#Compare-contrast w what we know about York and Carolina

[madqueenalanna]

it's 2024 i should be so completely over church and tex and YET

it's just. the echoes. restoration was essentially a trip down memory lane, a victory lap, one last chance to say goodbye. of course it echoes, back to "recovery one", back to "memory is the key", back to blood gulch. back to when church/tex was alpha/beta, back to when it was leonard/allison

cause like, and i know rvb is not really worthy of this level of textual analysis or derangement, but. allison in retrospect is haunting the narrative in duplicate; the way she, as a once-living woman, drove the director and carolina in their own respective ways, destroying the freelancers, and the way she, as tex, as beta, as failure, as ghost, haunts church (as alpha, as ghost). he spent his entire life chasing a woman who could not be caught, did not want to be found, and whom he did not recognize once he got her again

alpha split first into beta, spontaneously (allison– the loss of her, specifically). allison's legacy, in her husband's eyes, was not as a soldier, as a wife, as a mother, but as a corpse. she was a badass, sure, and she cared about her teammates, but she was Failure personified. and on some level she knows this– she has to know this– by the time she meets church in s1

cause like, he's not real, either. he's whatever is left without her, he remembers they were once close, but his memories of her as an ex are just... false. and she's angry at him! she does not like him or trust him, she's ready to kill his friends for money! bc who is he, to her? the director with the edges sanded sharp, leonard frozen at 24, prickly and asocial and feeling, keenly, unwhole? she knows, back then, what he did. anything she didn't know then, she will learn later from york

it takes church a long time to catch up. he chases, he begs. he tries to bring her back, and it takes all of s9 for him to stop and think: who is tex? what does she want? if someone gave her a choice for the first time ever, who will she be? and the answer is what she was. dead. she wants to stop being a ghost. she wants to disappear and be forgotten. and when church finds beta, he says "we used to be close" and tells her goodbye. when tex found alpha, two episodes previously, she said "we used to be together"– she defines their intimacy, even in its literality– and told him goodbye. they both hate goodbyes. they say it anyway

and THEN! it's the end of rvb, the end of restoration. this version of church is through so many iterations– the director made the alpha who grew into church, who had to be distilled into epsilon, who evolved and learned and died the hero. this version of tex, as she tells meta-tucker, is not the director's memories of her death– her failure– but the memories of the reds and blues, who know her only as herself, a ball-destroying ass-kicking mean-mugging son of a bitch. and with the help of carolina, her daughter, who has finally outgrown the fear of saying goodbye, they win. this version of church is able to understand, willing to be led by her, cared for by her, learn from her. this version of tex is able to do that. they can both rest. their teams can say goodbye

it's just so goddamn much, man. i'm not sure if i've talked myself into liking the church/tex ending of restoration but i'm savoring it like a dog with a bone rn. i once saw a pic of them overlaid with the text "how do you say goodbye to someone who's already gone?" and we got an answer: you don't. you say hello. you say, we have all the time we need. you say, let me tell you all about it

[old1ddude]

Living With Pink

Since @seasurfacefullofclouds did a lovely review on ‘Harry Styles’ (post) after living with it for more than a year - I felt inspired to write up my own observations and opinions.  

For the sake of brevity and the fact that it seems to irritate certain haters - I will refer to Harry’s album as “PINK” throughout.

Melody!  There are ten good, fully developed melodies in an era where a four note hook combined with a bass loop is thought to constitute a song.  Really, there are more than ten, Sign of the Times has three distinct melodies, seamlessly woven together.  (On an intellectual level, I understand that some people don’t think melody is the most important element of music.  On a gut level, I just don’t get it.  Melody is it for me.)  I’ve listened to PINK straight through hundreds of times.  The  beauty and quality present in every song, nearly every moment never fails to impress.  I’ve never really been an album guy, because, even among my favorite artists, at least half of the songs seem there just to take up space.  (I used to make mix tapes, back in the day.)  With PINK, I feel that every song has real merit and is fully worthy of it’s place.    Harry’s voice (which I have always really loved - even X-Factor era) and vocal technique have reached a superlative level.  I think Harry is at absolutely peak performance, and it’s a beautiful thing to behold.  The instrumentation and arrangements are breathtaking.  Even the angry Kiwi has deep beauty and avoids shrill, unpleasant sounds, often found in hard rock.  For those who are willing to look below the surface, PINK’s honesty, vulnerability and frankness are noteworthy.  I feel that Harry is speaking directly to me and the album is providing a window into his soul - into his humanity.  PINK grapples with internal conflicts omnipresent in the human condition, good and evil, love and hate, selfishness and sacrifice.  I am very confident that PINK will sound just as good 20, or 30 years from now - it won’t ever become stale, or sound dated.  Some wished for a more cohesive album, but for me, the variety makes it really hard to grow bored of PINK.  I was infatuated with the album from the start.  As time goes on, my love for it only deepens.

