#honestly it's like listening to only the chorus of a song and no verse. why do you do that to yourself?

[mokeonn]

I am honestly still absolutely flabbergasted that those "Gorillaz without the rap" videos exist. Like bro I just don't think you like Gorillaz at that point.

[feeshies]

(this is not my massive post about why i love rap music - that post is still in my drafts because it's so long)

it's honestly weird to me that i've seen multiple people saying that they don't like rap because they can't tell what the artist is saying. and not because there are plenty rap songs with crisp and clear deliveries, or that rap is far from the only genre to be difficult to comprehend (if you listen to pearl jam you aren't allowed to make this argument i'm sorry)

but like, i have auditory processing disorder. i struggle to hear and comprehend things all the time, and that has affected how i can listen to a lyric-focused genre such as rap.

but in a good way

my first pass with a song, i'll get hooked by the flow, the production, and certain stand-out moments of wordplay. but a lot of the specific lyrics or meanings are lost with me. but that only makes every subsequent listen even more rewarding. when i listen again with the lyrics pulled up, not only do i comprehend the song more, but i can appreciate the flow and wordplay even more because now i know how the artist is using language.

for example, in houthi by billy woods, he spends the chorus talking about where his mom would "show us where she kept our passports hidden" then in the second verse, he talks about telling his ex-wife about this over dinner and the awkwardness that resulted "all you heard was knife and fork on the plate" and "i'm just wondering what she was thinking when she paused." he describes the situation as a labyrinth -- not a maze. there was a single path, but there was no way to know where it was going. labyrinths look like mazes when you're afraid to turn the corner.

i definitely did not pick up on all of that during my first listen. or even my second. but i could still recognize the craft that went into the song, so i felt the need to keep coming back. the next time i listen to the song, i will find something else to focus on. that is why i love music. that is why i love art.

(i know i used a rather serious song as an example, but this also applies to party songs and dance tracks)

or maybe people are bringing up the issue of not being able to understand rap because it often speaks to black experiences. if that's the case, i can't help you. if art not catering to your specific experience is enough to turn you off, there are bigger issues

[biblicallyaccurateslut]

I was just listening to suburban legends and, first thing first, what and absolute total banger. I genuinely cannot understand why I did not listen to this song more often. And second, the lyrics are like, really queer-coded.

The one that really called my attention was "1950s gymnasium". Now, if you dont know that, in the 1950s the lavander scare, a process where queer people where maked to be outcast on the society by the goverment, took place. People needed to hide and did not really know who to trust (since the people caught "guilty" were force by torture and manipulation to give names or other queer people), it was really a strugle. She says she is "standing in a 1950s gymnasium" like, trying to survive the scrutiny and navigaiting her life not knowing who to trust about her true self alongside other queer people. All together in one place, practicing not getting caught (and we all now that era was when Taylor was really bad at hiding her alleged relationships with women)

Then, theres the chorus. I didnt come here to make friends, when would you need to clarify that in a straight scenario? Almost never and, based on the lyrics, I dont think thats the case. And then the "you kissed me on a way thats gonna screw me up forever" its really deep if we read it as queer. Taylor queerness was an obstacle to her career, something that should be hidden and secretive because the consecuences of it being know were too catastrofic (like in the 1950s). Her queerness could screw her career and dreams forever, so that kiss (that I think represents her whole relationship with the muse) could screw her up forever, everything she has worked for could go away because of who she was in love with. Yet, when she hold her, it hold her together, so it was worth it.

Now in the second verse, there are (appart from the 1950s lyrics) a few things that caught my attention. First, the fantasy she has about surprising everyone with their mismatched sings, its a fantasy because it cannot happen. Its not posible, that is why it is a fantasy. Second, theres the lyric, "You'd be more than a chapter in my old diaries with the pages ripped out" she says "You'd" as in a way of hoping, like saying: if our love was not something we have to hide you will be more than a than a chapter in my old diaries with the pages ripped out. Now, this thing about ripping of pages of a diary is honestly heartbreaking. She feels so afraid, she needs to hide that much that she even erased any prove of her love from her diaries, one of the most personal things anyone could ever own, were you pour your feeling to yourself and yourself only; she could not even trust her diaries to keep her love secret.

To finish, we have to tie it all to the title: suburban legends. A history that everyones knows yet no one can tell if it is or not true, because there us no proof. It could be real or not, but everyone has heard of it. Taylor saying her and her muse were born to be suburban legends insinuates that the relationships she is singing about was secret, very few people knew that it existed for real (bacause it was not safe) but everyone heard the rumors about it.

Disclaimer: this is just my interpretation and by sharing this I am not saying this is the truth or that Taylor said that to me or something like that. I am just reading and analising the art she putted out there.

[beautifulpersonpeach]

I like the sound and vibe of On the Street, and I respect and can appreciate J Cole’s writing, but I’m confused about why that was the message chosen for this collab. Army is bombarding comment sections by repeating that it’s a ‘see you later’ song because Hobi is enlisting, but other than the chorus, what about these lyrics conveys that message? Their verses feel like they belong to separate songs to me. I’m not trying to be disrespectful, facetious, condescending, or sarcastic here, I really am confused and would like to understand, and I would appreciate any insights you might be willing to share.

I did see one comment on YouTube that said: “I heard someone say they wanted a second verse from J Hope but then they realized he did give us a second verse… in his first language, dance. And he did it beautifully” and I think this is my favorite take so far. Thank you for your time (sorry if this ask is dumb).

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Ask 2: Can you pls review On The Street BPP?

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Ask 3: Oh Hobi T T... OH JUNG HOSEOK T T... Oh this song T T...,,, Ugh my heart! Our sunshine, thank you for this wonderful music, experience, and feelings. You got me to the finals. I hope you can watch after me today, too. lol I LOVE YOU JUNK HOSEOK. I hope you are happy. I hope your toughest struggle is something you can overcome. I hope your sweetest memories have people who truly love you to share with if you so wish. Hope the world to you J-HOPE!!!!

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Ask 4: I don't want to be rude but "as the moon jumps over the cow"??? Wut?? Isn't J Cole supposed to be some good lyricist? I saw khh and kpop fans questioning this collab and this lyric in particular and I think they're right. BTS should stop giving khh a bad name because now people will hate kpop.

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Ask 5: Hi BPP, a lot of people are offended over J.Cole’s verse on atheists being stupid for not believing in a higher people, which further proves to me that they take everything a person says to be something to be Personally offended over, not an honest expression of ones thoughts. And why I think a reason why so many arent listening to true hiphop, true rap, the same ones that the rap line no doubt listened to… It just symbolises to me that these same people are so used to the sanitized version of music that a lot of kpop produces too because jcole’s verse wasnt even that bad honestly… i don’t know, it just came across to me as the same reaction religious people will have when you tell them god doesn’t exist, and a lot of people wont take issue with that too. I know I don’t as someone who belives in a god same way I don’t care that jcole thinks atheists are stupid lool I don’t know im just seeing the hypocrisy and them being unable to let art be art, let music be music.

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Ask 6: heyya bbp~!

first of all, congrats to our hobi for another great track!!! haven’t been able to stop looping it bcuz it’s that good!! not only is army loving it, i’ve also seen jcole fans saying good things too and some really checked out hobi’s discography and were impressed,,which is what i’d call a successful collab! out of curiosity i checked the khiphop reddit to read what theyre reactions are but no surprise they only praised jcole and wanted other khiphop artists to have done it instead of hobi hah! i’m surprised that they’re still as snooty towards k-idols turned rappers,,but at the same time snooty ppl be snooty lol. but i’m curious if korean khiphop fans are still turning away the rapline’s work? esp hobi since he’s really made an effort to flex his skills in jitb,,i only ever seen ifans’ opinions and they’re hardly the representative when it comes to khiphop hah!

ofc whatever they’re opinions are it doesn’t impact hobi and suga and rm’s work in the long run,,especially since they’ve earned enough respect from their idols to be able to work with them,,i’m just curious! thankss bpp!

***

These six asks more or less cover the range of questions I've been getting, so I've collated selected asks here to answer all at once. :)

Hi Anon(s),

I'll try to keep this short.

Overall and Abridged Review: On The Street for me is a solid 10/10.

The Lyrics (as I understand them)

Anon in Ask 1, first I’d like to refer you to Hobi’s interview in Variety where he talks about the song (linked here) and I’ve posted an excerpt screenshot below.

