the song efficiently and effectively establishes a rhythmic, smooth and coherent style towards the beginning, near the end of the song completely contradicts itself but not in an augmenting manner.

Personal Message: For a fun fact: as of this sentence, I have spent six hours in the library at my university catching up on work, and miraculously, I am now relatively caught up with everything I was behind on. The best part? No caffeine involved. For readers who are students—whether at the university or high school level (or perhaps even younger; again, I welcome all readers)—a tip I have is that working in a “productive environment” truly makes a huge difference. Personally, working in the library makes it so that I am not suddenly procrastinating via watching a marathon of Fiestar and TWICE videos—of which is why I sometimes am drastically behind work. But that aside, before getting into today’s review and updates, I do hope that readers enjoyed the horrendous April Fool’s joke I wrote. Admittedly compared to previous years where I was able to convince readers an artist made a comeback when they did not, this year’s prank is much more disappointing. Nonetheless, given that the prank was actually me addressing in a subtle manner my current thoughts on the state of the blog, it is at least a productive prank—and indeed, saying “productive prank” is relatively rare.

On topic, huge apologies to the requester for the delay—a delay that is as long as a month. This is completely shameful on my end and I sincerely apologize for the review taking this long. With my university semester soon ending, the workload has become quite large. Furthermore, coupling that with time I spent preparing informal lessons (as my “cooperating teacher”—the teacher I am working with—is such a wonderful person and allows me to have the chances to practice teaching) and we find that my time is quite limited. When my summer break comes around, however, I intend to make a very strong return with reviewing very frequently given that I have no summer classes and desire to begin “stockpiling” reviews as my next semester will by far be the most difficult as of yet. (Though, I hope, the most interesting.) In terms of where readers can find me during times where I am incredibly busy, there is one place where I most likely still exist: subtitling videos for Fiestar. As noticed, while reviews have been scarce, I have been able to upload lengthier videos of Fiestar. Now this does sound like a poor excuse or even a subliminal way to advertise videos of Fiestar (which admittedly is not a complete lie; Fiestar deserves more popularity), but the point is this: if I am not writing reviews, readers can find me subtitling and uploading videos; if I am not subtitling and uploading videos, readers can find me writing reviews. And if neither of those are occurring, I am most likely crying and drowning in homework and then attempting to stay mentally healthy via watching an unhealthy amount of, as of the late, TWICE videos.  

Pitifully (and humorously) shared, the only reason I am not completely mentally broken down is because I have lately been watching many videos of TWICE and have developed a delusional crush for the ladies’ leader, Jihyo. She is personally one of my “ideal types” (along with SPICA’s Boa) as, perhaps as readers have been able to gauge over time, I find myself highly attracted to older (Jihyo is five months older than me) “womanly women”—or to not be hypocritical as I constantly challenge readers to not use gender-based labels (such as “manly men”), I am connoting “strong women.” To explain what I mean (and once again, in a delusional manner though I obviously am still waiting for Jihyo to propose to marry me), Jihyo provides a sense of security and comfort. After all, her leadership as seen for TWICE is proving of such. She is overall incredibly caring, funny, hardworking, and unlike the general—and pathetic—consensus that she is apparently not physically attractive particularly because of her weight, I personally find her very beautiful both physically and non-physically. And, despite her not having, say, SPICA’s Boa’s husky, deeper voice, I still find Jihyo’s voice very charming. Quite obviously I am very delusional but a boy can dream, can he not? Thus, in my delusional world, indeed one day Jihyo will get on her knees and propose to me and we will live happily-ever-after. I suspect readers are now questioning if I truly am still mentally healthy because of university.

Now for a serious point if readers feel that I have cheated time and intellectual points out of them and this review, for an interesting topic that even I am still attempting to reconcile that I sure readers might also be curious on, the topic of race when it comes to dating is a peculiar one. Sure, while readers might desire to praise me for desiring to one day marry an older, “strong woman” and not feel emasculated at all because of such, there is still a controversial component to my ideal type: I admit I strongly prefer to not date and marry an Asian woman. I would prefer, as the phrase is, to “date outside of my race.”