This ended up getting pretty long - track by track under the cut.

Meet Me in the Hallway was a bit dreary to me at first.  Now I find myself absorbed in it.  The aching and longing, the vulnerability, the pain - it all feels so close, honest and real.  The repetition of  “gotta get better” is slightly irritating to my ear - for that reason, I will occasionally skip the track.  I do wonder, however, if that irritation was intentional - meant to provoke some unease in the listener.  The guitar part on this song is achingly beautiful, as is Harry’s voice.

Sign of the Times is a masterpiece by any measure.  Sea pointed out how difficult it is to sing this song in a way to do it any justice.  Precious few artists could pull it off.  Every time I hear it, the song transports me - it lifts me out of myself.  The rich, full sound and deft combination of three distinct melodies is no small feat.  Guitar slides, strings, gospel choirs - it could so easily be overblown, or too grandiose, but it strike the perfect balance.  The song moves at a stately sixty beats per minute.  I would imagine this is very close to Harry’s resting heart rate.  There is nothing rushed - every moment is given it’s full due.  Also, I am of the old fashioned belief that art should be beautiful.  Every second of SotT is achingly beautiful and I love it.

Carolina is great fun and incredibly clever.  May artists try to be “edgy,” or “cool” by referencing drugs.  Carolina recreates in music what I imagine it would feel like to be high on coke.  (I’ve been around people who were jacked up before.)  The manic “la la la la la la la la’s,” the fuzzy sensation, “she feels so good!”  If you listen carefully, Harry sings it as if he is in a slight haze - king of nuance, as always.  The metaphor is nothing short of brilliant - “get’s into parties without invitation” -  “she feels so good.”  Layers of sound, particularly on the second verse, are extraordinary.  This song gives you the same kind of sugar rush a hit pop song can deliver, but backs it up with plenty of vitamins and protein, so you don’t get that “sugar low” and grow tired of it.  

Two Ghosts has some of the most compelling word images - “Fridge light washes this room white,” for one.  It’s a deceptively simple, easy to sing song, but a lot of artist would turn out a boring rendition.  The album version is lovely, but the performance he did, just Harry and his guitar, was breathtaking.  Once again, we have deep vulnerability and profound honesty.  I do wish he had done the vocal “ooo’s” on the album version.  We’ve all seen how hyper aware Harry is of his surroundings.  He stared right at the camera trying to snag a sneaky snap.  He spots people, way up in the nosebleed seats, trying to leave early and gently chastises them.  He’s too finely tuned of an instrument to handle fireworks easily.  I believe he is much more aware of all his senses than the average person.  Touch, taste, sight, sound - he sculpts and paints with his music.

Sweet Creature is a song I will often skip back and repeat as once through just isn’t enough.  It’s not a sugary, or fairy tale version of love, but honest, vulnerable, real.  “Runnin through the garden, oh when nothing bothered us,” paints such a beautiful picture.  “Sweet Creature” is such and odd phrase and yet conveys such warmth and deep connection for Louis another person.  Harry’s voice brings an incredible warmth to this song - a warmth utterly unique to his quite distinctive voice.  Again, it takes great artistry to impart such feeling on a relatively simple song, like this.  The guitar part is certainly inspired by the Beatles’ Blackbird, but any similarity ends there, in my opinion.  For my ear, Sweet Creature is a better song - it moves me in a way Blackbird never could.