*

Personally, rather than On The Street having a “see you later” message (probably inferred from Hobi waving goodbye to a kid in the opening scene), I see it more as a song marking a pivotal moment in both Hobi and Cole’s careers, as Hobi reflects on the paths he has walked to this point even as he continues on this street called life, and J. Cole wonders out loud if it’s time for a change, to grow beyond his identity as a rapper. It only feels like a “see you later” song in the sense that it will be a companion song, for me personally, while Hobi serves and until he returns from enlistment. I agree with the interpretation in the YouTube comment that Hobi is also storytelling/writing his second verse through dance while J. Cole is rapping, and that this is a beautiful way to see it too - but I’ll expound more on this below in Dance and the Message.

Anon in Ask 4, J. Cole is a brilliant lyricist and it’s funny you mentioned that line in particular because when I first heard it I nearly burst out laughing at how witty and brilliant it is. That line is an example of a classic Jermaine pun. I’ll explain: A lot of people grew up learning nursery rhymes, and one of the more popular ones I recall is Hey Diddle Diddle, which has the rhyme “the cow jumped over the moon”. This nursery rhyme is also the source of the English expression to be “over the moon” I.e. excited, elated, happy. J. Cole took that children’s rhyme and flipped it on it’s head to then mean the passage of time, “as the moon jumps over the cow”. He uses it to express time passing merrily for him as he contemplates his next career move. It’s also an absolutely brilliant way to rhyme with the previous bar that ends in “Golden Corral” (which is easily one of the sickest burns in his verse).

Anon in Ask 5, I agree with you almost fully. Outrage is the name of the game and has been the zeitgeist for at least 5 years now. Like what are you doing on the internet in 2023 if you’re not here annoyed, mocking something, being critical, and raging about something else? Even if that something is another autonomous human being expressing their opinion on God on their own song… Personally, when I come across HCP personalities online, I ignore them. If they interact with me I tell them they’ll somehow find a way to manage and cope, and we’ll all be alright in the end. In the case of this song, ignore them. They'll deal.

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Dance and the Message (as I understand it)

Hobi's verse in this song is only 8 bars. J-hope practically gifts this song to J. Cole who spits 32 solid bars on this track. We all know J. Cole - a veteran in the rap game who has earned respect from everyone from Hov, Ye, Kendrick, down to avantgarde heavyweights like Jay Electronica - is one of Hobi's idols and so it's heartwarming to see the way Hobi expresses his respect for J. Cole, dancing underground while J. Cole raps on top of a building with nothing but the sky above him.

J-Hope dances the entirety of J. Cole's verse, just feeling himself, losing himself to the music while his idol spits fire. It's so fucking decadent. At the end of J. Cole's verse, Hobi walks out of the subway and climbs to the top to meet J. Cole as equals.

Hobi begins the song in an NYC alley that opens up into a main street where Hobi performs the song's main choreography on. This is the same location in J. Cole's Simba - the song that starts the Simba trilogy in J. Cole's discography, which was the first main track on J. Cole's debut mixtape The Come Up that established him as a force to be reckoned with on the American rap scene at only 22 years old. The setting alone is a callback and homage to J. Cole's beginnings, on which Hobi raps about his own path, wanting to repay those who have helped formed him into what he is, and the hope he has going forward.

Hobi has done something like this before, calling his first mixtape Hope World reminiscent of J. Cole's debut studio album called Cole World.

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The Media and the Message (as I understand it)

One thing I absolutely adore about BTS's songs and music videos, is that they infuse them with the sort of depth that only comes from intimately knowing and respecting the subject matter, and they do so in such a subtle way that it's obvious they expect whoever is watching to actually know both the artist and the subject. They don't spoon-feed anything to the viewer, just present the art as is and if you've done your homework, that means you're their target audience and you're right in the middle of it with them. In the Variety interview I linked above, J-hope references his documentary (Anon who sent me the ask to review it, I've only seen clips and I'm yet to watch the full thing. When I do, I'll write about it 💜), where it shows Hobi meeting J. Cole and how he struggles but ultimately communicates his adoration and respect to Jermaine, and how Jermaine graciously receives it.

Take for instance how Hobi approached Chicken Noodle Soup originally by Bianca a.k.a. Young B who at the time she made that song and its iconic choreo, was only 16 years old. The song went viral but most of the royalties went to her uncle and she received almost nothing, she never got signed to a label, and was so badly burned by the industry that she only attempted making music again nearly 10 years after Chicken Noodle Soup. Hobi credits that song as one of the catalysts that sparked his love for hip hop and street dance. He reached out to Bianca and paid full rights (not just for a sample), to her (not her uncle), to use the song, and the music video is peppered with references to Harlem, NYC, where the song and dance originated. Showing that level of courtesy to smaller Black artists is rare in the US and virtually unheard of in Korea where the Korean hiphop (KHH) community is more notorious for wearing Black drag and appropriating a history of violence and a wealth of culture that they know absolutely nothing about, except that it looks cool.

When k-pop stans wax lyrical about how BTS is racist or does a Blaccent (this personally makes me chuckle because the people you often see saying this are white people who couldn't tell you the difference between an affected accent by a non-native speaker and a Blaccent if each slapped them on either side of their face), or that BTS doesn't have the respect of the Korean (or American) hip hop scene, et cetera, I chuckle and move on. Because as I've said, none of these people actually know what they're talking about.

The OGs of the KHH scene recognized the talent of BTS's rapline since debut, and have only expressed more respect for BTS as the years have gone by. I'm talking Tablo, the rest of Epik High, Tiger JK, etc. The Jay Parks of the world took some time to catch up, and if 'studio picture-gate' is any indication, they too have quickly come around to recognizing where they fit in the landscape relative to BTS. Rappers are generally egotistical people. They usually spend their time rapping about how they're the shit. What earns you respect is if you can actually back that shit up. And once you have that respect, you don't feel threatened by another rapper because you know anyone who gets to the top has had to earn it. It's what informs the mindset of "real recognize real". Namjoon, Yoongi, and Hoseok passed that hurdle, in my opinion, way back in 2016 with the release of Cypher Pt 4. Everything they've done since then is just jarra. And those at the very top, the Black rappers who imbibe the culture and history of rap music, have long recognized the rapline of BTS for what they are.

Personally, I love the song. The music, the whistling, the chord progression, the jazz and acoustic guitar instrumentation. Everything about it is perfect.

On The Street is an excellent example of what sets BTS apart from other idols and artists in Korea for me. This is a song conceived 100% in the mind of Jung Hoseok, and the seamlessness in execution, the maturity inherent in the respect paid to those whose music and culture they use as a medium, is present at every single point in the song. It's tastefully done, and 100% driven by the artist, and all I can do in the face of art like this, is respect it.

[tlou-reid]

The Show Must Go On - Stick Season

♡ DISCLAIMER: this story deals with heavy, dark, and triggering themes. warnings will be included on each chapter. this story is 18+, minors do not interact. (also i can not guaranteed my timeline is exactly right but i am doing my best)

♡ DISCLAIMER: i am incapable of writing songs so reader's music will all be from noah kahan's stick season. songs used in each chapter will be linked at the beginning, and the character is inspired by the story he creates throughout the album.

♡ WARNINGS: alcohol consumption, takes place in a bar, jesse and ellie get drunk, ellie being a Simp

♡ fem!musician!reader x ellie williams (eventually)

❥ prologue ❥ next part

“Come on, Ellie,” Joel rushed her out the door, lightly pushing her back, “I thought you’d be excited for this.” It was Ellie’s 18th birthday, something she’d been looking forward to since they can came to Jackson. And honestly, Joel was excited too. While there was no official set of laws, it was general knowledge that you had to be 18 to be able to go into the Tipsy Bison and have a drink. Joel was excited to see Ellie in this kind of environment, and he couldn’t wait to embarrass her in front of everyone.

“Dina and Jesse are gonna meet us there, right?” Ellie asked, making sure she’d get to spend her birthday with her best friends. Joel nodded yes, and they continued their trek to the bar.

The saloon-esque doors opened and Dina and Jesse’s hands shot in a wave to Joel and Ellie almost immediately. Sitting along with them was Tommy and Maria. Ellie smiled at her found family and raced over to them. Joel could only chuckle as he followed behind. A few other people were there, acquaintances of the groups. They all cheered for Ellie, wishing her a collective happy birthday.

It wasn’t until she reached her friends when Ellie noticed the music. She followed the sound to the small stage set up in the very back of the bar, where her eyes on landed on you. She paused for a second to listen. This wasn’t one of the songs she’d ever heard on the radio, or even had on cassette to listen to. You went into the next verse and she stopped to listen to the words you were singing.

“So I thought that if I piled something good on all my bad, that I could cancel out the darkness I’ve inherited from dad.” She noticed how beautiful you looked with your eyes closed and a slight smile on your face as you continued your song, “No, I am no longer funny, cause I miss the way you laugh. Once called me forever now you still can’t call me back.”