Now obviously race would never be a deciding factor—and neither would, say, age—but race does go along with my ideal type preferences akin to age. The main reasons behind this “race preference” are that, for one, I personally cherish raising a family that has multiple cultural views within the family and I have a desire to learn cultures beyond what I was raised with. Furthermore, I desire to share my own cultural values with someone who equally desires to learn more about my culture. Nonetheless, the tension as readers can tell is this: am I being racist or not? Personally I do acknowledge both perspectives, and again while these preferences in the end would never be deciding factors, these are still biases in mind that are worthy of critically examining. But, in the end, these preferences can only go so far: for example, if Jihyo proposed to marry me—and even if she were a few months younger than I—indeed readers can expect me to be a married boy. All in all, I am sure a few readers have pondered this topic before (and I know many of my older cousins have as their partners are all non-Asian) or might even feel a desire themselves to “date outside one’s race(s)” (this term can be problematic for those who are multi-racial and I do apologize for such). There are no easy answers at all, but consider this a social topic to ponder in addition to the following musical discussion.

All that aside and onto the review itself, before receiving this request, a year ago (or two), I did plan to review “Call Me Baby.” It definitely was a very popular comeback during its time—after all, this is EXO and their popularity is enormous in general. In terms of the song itself, however, I did want to review it as it is a slightly peculiar one: as even the requester of this review noted, the song incorporates a lot of interesting components especially in terms of how its instrumental is functioning for the song in whole. Thus, this review will indeed focus a lot on particularly the rhythm at play and what functions it serves and we will speculate what the composers had in mind when creating the song. Nevertheless, despite how creative and effective the instrumental is to the song and even despite the song’s massive popularity during its promoted era, I argue the song in its entirety is not as strong as people perceive it to be. In particularly, while the song efficiently and effectively establishes a rhythmic, smooth and coherent style towards the beginning, near the end of the song completely contradicts itself but not in an augmenting manner.

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Song Score: 5/10 (5.25/10 raw score) - “Average”

- Vocals: 6/10

- Sections: 5/10 (4.83/10 raw score)

Introduction, Verse, Chorus, Verse, Chorus, Bridge, Rap, Chorus, Conclusion (Chorus)

1.     Introduction: 6/10

2.     Verse: 6/10

3.     Chorus: 4/10

4.     Bridge: 3/10

5.     Rap: 5/10

6.     Conclusion (Chorus): 5/10

- Instrumental: 6/10

- Lyrics: 4/10

This street is completely crazy Strangers in between people Every moment that we’re together, like boom boom boom boom boom What up?

Hey girl, that one moment felt like eternity (The fate-like moment) When you pierced into me in just one moment (Like lightning, in this world) You called my name and came to me It’s amazing, like a flash of light, you fill me up the moment I see you, oh my Sit here comfortably and listen to my story now Oh I don’t care Even if I have to go far, I’ll be the one man to be by your side You seeped into my dry lips and woke me up The time’s wasting, girl So don’t wait, don’t wait too long

There are many who shine, but look at what’s real among them Call me baby, call me baby, call me baby, call me baby My heart grows bigger for you and it closes its door for everyone else but you Call me baby, call me baby, call me baby, call me baby Even if it’s many times, call me, girl You make me exist as myself You’re the only one in my world You’re the one, you’re the one There are many who shine but look at what’s real among them Call me baby, call me baby, call me baby, call me baby Even if it’s many times, Call me girl

Baby girl Even among all the greed and all the words You showed that you believe in me Even if everyone changes and leaves me, you are my lady All I need is for you to hold my hand

There are many who shine, but look at what’s real among them Call me baby, call me baby, call me baby, call me baby My heart grows bigger for you and it closes its door for everyone else but you Call me baby, call me baby, call me baby, call me baby

I was once trapped in a dark maze (In the darkness) But I hear your voice that woke me up You made me be born again, yeah E-X-O Listen