Only Angel sets up a beautiful dichotomy.  The angelic, SotT inspired, into and outro envelop the hard rock interior.  The contrast intentionally reinforces the song’s story.  Harry’s voice doesn’t quite have the anger, or hardness one might expect at on a first listen - the warmth in his voice was very intentional.  The angel (which is Harry himself) is also a devil between the sheets.  Mother (authority figure) doesn’t approve of how the angel presents “herself.”  Harry loves attention and the stage, but hates fame.  He’s good and kind, but also has a dirty side.  (I could go on and on, but I’ve  written on my OA interpretation extensively, ages ago.)  A plus for using a flawed angel as a metaphor for himself - brilliant.  The melody is catchy as hell - it’s a “bop” and great fun to hear, but there’s so much meat it’s almost ridiculous.  The sound is rich and beautiful throughout and I love that he brings back the angelic sound to close it out.

Kiwi has so little movement in the melody, yet it works beautifully - somehow, it’s still a great melody and hard to get out of your head.  The instrumentation is angry and hard, yet rich, full and pleasant to the ear.  Harry’s voice has just the right amount of anger and derision.  “She” is Simon Cowell.  She tempts the boys with fame and fortune, but she’s hollow inside.  It’s an angry song, but it feels so good, joyful even, to hear it.  Harry’s stage performance reveals how cathartic it is to finally tell Simon what he thinks of him - in front of a massive audience.  I love Kiwi so much, I’ve made the most raucous chorus into a ringtone on my phone.  “Oh I think she said, “I’m having your baby” [heyyyy] “it’s none of your business” [hoooo......]  Harry has such a great, raspy rock voice - it really isn’t fair.

Ever Since New York sounds like some combination of Bruce Springsteen and the Statler Brothers.  The accompaniment is beautiful and rich with a really great, solid melody.  Harry’s vocalization suggests someone who is TIRED and DONE with the situation.  “Tell me something, tell me something new.  Don’t know nothing, just pretend you do...” is sung as a plea - a plea devoid of any hope of being answered.  Harry is vulnerable, broken and through putting up a front, or playing games.

Woman has been compared to Elton John’s Bennie and the Jets a lot - way too much, in my opinion.  There are similarities in the structure of the song, but Woman has a completely different sound.  I like a lot of John’s music, but when he sings “B-B-B-Bennie” he squeaks like a rusty hinge.  Harry sings “W-W-W-Woman” in a different key and melody (and with a deep, pleasant vocal.)  “Selfish I know...”  It’s one of the best jealousy songs I’ve ever heard.  He knows he’s selfish - knows it’s wrong, but can’t help his feelings.  I love Harry’s unflinching look at the darker side of human nature and wholly realistic view of his own failings.  Woman has a very good melody and those little “la-la la-la la-la la-la’s” give it just the zest in needs.

From the Dining Table might just be too honest.  While the artistry was immediately apparent, I was a little slow to warm up to this song, because it’s a bit depressing.  He sings about masturbating as a distraction to his pain and loneliness (and some said the album wasn’t honest enough!)  This song is pure vulnerability.  It’s arranged with such simplicity and great restraint.  (Harry understands the beauty of restraint, you can hear it in If I Could Fly.)  This is another song which must be sung with great artistry, to prevent it being dull.  The addition of strings and lovely female harmonies (”maybe one day you’ll call me...”) is a master stroke.  I am perplexed as to why he didn’t have Sarah and Clair sing the harmonies on tour.  Beautiful, beautiful song, but it is still a bit depressing - as it was meant to be.  Harry loves angst and drama.

Speaking of restraint, Harry has a habit of doing just enough, but never too much (nuance again.)  He changes vocal inflection and flavor with ease, but never adds gratuitous vocal embellishment.  Harry is quite capable of singing runs and all sorts of vocal gymnastics, but chooses a simple, restrained beauty.  (Sometimes, less is more.)  He maintains this restrained discipline in the accompaniment, as well.  PINK is a rock album, but also so much more.  In ten, or twenty years it will still sound fresh - and I think more people will realize what a masterpiece it truly is.