You and Ellie made eye contact as your eyes opened for the chorus. The strums of your guitar after each line made Ellie smile, and, much to your amusement, she was nodding her head along. “And I love Vermont but it’s the season of the sticks and I saw your mom, but she forgot that I existed…”. Joel tapped her shoulder, making her reluctantly take her attention off of you. Behind her back, Dina was smirking at Ellie’s reaction to the singer.

“So what are we drinking?” Joel asked, excited to give her what he thought was her first drink. “Hamblen whiskey,” Ellie answered with a proud smile on her face. “How the hell do you know what that is?” Joel asked as he waved the bartender over. Ellie just answered with another smile, before turning to her friends.

“Who is that?” Ellie asked, gesturing to where you were finishing up your song on the stage. Jesse told her your name, and explained how you sang here on Fridays, and how often Seth complained about it. “It brings more people in, so he puts up with it.” Jesse finished with. “Why have I never seen her before?” Ellie inquired.

“You guys kinda run on opposite schedules, like with patrol and stuff.” Jesse explained. “And she kinda keeps to herself. She writes music, the songs she sings are hers. Her and Michael are good friends, they’re patrol partners most of the time.” Dina added on while Joel passed Ellie her drink. It was definitely not the whiskey she asked for, but it was alright.

“Thank you guys! See you next week!” You announced as you pulled your guitar off your shoulders. Ellie couldn’t help but watch as you rested it on a stand, presumably for you to grab when you leave. Much to her surprise, you started making your way towards her and her group. Her eyes raced up and down your body, unabashedly checking you out as you came over.

“I heard it was your birthday,” you smiled at her, “why don’t you let me buy you a shot to celebrate?” Ellie was dumbfounded. She was sure her mouth was hanging open, as if she been approached by a celebrity. She could feel her cheeks warming at your words, already forming a little crush in her own mind. You let out a chuckle when she nodded. “C’mon then,” you reached out towards her, grabbing her wrist and pulling her closer to the bar. Dina and Jesse let out a laugh when you two walked a few steps away. Ellie turned and glared at them over her shoulder.

“I’ve, uh, I’ve never seen you around here,” Ellie started as you flagged down the bartender. “I’m Ellie, I’ve only lived in Jackson for a few years now.” She was proud of herself, the way she could form an introduction. You introduced yourself, telling her your name. “I sing here every week, you’ve never come in before. I would’ve noticed a pretty girl like you.” Once again, she was at a loss for words. When your attention turned away from her to tell the bartender what you wanted for the shots, she took the opportunity to check you out again.

Ellie couldn’t deny how attracted she was to you already. Up close she could see every detail that was hidden from her when you were on the stage. She could see the necklace that dangled from the way you leant over the bar, the small freckles that spread across your cheeks, the chipped paint on your fingernails that shined in the light as you waved to the bartender. She was so enthralled by you, she didn’t even have the chance to wonder how you got nail polish in a literal apocalypse. All of your little details had her memorized all the way through. She could feel her head getting lighter, her heart beating fast, her pussy getting wetter, and her fingers tapping harder against her thigh.

“Yeah, I just turned 18, Joel said I had to wait to come hang out here.” You laughed as you handed her the shot. “So this is your first shot?” You asked. She nodded. “Okay, let’s get to it then.” She nodded again, watching you and following your actions as she took her first shot. Her face winced up at the taste. “What is this?” She asked, reaching for the drink Joel had given her. “I don’t know, I asked the bartender for the nastiest shit they have. It’s a rite of passage.” You laughed and she flipped you off, very quickly, from behind her glass.

“You didn’t even react!” Ellie squealed, still trying to recover from the taste. She wasn’t sure if it was the nastiness of the alcohol that raised her voice two octaves, or if it was how close you were standing to her. “Oh,” you laughed, “I don’t drink. I told him to put a little bit of water in my shot glass.” Ellie’s mouth dropped, “that’s not fair!” You laughed, the sound filling her chest with warmth.

“It looks like the party’s over here!” Jesse yelled, slurring his words a bit. His arms wre thrown around yours and Ellie’s shoulders, as Dina laughed behind him. Ellie rolled her eyes at his interruption. “Ellie, this is y/n. Y/n, Ellie’s been checking you out since we came in!” Jesse drunkenly rambled. Ellie’s face was heating up again as your gaze turned to hers. “Is that so?” You asked with a smirk gracing your beautiful face. Ellie couldn’t tell if she was embarrassed or turned on. “Well, the feeling is mutual.” You said with a wink, before pushing Jesse’s arm off of your shoulder, “I’ll see you guys around, I’ve gotta get the stage cleaned up before the bartenders shift switches. Happy birthday, Ellie.”

And just as quickly as you’d shown up, you were gone. Ellie turned to socialize with her group, letting everyone wish her happy birthday and buy her a few drinks. Her eyes kept drifting to the stage, where you were organizing everything on it, and putting your guitar into its case. She was unaware of the way your eyes drifted to her, checking her out as well.

“Jesse,” Ellie slurred later in the night. Jesse was half-conscious, drunkenly stooped over a table in the bar. Most of the people had left, leaving a few stragglers and Ellie’s group. Dina was the most sober, taking care of everyone. Tommy and Maria had retired home, calling it a night. Joel was sat in the corner, sipping on a drink and keeping an eye on the kids. “I need a favor.” Ellie finished. Jesse let out a disgruntled groan, not excited about the sound of her voice in his ear. “I need to be put on patrol with y/n. You gotta be a wingman here.” Jesse let out another groan, one that seemed to be of agreement.

Later in the night, as Joel helped Ellie stumble into her bed, all she could think about was you. She’d never had such a crush on someone who was relatively a stranger. She’d never been approached by anyone, let alone someone who was so confident and seemed to be interested in her. All she could do as she passed out from the amount of alcohol in her system, was hope and pray that Jesse would remember the agreement he’d made. All she wanted to do was see you again.

Unfortunately, that didn’t last long for Ellie. In the morning, her focus was entirely on the pounding headache and upset stomach she was nursing. This was her first hangover, so she laid around most of the day. Until Dina came knocking on her door. “Els,” Dina shouted, making Ellie groan, “come on, let’s go get the kids all set up.”

Ellie had totally forgotten she was movie duty tonight, taking care of the children and setting up the film with Dina. With a groan, she got up to open the door. Dina yelled out something along the lines of, “you’re not even dressed!”, but Ellie was too focused on shushing her to really understand what she said. Ellie got herself together as quickly as possible before heading to the community center to set the movie and snacks up.

When she passed the stables, she saw your figure emerging. You guys held eye contact for a second, and you brought your hand up to wave at her. Ellie’s cheeks flushed a shade of pink as she smiled and waved back. Dina chuckled from next to her. “You like her? For real?” Dina asked, not in a teasing tone. She was asking if Ellie liked her, or if she was just attracted to her. “I don’t really know her.” Ellie answered, ever the mysterious type. “But you want to?” Dina didn’t miss the rosy blush that reappeared on Ellie’s cheek, despite her silence following the question.

Luckily for the girls, Jesse had shown up and started getting things together. Dina helped seat the kids as Ellie went to set up the film. Soon, everything was running smoothly, and the three were standing in the back of room. “Jesse,” Ellie whispered, leaning into his side, “do you remember the deal we made yesterday?” Jesse’s eyebrows furrowed, answering her question without saying anything. “The girl, the uh, the singer from last night,” Ellie nervously started. What if he made fun of her for asking? What if he ran off and told her that she asked for this favor?

“Could you maybe, uhm, set us up on patrol together?” She finished. Jesse’s face broke out in a smile, “yeah, of course. I’m a great wingman. It’ll just be a while, the schedule’s made for like two weeks or something. You’ll have to go on a night patrol, since that was she does. You think Joel will let you?”

Ellie didn’t know how to say, ‘I don’t really give a damn what Joel has to say about it, I’m going on that fucking patrol’ without sounding like an asshole. Instead she said, “yeah, I’ll make it work. Just make it happen for me.”

The night passed and Ellie made sure to follow-up with Jesse almost everyday until he confirmed that they were scheduled together for 15 days out. Ellie marked the date in her journal, outlining it with little hearts.