Say my name (Louder) If you become my light and pull me through this chaotic place, (What up?) I’ll hold you and never change I’ll hold you and face those who left me Don’t ever mind about a thing You came into the big emptiness in my heart

In this shaking world You were the only one who became my light There are many who shine but look at what’s real among them Call me baby, call me baby, call me baby, call me baby (I’ll be your baby) You make me exist as myself You’re the only one in my world you’re the one, you’re the one Girl, you’re the one I want There are many who shine, but look at what’s real among them Call me baby, call me baby, call me baby, call me baby Even if it’s many times, call me, girl

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Analysis: First of all, before getting right into the function and effects of the instrumental, we first need to realize “Call Me Baby” follows what I term a “linear-based” song—or at least, for the first portion. In other words, rather than containing various shifts in terms of pacing or intensity, the song—even if by default is already at a more energetic state—remains relatively stable. After all, already readers should notice there are no explicit pre-choruses in this song—a section of which oftentimes is when songs go through a significant shift (a buildup). Because the song lacks that traditional, transformative section (as again, the pre-choruses are oftentimes a “spike” in a song’s flow), “Call Me Baby” is able to run a more straightforward path with going from the verse and right into the chorus.

With this in mind, let us now discuss the importance of the instrumental. Already, one strong function of it and especially with the stronger, heavier beats is that the instrumental serves as core transition piece for the song. Especially as there are no pre-choruses, it is vital for an aspect of the song to still handle the role as a hastily recognizable transition piece. In the song, the stronger beats serve this role—prominent, obvious examples include the introduction to the first verse, and that verse to the chorus. But, besides just serving as transition points, what the instrumental deserves much praise for is how it shapes the entirety of the song—or, once again, at least the first portion of the song. For example, one aspect to notice is that unlike many pop songs where the vocals are clearly overriding the instrumental be it by being more active or intense, in “Call Me Baby” I argue it is the opposite: the instrumental are, interestingly, at the forefront while the vocals are backing up said instrumental. I make this claim as we need to notice the beats’ volume and impact come off much harder and—quite literally—louder than even the singing. This is especially emphasized whenever the members are providing beltings versus chunked, singular singing. Oftentimes, the opposite holds true where vocal beltings, for example, are louder and more prominent than the instrumental. Furthermore, the vocals’ rhythm is very much based on following the instrumental’s pacing and seldom do the vocals necessarily deviate away from strictly doing such—this being something we seldom find as the opposite oftentimes holds true instead: vocals are the ones to first change with the instrumental then adapting.

And so, why does this all matter? For one, as discussed in perhaps a few prior reviews—one in mind is BTS’ “Spring Day” to some extent—having a highly coordinated instrumental and vocals combination allows a song to maintain a strong sense of cohesion. Predictability, for example, is possible when a listener is able to clearly track what is occurring on both ends and thus, this aids in making a song “make sense” versus it sounding as if the song had no structure to it. Besides that, though, with the instrumental essentially leading the song, we have to credit the composers for this as this in of itself is already a creative idea. As even the requester noted, it seems that the rhythm and instrumental in this song is particularly important—this distinction is something I argue can be found rooted in how the instrumental is in fact the leading aspect of the song, and again, this is a creative take as traditionally it is the vocals—the tune—that lead a pop song. And as I have addressed before, having a creative aspect to songs is highly beneficial and to some extent almost necessary if a pop song is to stand out among the hundreds of thousands of existing pop songs.

All this praise aside, however, “Call Me Baby” still carries many flaws and unfortunately, it seems that these flaws almost entirely overshadow the stronger aspects to the song. To already discuss what the major flaw to the song is, it is the fact that towards the end of the song—from the bridge and after—the song abruptly steers away from its established, linear and rhythm based flow, to one that is far too erratic and different. And while this is not necessarily a weakness—and in fact, some songs can turn such contrasting points into strengths as noted in my review of TWICE’s “Knock Knock”—the issue is that the song does not resolve this tension. Therefore, listeners are left with a song that, in perhaps a harsh statement, collapses itself. Let us examine and “actively listen” to the bridge and rap for examples.