[themuffinman-taylorsversion]

speak now tracks 1-4

MINE

this song is SO GOOD I can't get over it

i remember a year and a half ago when the rerecording came out. It was my first album release as a real swiftie and in the middle of summer, so I decided to listen to it at midnight. I was FREAKING OUT over this song (and rightfully so)

also a god tier bridge and no one acknowledges it?? hello???

banger song, basically. and in her adult vocals? *chefs kiss*

score: 10/10

points for lyrics, style, personal bias, chorus, verses, bridge, instrumental, vocals, pretty privilege, loopability

fav line: you saw me start to believe for the first time

SPARKS FLY

to write "the way you move is like a full on rainstorm, and i'm a house of cards" at that young of an age is BAFFLING to me. like that was absolutely insane of her and no one even talks about it

my only critique of this song is that I feel like the instrumental could be louder but it's not inaudible or anything

not as good as mine but it's still a top tier song. speak now as an album is just a full step up from fearless/debut and you can TELL

score: 9/10

points for lyrics, style, personal bias, chorus, verses, bridge, instrumental, vocals, pretty privilege

fav line: i'm captivated by you baby, like a firework show

BACK TO DECEMBER

my dad likes to mess with me and sing this as back to November, September, October, he even tried February once (it didn't work as well as the other three, but A for effort)

i have so many things to say about this song but I just think it's really good. I usually find myself skipping it but I can't really figure out why. it's just really good like why don't I want to listen to it?

anyways~

score: 8/10

points for lyrics, style, chorus, verses, bridge, instrumental, vocals, pretty privilege

fav line: you gave me all your love and all I gave you was goodbye

SPEAK NOW

THE laugh song. I love that mischievious little chuckle in the middle of the song it's so perfect. honestly the majority of this song is so silly in such a good way. except for the part where Taylor is trying to steal a man at the altar, which is most of the song....hmm. I may need to reevaluate the vibe of this song. whimsical, maybe?

i grew up on this song. this song is just a part of me at this point. it's a bit of a pick me song (like a lot pick me song) but that's okay. my joy is not hindered by the annoyance of people.

i think this song describes the bride's family like the bolter describes the charming saturday

one last note, I once misheard "horrified looks from everyone in the room but I'm only looking at you" as "horrified looks from everyone in the roomba"

score: 7/10

points for style, personal bias, chorus, verses, bridge, instrumental, vocals, pretty privilege

fav line: there's the silence, there's my last chance

[lunettes-a-ninny]

TW: mention of javert's suicide

follow up on me being sad about unrecognized les misérables music!!

i think a few people know about the song called javert by red diamond dragon club - but did you know there are MULTIPLE amazing songs called javert?!?!

before i start, i would like to state that these are all my interpretations of the songs, and the writers have not confirmed everything i say!!

1. javert - red diamond dragon club

this song is probably the most popular one among the fandom, but it's still unrecognized.

this song is almost an alternate version of javert's suicide. it is an indie(?) rock version that shows us javert's anger over being released through lines such as:

"valjean, what have you done to me?"

"did you know what you did when you set me free?"

"and you won't leave, trapped inside my mind. mon dieu, this devil is shaking the ground."

"won't you tell me why i'm not okay?"

"you make the night not follow day"

"and who am i? looking down, i see your face, the water rising up"

this song is not only catchy, but it is a good display of javert going through the five stages of grief, including anger.

2. javert - penny and sparrow

this is a short, pretty folk song about javert. while there are romantic undertones in this song, i interpret this as javert's internal feelings and that he isn't speaking of a specific person.

he could very well be, with lines such as, "when you hold me, it's knee jerk," but i would like to think this is just how javert feels trying to interact with people in general sometimes.

"i can feel the beginnings of arguments to often start off that way"

"well fuck how i feel, it's a bad gauge of realness"

"how can it be, is their room in your home for a man that feels to prone to fall through?"

"can you honestly expect me to confess that ... or i'm worth the work it takes?"

3. javert - deadman

this song is by far my favourite on this list, being number one on my spotify wrapped this year, so this will be a longer section of this post.

i'm not actually sure how to define the genre of this song. it could very well be a folk song or a country song.

this song is confirmed to be written about someone talking to the ghost of javert after he has committed suicide. it is a song that switches between both english and french (depending on the performance), and it is a truly beautiful piece of music through both lyrics, performance and instrumentals.

it is FILLED with references to javert's life, including christianity, water, blood, wine, as well as many metaphors about these things as well.

my favourite reference in the song is the one made about javert's actual death (keep in mind these lyrics vary in different performances):

put your gun on the floor

i'll pour you some wine

i am willing, but my spirit is not

this verse alone is simply amazing. the lyrics to this song are so well thought out and beautifully performed, and i really suggest listening to this song. and while javert didn't die to a gun, you can still understand what they're referencing. this could even be a previous attempt, before the seine.

the song is also a little mysterious, with this verse:

we used to be friends

when you used your old name

back when you worked for the law

they could honestly be talking about anything in this verse, and i like that it's up for interpretation.

the chorus is also incredibly well written with it's references to javert drowning:

and if ye strike the rock

then the water comes forth

water that used to be blood

formerly blood

and becomes blood again

and unstopped, rises to flood

however, suddenly at the last chorus, they change the word "blood" to "wine".

there are a few more songs titled "javert", however, i am unsure if they are actually about the les misérables javert or not, so i will not be including them.

anyway, go give these songs a listen if you haven't already! if you know any more songs about javert, please let me know! i recall hearing about one a long time ago, but it wasn't called "javert," so i can not find it.

[curtsies-from-princess-ashlyn]

There have been so many songs I've had in the back of my head loosely linked to Ricky and Gina, and today's prompt finally gave me an excuse to compile a playlist for them. There's honestly probably more that can be added, but I'm actually quite proud of how many I was able to add to this list!

There are some songs that are from Gina's perspective ("Mastermind", "What if I Love You", "Nobody Love Me Like You"), including her S2 perspective, some from Ricky's ("would you love me now?", "Smoke Slow"), some about their angst that can be from both perspectives ("The Night We Met", "Where's My Love"), and some that are more joyous and celebratory ("Different", "I Just Love You", "Honeybee").

However, the one I really want to highlight is "Nebraska" by Oh Wonder. This was in my top 5 most played in 2021, so I can't believe I didn't think of it until now as a Rina (and especially Gina) coded song, but BOY does it fit them so well. Seriously, go listen to it now and tell me this doesn't perfectly represent and describe Gina Porter and how she feels about Ricky. It touches on the importance of "I love you" but that it shouldn't be a wasted phrase, and the narrator sings about traveling the world but the only place that feels like home is her beloved (who may have also broken her heart).

The other song that I want to talk about briefly is "I Just Love You" by Roo Panes. The feeling and atmosphere the music of this one creates always reminds me of domestic Rina, and the simplicity of the lyrics ("I just love you") reminds me of how Ricky feels for Gina. I also headcanon Gina's middle name is Marie, so the lyrics of the first verse fit, and the second verse sings about they've both had fears of vulnerability ("why are we oh so afraid / of saying something real?"). This contrasts the straightforward conclusion of the chorus, which definitely reminds me of Ricky's resolution, certainty, and directness in "Love You Forever".

[prisoner-000]

Which trial's song from each prisoner is the better one?

Fun thing I thought I'd ask myself. Since most song vs. song debates come down to character preference how about we just pit one character's songs against each other? Tee hee.

Haruka - All-Knowing and All-Agony is my pick. The piano melody in the background is honestly just breathtaking. As much as I overall like Weakness' guitar and harmonies, i think AKAA is overall the better product.

Yuno - Tear Drop. The chorus just absolutely bangs and the synths are so good. This is a very slight win because honestly Umbilical is kind of on the same level in my mind - they're both similar in the vibes department, but have different strengths. I also have to give props for being the longest T2 song by far.

Fuuta - Backdraft. I'm pretty neutral on Fuuta as a character which makes me not listen to his songs quite as much... Extremely slight win, 'cause I like it's consistent level of energy. Ask me tomorrow and I'll probably say Bring It On (the last chorus especially is so damn good). Fuuta's CV's voice is an absolute treat.

Muu - After Pain. I was obsessed with this song when I first got into Milgram and still kind of am. It just sounds so uniquely 'lonely', conceptually extremely sad and yet somehow cheerful. It fits Muu's character really well. I also love INMF for it's isolated vocal moments where Muu's CV can really bring her all into it, but overall, this is my pick.

Shidou - Triage. I've never liked Throw Down all that much because it's always sounded almost Too normal and neutral to my ears. Triage has this soft melancholy in its instrumental and somber vocals during the verses. And also, that final chorus... OUGH. I can see why someone would prefer Throw Down, though.

Mahiru - I Love You. I really like how this song played with everyone's expectations when the previews came out. Mahiru rapping is so fun and really works compared to the cutesy idol-like chorus. The lines before the final chorus and the double-voiced rap part leading up to it is also fantastic. TIHTBILWY has instruments I like a bit more, but kind of suffers in the interesting concept department IMO.