With the bridge, right from the start we come across a bridge that, though suiting in a traditional sense of pop songs “needing” to have a bridge, the section’s form is one that highly contrasts the rest of the song. It is a dramatic pause to “Call Me Baby,” and most distinctively, the instrumental becomes an incredibly light, minimal aspect as the vocals are in the spotlight—and of which already contrasts what the song initially established in its entire run prior to the bridge. Additionally, even when the bridge transitions to the rap, we have to notice the note belting that occurs and likewise how “E-X-O” in its rough, segmented delivery once again ruins the linear, smoother flow established. And to finish this all, the distorted instrumental and vocals that follow up as the transition point to the rap once again highly conflict with the song’s original, intended sound. Regarding the rap, similar critiques can be said as—even if sonically it is viable—the distortions throughout the rap and more so how intensive the rap is all go against what “Call Me Baby” set up at the beginning.

Overall, while the song is certainly strong in terms of its creative take to having an instrumental-led song and that the instrumental is very effective at doing such, the composers’ decision to have the song undergo drastic changes to its established concept is where my main criticism lies. Now, it is understandable on why the composers most likely opted to do so—after all, composers are very intelligent, diligent women and men. I believe their idea with this sudden change in the song is to address one main problem linear-based songs have: a strong sense of monotony. Given that “Call Me Baby” is an incredibly straightforward song, lacking points of a shift in the song’s overall flow could, indeed, deter away listeners. Thus, a simple solution to that is to in fact include points of shifts that would make the song predominantly linear, but also inclusive of more diverse aspects. Unfortunately, I argue the composers failed with that goal: especially because of how strongly established the song is with its original flow and given that the rhythm is the driving force of the song, there could have been ways to add more variety without necessarily compromising the song’s concept towards the end. For example, at the choruses—in other words, at moments that are still within the song’s established, smoother flow—there are still some issues with a mundane sound occurring. Therefore, if some changes or additions were made so that the choruses in of themselves were more varied, then the pressure for drastically different bridge and rap might have disappeared.

All in all, EXO’s “Call Me Baby” is still a song worthy of listening especially as it is unique to hear such an instrumental-orientated song, but it does possess a multitude of weaknesses that come from solutions that went, I argue, awry. Nevertheless, as this song is very much “performance based” with having a very charming choreography, it still deserves much respect on that end even if musically I find that it comes short.

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It has been almost a month and a half since this request was sent in. For readers who wish to send in requests, it might be best to wait until May as that is when I will be on summer break and have time to quickly review requests. For the requester of this review, I greatly apologize for this delay. University is truly quite rigorous as of the late.

In terms of upcoming reviews, PRISTIN’s “Wee Woo” is in mind along with Day6’s “I’m Serious.” Both songs will provide not only new artists on the blog—as both of them are relatively new groups if correct—but also new, insightful reviews as both songs are quite different from the many I have reviewed in the past. Thank you to readers for being patient with me, and thank you for reading this review. I know summer break will be perhaps my most active reviewing period yet, so look forward to such but until then, I expect to wrap up April with those two reviews and a few Critical Discussions regarding “MR Removed” and even line distributions. Until then, “My heart grows bigger for you”—especially for the requester who had to wait far too long for this review. Look forward to PRISTIN’s “Wee Woo.”

[grimelords]

I realised I finished writing up my January playlist and then forgot to post it, so I’m doing it here and now at the tail end of February. It’s 3 hours of good music, complete from A$AP Ferg to ZZ Top. Please enjoy.

​Dream House - Deafheaven: I started the year off with extreme mental anguish at the realisation that Sunbather is five years old this year and that I am thusly one million years old and have wasted my youth. That aside, Dream House is still an incredible song. It does what the best songs do and speaks directly to the teenaged part of your brain that thinks nobody will ever understand you like this song does right now. It is an overwhelming experience, the whole album is, and very good for having an embarrassing amount of emotions while you're driving alone and it's very loud.

Hold My Liquor - Kanye West: When this song came out I remember someone said the best musical moment of 2013 was when you couldn't tell the difference between Chief Keef and Justin Vernon on this song and I'm inclined to agree.

Melody 4 - Tera Melos: I've talked about this album at length in these playlists and probably featured almost every song at this point but I'll just say, what I like so much about this song is how it moves so effortlessly between a very melodic almost pop-punk type chorus before disintegrating into stop start mathematics and back again before you even notice.

B Boy (feat Big Sean & A$AP Ferg) - Meek Mill: I don't know how the fuck he did it, but somehow Meek Mill got a bunch of rappers who are normally nothing amazing (Meek included) to operate at the absolute top of their game for whole verse each. Highlights especially are 'I got commas on commas on commas, and I ain't talkin about a run on sentence!' 'put my P up on her head like that bitch is reppin Philly, and I wheelie in the pussy like my n**** meek milly' and the immediate about turn of A$Ap Ferg saying 'You thinkin' Khloe don't know me, I'm in the car dashin' haters/I'm in the Kardashian, get it? I'm lyin', can't I pretend?/They say fake it 'til you make it, well let the fakin' begin!'

Shabba REMIX - A$AP Ferg, Shabba Ranks, Busta Rhymes, Migos: This song's a good example of how many different flows you can get to work over one beat, and how much it improves the song. Ferg is so fast and so varied, then Migos even it out with straight triplets for most of their verse before Busta kills it by just doing absolutely everything. Great job everyone.

Attak (feat. Danny Brown) - Rustie: I normally can't stand Danny Brown but he kills this song. I still have a lot of feelings about Rustie, who showed so much promise for being the weirdo that dance music needed before presumably watching HudMo make a million producing for Kanye and friends and deciding to remove every interesting element from his music to make it palatable for rappers. That is, at least, my theory. This song is great, but every other song on this album is an example of this approach not working and instead producing boring, half assed songs where nobody's at their full potential.

Ultra Thizz - Rustie: Compare it to this, the busiest song in the world. The way the melody of the bassline that sounds like it's about to swallow you whole contends with the synth melody AND the pitched up vocal melody for your attention, they all come it at once and trade barbs before being superseded by a fuzzy, inscrutable guitar solo which fades out and leaves us back at the start. What I love about this song is the absolute maximalism and hypercolour sounds, combined with the only simple melody being the big chord stabs that centre the piece combine into a total sensory experience. Not to mention the rhythms, where absolutely every part of it seems to be slightly stranger than you expect, constantly dropping one beat before or after you expect - your first clue is the snare build at the start suddenly splitting into triplets.

If I Were A Carpenter - Johnny Cash and June Carter Cash: My girlfriend showed me this song and it unlocked a third of the triangle in my brain where this song, Wichita Lineman by Glen Campbell and The Engine Driver by The Decemberists make a sort of trinity of songs about having a job and thinking about Wife. They're all very very good too.

12 Bricks - OG Maco: Outside of the famous video, which is very good, this song is also incredible. Another in the pantheon of songs with extremely minimal instrumentation where the vocal performance is so good it doesn't need anything. The slight delay makes all the screaming and wooing toward the end just pile on top of each other in waves building the texture up until it finally levels out.

Requiem Para Um Amor - Toquinho: I really cannot get enough of the organ in this song. I don't think I've ever heard a classical guitar/electric organ duet before and now I'm hungry for more.

You Can Be A Robot, Too - Shintaro Sakamoto: This song appeared on my Discover Weekly playlist and I'm not really sure why but it's very good. I can't tell if it's actually a children's song or just playful like one but I appreciate it either way. When it started playing from the playlist the album cover was a cartoon of a kid surrounded by robots, but when I tried to add it to a playlist the art changed to a green picture of a skeleton playing a lap steel guitar with an explosion in the background, which felt very cursed to me.