Kazui - half. Gonna be a contrarian here, but this song has always been one of my favorites. It's very unique in Milgram's selection of songs with its slow, soft melody and almost minimalistic instrumental compared to the others. It sounds sad, Kazui's CV is so soft with his voice and yet expressive. Besides, it's a song about unrequited love. This was made specifically for me I feel. Cat is also really, REALLY good, i love Cat, but. Half. !!!!!!!!!!! I blow up

Amane - PURGE MARCH. DO I NEED TO EXPLAIN MYSELF. I like Magic, but it pales in comparison to this song's mixing, its chanting, its concept, its MV.. GAHH!!! THE AMEN BREAK?????? The verse repeating the 'commandments' over Amane's singing? What else do you want me to say. This is a banger.

Mikoto - MeMe. Harder metal instrumental = me likey. The chorus is gorgeous, and the back-and-forth between the two styles is especially great. I prefer Mikoto's CV's voice in Double, but I can't say I prefer Double because it's just too damn short, not to mention it only being 2 verses and 2 choruses with a long speech break. I love Double, I really do (also because a piano is always good), but... MeMe has the tightest grip on me.

Kotoko - Deep Cover. I've never been the biggest fan of Harrow. I love Deep Cover's gimmick of counting the prisoners and the Undercover mirroring, plus it has Double's appeal with the bridge before the chorus sounding angelic. I wouldn't say I love it, but it's really good.

And . yup. Umm. Feel free to do this too if you'd like and you can fight me on my opinions i am objectively right always. Forever. Btw. Farewell

[criticallyobs]

Z WHOLEHEARTEDLY recommends...

As I mentioned in Episode #21 of our Dangerous Romance podcast I love this song so much. The melody is so pretty and catching in a way that is both uplifting but also strangely melancholic.

When listening to it, for me it invokes images of dappled sunshine and a warm summer breeze, it has such a vibe that I feel like I'm not doing it justice.

Positioned in the first episode around the five-minute mark, only the instrumental was used, and yet the lyrics work so beautifully for them also.

I found an AI-written article about the meaning of the lyrics and I was just going 'YES, YES, YES!!!' the whole time I was reading it. (I love it when my obsessive insanity is backed up by things more intelligent than me.)

I want to share some bits from it here:

'The song "Infinity" by Bluma Petersen (featuring Nadja Alsén) explores themes of self-discovery, growth, and the enduring nature of love. The song begins with a greeting to emotions, indicating a renewed awareness and connection to one's own feelings. The reference to oceans and rain symbolizes the vastness and fluidity of emotions. The singer acknowledges their familiarity with their own patterns and identity, expressing that they are aware of their own circles and name.'

'The chorus, "Reform and rise to be so free, In time we seize infinity," conveys a message of personal transformation and liberation. It suggests that by embracing change and evolution, one can achieve a sense of ultimate freedom and boundlessness.

The verses continue to explore various themes. The mention of borders being out of order and being out of pain suggests breaking free from limitations and past suffering.'

Kang and Sailom both endure such substantial and life-changing character development, as they navigate first their friendship and then their romantic relationship and again when they're separated.

Sailom needed to break free of his strict self-imposed limitations and learn how to ask for help and also to allow the people who love him to care for him.

Kang needed to break away from his own self-doubt and fear while learning to understand that expectations can be a dangerous thing.

'The lyrics also touch upon the idea of fighting and holding the line, which could imply overcoming obstacles or standing up for oneself. The references to never hiding and never lying indicate a commitment to authenticity and honesty in relationships.'

Honestly, this song could have been written for them.

We spoke many times about the honesty between Kang and Sailom in moments when it mattered. Except for direct feelings, as they struggled to express both their love and fear, they were honest with each other.

'The repeated lines about coming home and going strong suggest a sense of reunion and strength within a romantic relationship. It implies that despite their individual journeys, they still find solace and support with each other. The conclusion of the song emphasizes the idea of limitless love, with the repetition of "infinity" signifying its eternal nature.

Overall, "Infinity" embodies a message of personal growth, perseverance, and the undying power of love. It encourages embracing change, facing challenges, and finding strength in relationships to achieve a sense of freedom and seize the infinite possibilities that life offers.'

This AI-written article makes me wonder if this particular AI has somehow become sentient and is a fan of Dangerous Romance and has devoured our podcast, because when I was reading the article it was like it was inteligently speaking on why I loved this song and why it couldn't have been more perfect both for that moment in the show and Kang and Sailom's relationship.

The fact that this song was chosen by someone involved in this show and they chose to only include the instrument piece at the start of the song both impresses and kind of angers me.

It's such a good fit - Did they not realize it? Or is this just one more way the Dangerous Romance crew made it known that they are far superior to other productions by encouraging its viewers to engage and really dig into this show?

The song ends much like the show with love and freedom to be themselves together, which will last an infinity.

The way the show ends with Kang coming back to Sailom who has become his home, and in return, Sailom coming to Kang in the hotel room to embrace past fears and hurts lends itself very well to the ideas of home and strength we see mentioned at the end of the song.

A line I somehow missed with my many screenshots "Now we're ready to be whole." Oh, my poor Kanghan Sailom heart.

I love this idea of them feeling equal to each other in the end because they make up each other's missing pieces and now when they're together they're whole.

[lootkey]

Okay first listen through of TTPD standard edition thoughts:

This is very sonically cohesive I think? I know some people were irritated she didn’t go in a new sound but honestly this album isn’t about the sound. It’s about the lyrics. Most of her albums find a balance of production and lyrics but I truly think that for this record more than any other the lyrics are supposed to shine. I really like it I think. We will see after a few more listens but there’s some high points and there’s some lows (tattooed golden retriever I’m looking you 🥴)

Fave 3:

Florida!!!

Down Bad

The Alchemy

Best 3:

But Daddy I Love Him

So Long, London

The Smallest Man Who Ever Lived

Fortnight

Functioning alcoholic?? Ma’am?? Im confused a little by the lyrics and the perspective here. Also, why are you’re so murderous Taylor?? It sounds nice though! Love Posty’s vocals in the background. This song is definitely going to be stuck in my head at random times. This would have been huge on Tumblr during 2014-2015. 7/10? I think this may be a grower for me.

The Tortured Poets Department

Okay drums! “Who uses a typewriter anyway” get his pretentious ass Taylor. Personally not loving that slip into a falsetto in “hold me” but I digress. The second verse (?) where the Puth and gold retriever line is? 🤨 “we’re crazy” a self aware queen… this is not my favorite? It’s not bad but I don’t think I will actively seek it out. 6/10

My Boy Only Breaks His Favorite Toys

I really like this heavy dark synth in the background. I fear this is about J*e and RIP buddy. She’s the only person who could get away with “litany of reasons” in a song. Queen of Sandcastles?!?! The bridge is ruining me, girl was going through it. 8/10, I think.

Down Bad

I fear this one may let me down because I loved that stupid AI snippet that went viral on TikTok lmao. I wasn’t sure about the first verse but HOLY SHIT THIS CHORUS. “Fuck it” Ms. Swift I am scandalized (no I’m not you go queen). The gaylors are going to run wild with the “I lost my twin” bit 🙄. Love this one!! 9/10

So Long, London

Admittedly I hear a leak snippet of this one beforehand but I do love the production of this one. The intro is a bit jarring at first but it goes with the rest of the song well! Her voice sounds so fucking good here. The lyrics are ripping me apart. “All that youth for free” ouch ouch ouch ouch. This somehow sadder than Tolerate It???? Like they tried to soften the blow with the production but oh my god. 10/10

But Daddy, I Love Him

I’ve heard whisperings that there’s shade to the “SpeakUpNow” travesty that happened last May? Get them parasocial weirdos girl. Oh god yeah this is definitely in relation to Taylor Swift™️ and how people forget she’s an actual human fucking being. Honestly I love this and some of it reminds me of Fearless kind of?? But also girl is a little delulu here. Love the BRIDGE YES YES YES. big dictionary girl here. I feel like the last verse is more towards TK than matty but I could be wrong?? This is not a song I will reach for but it is really so so good. 9/10

Fresh Out the Slammer

The western twangy start? Interesting. Love her delivery and cadence here. Matty really wasn’t the only consistent guy on the roster huh? Good for you girl. Another song a little delulu but I forgive her. Another one I think the Gaylors are going to take and run with 🙄 this may be the first “filler” so far but it’s not really 7/10

Florida!!!

I’m so excited for this one personally. OH MY GOD THE CEREMONIALS INFLUENCE. FLORENCE!!!! OH MY GOD OH MY GOD OH MY GOD. Another hint at murder??? Oh she was PISSED. This song is going to make me get a speeding ticket. The BRIDGE!!!!!!!!!! The feeling of restlessness when you feel stuck I life and up and running to Florida, she’s just like me fr. 10/10 immaculate

Guilty as Sin?

Blue Nile? Oh this is about Matty. Loving the instrumental. This is such a “windows down cruising on the highway” song. The vibes are so good. Oh girl… you want him so bad. I love this one, it reminds me of something but I can’t put my finger on it. Also the religious references in this one? Wow. THE FINAL CHORUS?? Jack Antonoff they could never make me hate you. 9/10

Who’s Afraid of Little Old Me

This is haunting. The lyrics are so dark but her delivery is almost smug? Excellent. “Whos afraid of little old me? You should be??” Again, a self aware queen. Also for some reason I’m getting Control by Halsey vibes?? She’s never beating the witchcraft allegations, sorry. She’s slowly loosing her mind over the course of this song and oh my god. “Sue you”????? Oh girl get them. This is one where I probably won’t reach for it but it is such a good good song holy fuck 9/10. Self written and self produced too?

I Can Fix Him (No Really I Can)

I don’t know why people thought this is about Matty, this to me is so clearly about Joe I think. The outlaw imagery paired with the production is so interesting. The lyric change at the end? Love it. Overall this isn’t my fave? 6/10

Loml

Oh this one is going to hurt me isn’t it. It’s so clear that she really does value marriage and wanted that with her past partners, which makes Lavender Haze so heartbreaking in retrospect. The chorus is going to make me sob so thank you Taylor. Wait wait wait, “Mr. Steal Your Girl” ma’am???? Be serious. Well this is about Joe lol. I’m so glad she seems happier now because this was written from a place of deep hurt. 8/10

I Can Do It With A Broken Heart

Holy fucking vibe change from the last song lol. The haters are going to hate this one but it is the classic ironic song that people will love to shit on without using any critical thinking skills. Thematically this is actually kind of genius because the lyrics are depressing and the rhyme is kind of elementary but slapping this beat behind it paints this picture of you know a pop star who has to go out and preform even though everything is falling apart. This stripped down would be devastating. 8/10

The Smallest Man Who Ever Lived

The inhaled breath to start oh my god we’re crying again. She’s implying he’s poor isn’t she? Oh my god. I do think this one is about Joe again? Stabbed me with my push pins??? Oh girl. Sank in stoned oblivion?? See I don’t think she’d make that comment about an addict who’s clean now but she’s given us other songs where it alludes to the fact that Joe smokes (YOYOK, paper rings, etc). She’s so angry here and it makes me so sad for her because I feel like it’s a feeling most women understand. This hurts so so so bad. 10/10.

The Alchemy

Yes lower register!! Ohhh this is a love song 🥹 also is this about TK? The team references?? I love this one. Another that I can see with windows down, cruising on a highway. Okay wait maybe Matty? That heroin line sounds like a joke he would make lol but everything else is so TK coded so idk. This scratches my brain in such a nice. 9/10

Clara Bow

This is definitely going to be in the same category of The Lucky One and Nothing New isn’t it? STEVIE NICKS SHOUTOUT OH MY GOD!!!! Oh this is bittersweet. Oh my god that last bit about TS with edge? How hard it must be to be this self aware and yet still have to sort of accept that fate. 8/10.

Okay that’s the end of the standard edition!!!

[sophiesonlinediary]

thoughts on ttpd (first listen)

fortnight ft. post malone - i was kinda disappointed i thought it would be more ? ig and i wanted post to have a verse but they're voices together are so pretty!!!

ttpd - def not my fav i like the chorus though

my boy only breaks his favorite toys - kinda catchy not my fav tho

down bad - loved this one so muchhhh! CRYING AT THE GYM EVERYTHING COMES OUT TEENAGE PETULANCE AHHH <333 fr one of my favs

so long, london - not what i expected but so sad i loved it like taylor you have done it again another flawless track 5

but daddy i love him - IF U COULD SEE MY FACE WHEN SHE SAID "IM HAVING HIS BABIES" LMAO AND THEN SHE SAYS "NOT REALLY BUT U SHOULD SEE UR FACES" I WAS DYING OF LAUGHTER SHE GOT ME GOOD

fresh out the slammer - very interesting but a whole vibe <333

FLORIDA !!! ft. FLORENCE AND THE MACHINES - AHHHH DUDE DEF MY FAV I BELIEVE ESP SINCE IM FROM FL LIKE YES MAAM AND THEIR VOICES !!!

guilty as sin? - very interesting too i think i need to let it grow but the chorus was good

who's afraid of little old me - i dont know why but i relate sm to this song and the fact she acknowledges that we're very scared of her like taylor alison swift is not a force to be reckoned with

i can fix him (no really i can) - i was honestly laughing the whole time cause i knew this was about matty like maam he cannot be fixed and then she acknowledges at the end 😭 i love it tho

loml - why did i cry?! like i cried idk this song made me so emotional </3 and the end with the switch up to loss of my life. not ok.

i can do it with a broken heart - really liked this one def one of my favs the whole chorus is just so <333 and the whole pre chorus is so ahhh like glitter pen i love it so much words can explain

the smallest man who ever lived - the whole time i could only think "DRAG HIS ASS TAYLOR" men aint shit and by men i mean ratty healy 💋

the alchemy - not for me fs this song is so cheesy and not in a good way like im pretty sure this is about travis but i hated it so much 😭 it felt like an snl parody skit of their relationship like the ai audio that's like "im one game closer to making kelce my last name" or sum like that

clara bow - the way i had to pasue the song by the second vers ebecause my sister didnt know who stevie knicks is the disrespect i thought i raised her better than that but any who i like that song def very personal to her and like im manifesting the pre choruses

its late and its my first listen so ill def reblog tomorrow with updated thoughts!

[swangtup6]

EP Review: Bladee - RIP Bladee (2015)

I'm going to assume everyone who follows me knows who Bladee is because he's insanely popular, but I don't think anyone who doesn't actively listen to a lot of his music will know this EP, as I barely even hear it talked about within the draingang fan community. However, despite it being pretty underrated, I think it's easily one of Bladee's best (as much as there can be a "best" in a discography as consistently amazing as Bladee's) and I want to talk about why I think that. Let's get into it :)

So the essence of this EP is essentially that it's Bladee rapping over oldschool Chicago drill beats, something he's done occasionally throughout his career, but never to the extent he did on this. This is actually why the first track, 7-Eleven is my least favorite. It's not even on a drill beat, it doesn't go with anything else on the EP. The hook is weak, there aren't any notable verses, and I don't really care for the beat. I think this track should've been cut or replaced by something else. It would make more sense and be more satisfying as a loose single, instead of setting a completely wrong tone for this release.

However, the 2nd song on the EP more than makes up for 7-Eleven's weakness. Butterfly is one of my favorite songs of all time, and I consider it to be completely flawless. Bladee's voice is mixed really well with a super bassy, but still kind of understated beat. He sounds like a fuckinn robotic angel or some shit, with the ethereal reverb, delay, and flanger(? might be chorus I'm not sure) effects, as well as some super snappy autotune. The hook on this track is so fucking good it gets stuck in my head for actual days every time i listen to it, and Thaiboy's feature is one of his stronger verses ever in my opinion. This is a GOD tier Bladee track that is criminally underrated.

The next track, MJ, continues the trend from Butterfly. Goddamn, this beat is fucking amazing, and Bladee's kind of minimalist vocal performance goes so well with the super busy, high energy beat. I will say, as much as I love Yung Lean I kind of wish both songs with him on them had been Bladee solos, as I think he kind of ruins the vibe a little bit with how much he switches up the flow from Bladee. The last 3 tracks all kind of have this vibe where Bladee is doing exactly as much as he should be, but Leandoer sounds kind of extra in my opinion, with a more aggressive, almost lyrical flow. I will say, I prefer his verse on this song over his verse on 50Sac.

On the topic of features, Pyscho, the 4th song on this EP, has one of the strongest in any draingang song ever. Bladee keeps to catchy flows, and lets the beat kind of carry the energy of the track (in a good way), and DAMN i get HYPE every single time i hear Adamn Killa start doing adlibs on the 2nd chorus. I also love the way the beat kind of switches up when Bladee says "And I'm wearin Dulce it's disgusting", just a minor beat feature that goes insane. I think Adamn matches the energy Bladee brings to the track well, while also having his own vibe. His flow reminds me a bit of Lil Reese on this song too (might be a stretch but idk I just hear it). This is definitely another highlight on this EP for me for sure.