Raver - Burial: This song has always stood out to me on Untrue because of how straightforward the beat is. Under anyone else's control this would be a normal song but instead it's this incredibly detailed, messy piece of work that feels like looking at a house song through a dirty window. I also have no proof at all to back this up but in my mind the xylophone line is sampled from Donkey Kong 64 or possibly Banjo Kazooie.

Cavalettas - The Mars Volta: I remember reading a bad review of this album when it came out that was mad because it pulled 'the most egregious studio trick in recent memory' by having the whole mix except for one guitar get sucked down into a wormhole multiple times, including the bass getting physically detuned until you can hear the strings slack before resuming as normal a second later. In my opinion it's incredibly funny and it sounds good so more bands should do it. Also the other day I saw the drummer Thomas Pridgen comment on Omar Rodriguez's instagram 'check ur dms bro'. Imagine being in a band with someone for a decade and not having their number, insane.

Flash Back - Rustie: Honestly I cannot get enough of this bassline. This song is another good example of what I was talking about with Rustie dumbing his melodies down after this album, the main line in this winds around and around itself in this loping confused rhythm and against the bass that's also syncopated it just ends up sounding like hypercolour, which is a feat for a song that's basically just those two melodies against each other for the bulk of it with some plastic choir stabs throughout.

Heaven - DJ Sammy: What an absolute perennial banger. Can you believe this AND Boys Of Summer were on the same album? Incredible stuff DJ Sammy. I've been meaning to make a playlist of all the 90s/2000s lame rave songs that are secretly very emotional and have definitely inspired absolute emotional turmoil in ravers the world over like this Better Off Alone and Heaven Is A Place On Earth, but for now just enjoy the Bryan Adams classic as reimagined by DJ Sammy.

Stalking To A Stranger (Planets Collide Remix) - The Avalanches: I owe this song a lot because it not only for me into Hunters And Collectors, who it turns out have far better and angrier songs than Holy Grail, but it also turned me onto Vertigo/Relight My Fire by Dan Hartman which is sampled at the start. When this song came out it was the first new Avalanches song in a decade or so and nobody knew what to make of it because suddenly Avalanches songs just have screaming men in them, which was very good.

Miracle - Kimbra: I think that very soon everyone is going to figure out that Kimbra has been the pop genius the world needs and she's been here all along.

Wayfaring Stranger (Burial Remix) - Jamie Woon: Jamie Woon got a raw deal in my opinion. He had a song remixed by Burial, and then Burial co-produced Night Air for him and he was the king of dark and mysterious British dubstep wave, but then James Blake and everyone else came along and sort of overshadowed him totally. Now that whole movement is sort of clouded because of how quickly 'dubstep' came to mean 'skrillex', and for some reason the only place this song is on Spotify is a compilation called The World's Heaviest Dubstep, Grime & Bass.

Chanbara - At The Drive-In: A lot of writing about At The Drive-In focuses on how they never really captured the ferocity of their live shows on record until Relationship Of Command but the absolutely big screams on this working against the salsa bongo rhythms is an amazing thing. I also kind of prefer the weedy half-clean guitar sounds on this and their first album especially to Relationship of Command's crunchier sound, it feels like it gives a lot more space to the weird noodling melodies that come and go.

All Medicated Geniuses - Pretty Girls Make Graves: The intro of this song absolutely blew my 15 year old math rock mind with how simply it transitions from the snare on the beat to the snare off the beat. It is endlessly fascinating to me because I am a dummy. Every part of this song is amazing to me, from the big swing band bassline behind the guitar that's sort of just screaming through the verses and absolutely on its own journey through the chorus to the drums for the reasons I already mentioned but also the way they keep everything straight and absolutely refuse to indulge the guitar's worst math impulses.

Dangerous - The xx: I really love the horns in this song, and the big air raid sirens toward the end. It is still shocking to me that The xx transitioning to making upbeat bangers worked out for them but I'm so glad that they did.

Running - Bully: I was listening to a podcast about water management policy and infrastructure called Water You Talking About because I am young and cool and for some reason they were using the chorus of this song where she goes 'I'LL ADMIT IT! I GET ANXIOUS TOO!' as their theme song in an episode which is I suppose appropriate but also really made me laugh.

Simultaneous Contrasts - Warehouse: The singer in this band has my new favourite voice, it's amazing. She sounds like she's eaten a belt sander or something. I love the way the guitar line follows her vocals up in the chorus and also just how extremely busy the whole band is around her. They remind me of some kind of alternate universe Life Without Buildings where she's pissed off instead of just beguiling.

Light Up The Night - The Protomen: There's no reason this band should be good. They wrote a rock opera based on the story of Megaman inspired by Queen and Bruce Springsteen and it actually turned out incredible somehow. Unfortunately since this album came out almost a decade ago all they've done is a couple of live albums and covers albums, so I may never get the resolution I crave on the story of Thomas Light and Joe and whoever.

Tonto - Battles: Here's what's so good about this song: it spends 2 and a half minutes winding up to a huge centrepiece that's over way too soon and then the next 4 minutes slowly slowly slowly winding down to absolute zero. It's like the opposite of how to write a good song but it's absolutely enthralling.

Wall Street - Battles: Around a minute into this, there's two snare hits where it sounds like it's part of a roll that got digitally muted that I am obsessed with. Every part of this song is incredible, but the drums throughout alternate between sounding like he's desperately trying to keep up and sounding like pure power and total command. I especially love the big brassy snare sound that comes up from underneath occasionally to pull the brakes. The performance of this song that Battles did for La Blogoteque is one of my favourite videos on youtube.

Every Single Line Means Something - Marnie Stern: For about a week this month I developed a quiet mania about John Stanier from Battles filling in on drums in the Late Night With Seth Myers Band (for some reason), and then I found out that Marnie Stern is apparently in that band as well and it really threw me for a loop. I don't really know why this was such an incredible thing or why I focused on it so much, maybe something I need to figure out, but it reminded me of this great song so that's a positive. This is some of my favourite work Zach Hill has ever done because he's being forced to play pretty much a normal backbeat for a lot of this song and it feels like he's been cursed by a witch. The amount of power he's putting out for such a straightforward idea is incredible. Of course because it's Zach Hill he's also doing the absolute most in every other part of the song. I haven't even mentioned how much I love Marnie on her own song! Anyway, listen to this whole album.

Hacker - Death Grips: I never got into the hype around Death Grips when they were the thing, and haven't really investigated their discography past this album, but this song is an absolute masterpiece and probably everything you ever need to know about them. Lyrically between this and 'I've Seen Footage' there's a pretty neat summation of their worldview, paranoid because your existence is inextricably linked to the internet and everything that entails, 'having conversations with your car alarm'. 'make your water break at the apple store,'

Pass The Word (Love's The Word) - The Mad Lads: I was looking up where the sample's from in Hilltop Hoods' Chase That Feeling and it turns out it's this song. Try to listen to this whole intro. He's trying to give a sermon but his dumbshit friends simply will not shut the fuck up for fully three whole minutes. Other than the intro the song is very, very good.

Monkey Time '69 - The Mad Lads: I also found this other song by the Mad Lads called 'Monkey Time '69', which to me is the definition of comedy.

She's Got Guns - The Go! Team: New Go Team album! Unfortunately nothing on it sort of lived up to the promise of the first two singles Mayday and Semicircle song, but this song is still a hit. The way this is mixed is so good, the brass behind the massive bass and spacious drums and the vocals sort of backgrounded within it all, very appealing.

Coast To Coast - Tune-Yards:It feels weird that a Tune-Yards song can be this smooth. A sort of apocalyptic, politics is ruined, new york is sinking, funky smooth jam.

Cattle And The Creeping Things - The Hold Steady: I've never listened to much of The Hold Steady outside of this album because I don't feel like I really need to, it's got everything I'd ever need. Sorry to always to talk about drums but the amount of reverb on them in this song makes them sound absolutely huge and I really love it, especially in the last verse they just become massive. Also I went through a long period of being obsessed with the lyrics of this song, it's a good distillation of this whole album's christian cult/drugs in middle america story and it is completely my shit.