The final track is honestly the last one to click for me. 50SACINMYSOCIDGAF takes the kinda minimal-lyric thing to an extreme, with Bladee only repeating "50 sack in my sock ion give a fuck" for the entire chorus, but it clicked for me and it goes INSANE now, especially when he goes up an octave for the 2nd half of the chorus. I also really really like Bladee's verse, it sounds kind of shy if that makes sense, a little sadder and more chill than the rest of the EP (except 7-Eleven) and it creates a great contrast with the high energy drill beat. However, I really don't care for Yung Lean's verse on this one, as he kind of disrupts the vibe in my opinion. I still like it, and I think Lean's verses on this EP are pretty good, I just think the tracks would be better with another Bladee verse instead. I actually have the same feeling about Bones' verse on Shadowface off of Gluee, and I love Bones just as much as I love Yung Lean, if not more.

Overall, this is one of my favorite ever releases from Bladee, and I think it's A-tier (only held back by my above complaints) and would be hall-of-fame level if the rest of Bladee's discography wasn't so strong that it overshadows it. The production is all pretty much fucking perfect (as it almost always is for draingang/sadboys shit) and it has some of Bladee's catchiest hooks and best verses.

9.5/10 (if u ignore 7-Eleven, which I do)

standout track: Butterfly (all of them are so fucking good though)

there's no full youtube upload as far as I know so I'm putting the soundcloud one.

[arcanestudio108]

Bring Me The Horizon - Kool-Aid Review

Let's get something out of the way.

Yes, I'm aware Jordan is gone, and yes, I know he worked on this songs early stages and yet does not appear on the credits on Kool Aid.

But am I going to talk about “Post Jordan BMTH” throughout this review? FUCK NO.

I have questions, thoughts, and concerns, that I will NOT let take over the discourse of this song, I'll make a retrospective and rant article on it later (but hopefully not too much later). It's not that deep people (and if it turns out it is then I'll actually be worried)

So! Kool-Aid! Which as a brand can't be done with mixed caps like eVeRYthInG ElsE. But we got badass zombie Kool Aid man, so you win some and lose some.

Now we need to get something else out of the way immediately. It's heavy. Like potentially the heaviest shit they've done since Sempiternal or There is a Hell. We need to talk about it because that is also tainting the discourse around the song because the “Amo Bad, Sempiternal & Count Your Blessings Good” camp gets riled up when Bring Me gets heavy nowadays. We gotta combat that shit people. It's heavy, and I wanna say immediately that's not, in any way, a direct reason for why Im about to say that…

This is, HANDS DOWN, tying with Ludens for the best fuckin Post Human single, and is one of their absolute best showings upon first listen ever. And it has almost jack shit to do with it's heavy elements genre or BMTH era comparisons.

My fucking GOD, it's the first new, released in 2024 song I've heard and it probably could remain as my favorite song of 2024 through to the end of the year and beyond that. I do have one concern I'll mention here and expand on in that aforementioned later article I'm writing, but we'll get to that later.

Firstly, I'd like to say that my personal description of the theme of Nex Gen sonically, much like Survival Horror was “Sempiternal but Evolved” is very much “That's the Spirit (especially including Don't Look Down) but Evolved”. Kool-Aid takes that concept and not only runs with it, but also decides to throw the entire BMTH playbook in like they're adding pinches of other Kool-Aid (BMTH album era) flavors in to augment the red Kool Aids classic (That's the Spirit) flavor. Anybody who compares this mainly to anything other than That's The Spirit or maybe Survival Horror is wrong or lying, I'm not taking that back, I don't make the rules I follow them.

The star of this song is honestly that it was able to take the loose thread of the Church of Genxsis cult plot and the whole “Dark Side of Kool -Aid” that's kind of became a thing and wove it into every part of the lyrical content of this song without any of it coming off as cringy or juvenile. The song sound like both corruption and salvation, desperation & hopelessness, manipulation & rebellion. The entire chorus, the verses, every single line of this song is PERFECT. And yes I'm including ‘you should of known” in there. I think that grammatical error interpreted as a Sheffield-ism like examples of the same thing in earlier albums lyrics makes it better than the correct “should’ve” (or should have), it's a creative choice not an error, and you'll probably grow to like it too in time.

That’s what makes the song so powerful in general, but the focal point of the song is obviously the hook and overall chorus. My favorite choruses of Post Human, and BMTH overall, were dethroned the second I finished hearing that chorus in full. That chorus goes so fucking hard, Oli giving what may be simply his best clean singing to date, with a dark and desperate melody that hits the exact emotional beats it's going for. Then let's talk about the verses, which are more surprising in their switchups and flicker between styles even more effortlessly than Kingslayer did, I'd say it does so on par with 1x1 in fact.

Now of course it's heavy second verse, breakdown, and post-chorus near the end are breathtaking, but it's because of their unique and aesthetically interesting and well textured guitar work and the tones the guitar lines are played with, the surprise of hearing them, and just the overall groove and improvement in their quality that didn't exist in their idolized older material. It's that they work equally well with all four vocal tones Oli employs on this track, and work cohesively with the melodic elements to create the intended effect of the song.

Some have questioned whether Oli’s vocals were mixed down on the track, I disagree, and would put forth the theory that in fact the guitars were mixed up, to the levels they would have been at circa Sempiternal/That's The Spirit, so both guitars and vocals exist equally as much instead of vocals at the forefront

As for production: I really like Zakk Cervini’s production in general, he’s credited on multiple of my favorite rock and core genres across the past decade. Given his work with BMTH to date I figure hes probably a best case scenario for production that isn't Jordan, alongside Dan Lancaster. Aside from that personnel wise theres a few things to look at. Firstly theres a writing credit to someone listed as DAIDAI. I looked up their name on genius and came out with a handful of songs they have been credited on (could be relatively new to the industry, however its also worth noting they are credited on AmEN! and DArkSide), I will listen to is credited songs real quick then come back….

Woosh, Im back

So turns out DAIDAI is a member of Japanese metalcore band Paledusk. And as for his credits its the aforementioned last three Nex Gen singles, four Paledusk songs, a Lil Uzi Vert song, and a Shinigami song. I listened through them in the hopes of figuring out exactly what DAIDAI contributed, and… honestly I’m not sure. He at absolute least occasionally has produced the bands songs, and is their guitarist. Listening to the aforementioned tracks I figure he could be responsible for just about any of it. However my money would be that his influence is somewhere in the breakdown or verses, but then again Paledusk has some pretty kickass chorus melodies and hooks, so I genuinely can't say I know where his influence is in the recent BMTH singles.

Lucy Landry is Zakk Cervini’s partner, I found 3 credits on genius, turns out she's done backing vocals on the last 3 Waterparks albums, a couple tracks on Good Charlotte's album Generation Rx, and a Fever 333 song.

Phil Gornell was assistant engineer, his credited discography includes All Time Low, Noah Finnce, Hot Milk, While She Sleeps, a punk goes pop cover by Boston Manor, the Youngblood era live album 5 Seconds of Summer Released, and from BMTH, hes credited as drum engineer on Sempiternal, and assistant engineer on both versions of Ludens.

Julian Gargiulo was credited alongside Cervini as a mixing engineer, hes credited as Assistant Mixing Engineer and Primary Mixing Engineer on Architects most recent single Seeing Red, and DArkSide respectively. His two other two credits of note are as Producer and engineer across 5 different EP’s by a band called Chronologist, and contribution of some Guitar work and Engineering on the As It Is record The Great Depression.

As for what all of this means? Ive heard most of the material that Ive listed alongside those names, and it looks like they've been building this production team up throughout the Post Human era, and I would say its a considerably strong one after hearing Kool-Aid.

Lets give my last thoughts to the outro and another thing people have said was an "omission", I agree with everyone elses assessments on it, its part behind the scenes voice note, part outro & part transition into ToP 10 STatUeS THAT CRiED BLooD. I like that its there and hope it does remain there on the album. As for the apparent "omission" of "Oh Yeah?" I think that the songs more serious, lass meme take on using the Kool-Aid references is actually a GREAT thing, and secondly I think I'd only have wanted it were this a faster paced, Let's Get This Party Started style song.

I give the song a 100, It easily earns it. Okay, I think that's everything …..

👀.

Oh yeah, the thing I'm concerned about that's going to be the third BMTH article I have planned for this month.

Its heaviness is my concern, let me explain.