Losing All Sense - Grizzly Bear: There's something about Painted Ruins that's impenetrable to me. I keep listening to it and only absorbing about one song at a time, totally loving that song and then ignoring the rest of the album. Now it's Losing All Sense.

Blue Cheese - Courtney Barnett and Kurt Vile: This song is like Kurt Vile in his purest form, just sort of strumming and talking about whatever the fuck. The best part of this song is when they go 'woo hoo!!!' then he whistles a little bit and then says 'here come the lone ranger!' in an elvis voice and plays a solo that sounds like he's tuning his guitar. Also right at the end you can hear someone's phone message tone going off.

Catch Me If You Can Theme - John Williams: John Williams didn't have to go as hard as he did with the Catch Me If You Can theme. I have this in my head all the time. I love the rapid shifts in this recording, because I guess it's functioning as the overture so he's just cycling through every different variation he's got in his aresenal.

I've Seen Footage - Death Grips: It's good that Death Grips' most popular song is about how the internet melts your brain There's a good quote from Zach Hill about where the title came from: 'The line “I’ve Seen Footage” was from a conversation I had with this street-person dude in Sacramento named Snake Eyes. A friend of ours recorded him on the porch in a conversation– he didn’t know he was being recorded. He was all fucked up on drugs and shit, just rattling off all this crazy information. He was talking about structures on the moon. I mean, I talk about those things, too. So we were talking about moon structures, and Snake Eyes says, “I’ve seen footage! I’ve seen footage of it!” And I was like, “That’s good!”

The Bucket - Kings Of Leon:It seems impossible that Kings Of Leon were a really good band at one point but here's the proof.

Standing Next To Me - The Last Shadow Puppets: I'm a truther for Muse ripping off Knights Of Cydonia from The Age Of The Understatement by The Last Shadow Puppets but that's a post for another time. This is a perfect song in my opinion. The absolute pace of it, the minimal drums that are just sort of accenting the strumming, the huge sweeping strings elevating the whole thing, the fact that it's over in just over two minutes. Incredible.

Jesus Just Left Chicago (live) - ZZ Top: Nobody believes me when I tell them but ZZ Top are very good. I have a fantasy about this song that ZZ Top were ringleaders of a sort of revival blues cult and this song is gospel to them. Jesus did really leave Chicago and he's heading towards California and we will be here waiting for him. You may not see him, but he sees you and he loves you. This and the La Grange recording are absolutely furious for live recordings, I love how much crowd noise there is in it throughout, they are truly fucking loving it.

La Grange (live) - ZZ Top: Especially here, my god they love it. La Grange is a good song because it's just a good riff and one verse of nonsense lyrics that are just an excuse to go the fuck off for the remainder. The huge drum fill and the 'have mercy everybody!!' is massive, the solos are ferocious, and somehow this song that feels like it could jam out for 15 minutes is reined in and tightly structured and has somewhat abrupt end.

Barracuda - Heart: Hey remember Guitar Hero? Cause I had ptsd flashbacks when this song came on during I, Tonya.

Bloodmeat - Protest The Hero: I don't know how exactly Protest The Hero pivoted from a concept album about a goddess(?) being executed(?) and bringing about a new genderless utopian age(?) to their second album opening with this very bicep emoji classic metal song about the mongol hordes slaughtering all who oppose them, but good for them I suppose.

Born On A Day The Sun Didn't Rise - Black Moth Super Rainbow: The drums in this song have no place being that huge. Black Moth Super Rainbow are good and I can't believe I hadn't listened to them in years until I woke up with this song in my head one morning, like an omen.

Been Drinkin' Water Out Of A Hollow Log - Mississippi Fred McDowell: Literalyl every Mississippi Fred McDowell song sounds exactly the same which is good because if it works why change it. In my understanding this song seems to be about a man dying of hunger and thirst on purpose to meet god, which is very good to me.

Listen here.