My concern is this, on one hand you could assume this just means they are trying to make the individual parts of Post Human more cohesive than initially planned. But has anybody else heard the alleged information leaks coming from someone claiming to have an inside source says its 15 tracks long, and all the material that we haven't heard yet was created in the liminal space between Jordan leaving the tour and the official band departure announcement? Combine that with the fact that the heavier songs were originally supposed to be meant for later eps, and that leads to this conundrum: Its an album, it looks like RCA is planning on registering it as such rather than as an EP after all (likely for charting and awards purposes that I personally believe are why Survival Horror was snubbed by the Grammy’s/Recording Academy), its an album that due to its physical release having to be 6 months delayed after its official release in the early summer, won't be followed up by another release until 2025 in all likelihood. Ludens was released in 2019, Post Human could technically be said to celebrate its 5th anniversary as an era by the approximate time of the Nex Gen physical copy release date. Its an album thats now 4 years post its predecessor, in a series of four thats complete release finish line seems to jump farther down the road every time progress is made. I’m worried they are planning to kill off Post Human after Nex Gen drops to skip over it and start just releasing singles like they had planned to at the whole “4 EP’s, 1 year” stage of this era. And I have a whole fucking article in the works about why I think that hopefully wont happen.

But yeah, the song slaps go stream it to make it chart higher cos the band deserves it okay bye

Tyler108x

[themuffinman-taylorsversion]

fearless tracks 5-11 review

WHITE HORSE

i'm going to be honest, this one is a little bit boring to me sometimes. i'm not the biggest fan of it. i'm not a hater, but i'm not a fan. as taylor said, "it isn't love, it isn't hate, it's just indifference."

some of these lines are also so sad though. like wdym "I'm gonna find someone someday who might actually treat me well"

this song is just a little forgettable to me

score: 3/10

points for style, instrumentals, extra points because it doesn't deserve to be rated lower than that's when

favorite line: my mistake, I didn't know to be in love you had to fight to have the upper hand

YOU BELONG WITH ME

ah yes, the pick me anthem. 'tis a bop though

all jokes aside, this song doesn't bother me as much as it does some people. like yes, it's mildly annoying if you think about it too hard, but this is not a song you're meant to think about. just sing, it's a fun song.

and the music video! I love this music video. took me waaay too long to realize the brunette girl was Taylor though.

i also think the bridge is a great part of this song. i will admit it is elevated by the eras tour, but what isn't.

also, if you haven't heard the weird al parody of this song, i would highly recommend it. it's honestly really good, and it highlights the weird sh*t the paparazzi are allowed to get away with

(side note: I am wearing my junior jewels shirt as I review this. I did not plan to do so, but yay. happy accidents, am I right?)

score: 5/10

points for style, bridge, instrumentals, vocals, pretty privilege

favorite line: I'm the one who makes you laugh when you know you're 'bout to cry *clap clap*

BREATHE

i like this song pretty well. I had a little phase with it a year or two ago and I just listened to it and tell me why on repeat. it was awesome, and i'm shocked that I didn't wear this song out.

my dad thinks this song sounds a little whiny. honestly, I don't really see that. I think Taylor sounds pretty nice on this song.

i do kind of forget that there's a feature on this song. I think it would be ok to leave it out, to be honest. everyone talks about Lana on sotb, but no one talks about colbie on breathe.

there's not very much to say about this song. it's pretty repetitive, and that doesn't really bother me on this song, but I do think it will ultimately lower the rating just because there's not very much there.

score: 4/10

points for style, personal bias, verses, instrumentals

favorite line: you're the only thing I know like the back of my hand

TELL ME WHY

this song is filled with absolutely AMAZING lines

"you could write a book on how to ruin someone's perfect day"

"why do you have to put down my dreams so you're the only thing on my mind?"

"why do have to make me feel small so you can feel whole inside?"

just... the entire chorus

if someone wrote this song about me I might actually hide forever.

the actual song itself sounds pretty good. I love when she say temper. every single time without fail, she goes "here's to you and yous tAMPER" and it scratches my brain so perfectly. and just in general, I really like her vocals on this song. I think they sound really nice.

i do find the mean streak line super comedic because I picture thug story, but that's unrelated.

overall, I think this articulates the anger of breaking up with someone pretty well. (I say, never having been in a legitimate relationship)

score: 6/10

points for lyrics, style, chorus, bridge, instrumentals, vocals

favorite line: you could write a book on how to ruin someone's perfect day

YOU'RE NOT SORRY

this one is kind of a skip. I like piano, but it feels kind of out of place on this album. I don't know where it would be better suited-maybe red tv?- but it just feels out of place.

i like the verses pretty well, and the vocals, but my favorite part is probably the instrumentals. it's a really pretty song.

overall it's fine, I guess, but it's just not really it for me most of the time

score: 4/10

points for verses, instrumentals, vocals, and pretty privilege

favorite line: you got your share of secrets and I'm tired of being last to know

THE WAY I LOVED YOU

my dad made a pretty compelling point about this song. he heard it in the car when I played it and said something along the lines of "so she's in a really great relationship and she hates it?" and yes, but I do think he kind of missed the point of the song. to me, it's more about that she just doesn't really feel very much in her current relationship because it is so smooth and reliable. she is saying she felt more when there was that level of uncertainty and she wants that instead of the safety of her current relationship. I think his issue with it is that he doesn't understand that perspective, and so he won't consider it because it seems silly, for lack of a better word.

my opinion on twily is that Taylor doesn't really come off sounding the best on it story wise, but i really love it otherwise. it's such a good song.

and the instrumental? flawless. the line delivery? amazing.

"it's a roller coaster kinda rUuUuUsh" sounds so. good.

i didn't rewatch the lyric video, but in my head the clock in the background is the one from the mastermind video. I don't know if the genius was Taylor or me here, but either way it's pretty cool.

speaking critically for a moment, I do feel like the verses leave a little to be desired. I just feel like i'm always waiting for the chorus, but the buildup is so worth it.

score: 6/10

points for style, personal bias, chorus, instrumentals, vocals, pretty privilege

favorite line: just so frustrating, intoxicating, complicated. got away by some mistake...

FOREVER AND ALWAYS

I love love LOVE this song.

"you looked me in the eyes and told me you. loved. me. were you just kidding?" I LOVE THAT LINE SO MUCHH

also the line "it rains in your bedroom, everything is wrong" makes me think of clean

i can't even think of how to express my love for this song. it's such a banger

i love the change from "when he said" to "when you said" to "when we said"

i go feral over this song

but no matter how much I love this song, I can't deny that it sounds a teensy bit out of place on the album

score: 8/10

points for lyrics, personal bias, chorus, verses, instrumental, vocals, pretty privilege, loopability

favorite line: you looked me in the eyes and told me you. loved. me. were you just kidding?

[icymusicreviews]

TV Girl - Who Really Cares (2016)

Completed January 18th 2024

Recently I have been hearing a lot about TV Girl, mentions of the band are practically inescapable at this point. When the two colors pink and blue are spotted together, you can bet you will see people speaking about TV Girl in the comments. So I decided, why not check out TV Girl and see what the hype is about?

Starting off I really like the album cover, it is clean and very identifiable.

The opening track  Taking what’s not yours opens directly into the chorus with a sound that I can only describe as a 90’s hip hop style. Personally I don’t fully know how I feel about this section, but I don’t think that it is necessarily negative. Moving to the first verse it is again very simple, but the vocals are good, my opinion on the verse is much more clear, and much more positive. I really like the overall sound of the verse. The simplicity is carried on throughout the rest of the verses as well, with the good vocals. Unfortunately for this song, the bridge is just talking over music, which i am honestly not that much of a fan of, but overall I like the song. I will be giving it a 6/10 

Song About Me Again it opens with the 90’s hip-hop vibe, and transitions into the vocals. Which I can’t fully figure out how to describe, but I can say that there is something about them that I really do like. Listening to this song, it has more complex, and slightly more forward lyrics, which works to it’s credit. 7/10

Cigarettes out the window opens almost directly into a story being told through the lyrics. Personally I love when a story is told through lyrics. The bridge seems to be an sample from an old movie or tv show. Overall I like the song, but the outro/bridge does get some points knocked off of it so i would rate it an 8/10

Till You tell me to leave Starting off I’m not a fan of this song because the wording of the title, but that's a personal thing. Anyway so this song is one with a lyric, then it breaks for instrumental then goes back to a lyric, and repeat. I either love these or I hate them, and it all depends on if the instrumental would be good enough to stand on it’s own. Unfortunately this song just can’t. I don’t hate the song by any means, but I doubt that I would ever go out of my way to put it on for me to listen to. And the outro is much like the previous track, and again, I am not a huge fan of that. 5/10

Not Allowed okay again very forwardly sexual. I don't think this song is bad, but it for some reason is almost too busy. I like the sound, but it also confuses my brain because it is slightly too much in my opinion. For a simple song it just has too much going on for it for me. 5/10

(do the) Act like you never met me This song is a bit more upbeat, and again forward lyrically. But I like this song much more than the previous one. I am still unsure why that song sounded like how my brain does when I'm overstimulated but it did. But I am happy to say even with more going on for the song, this one is not that way. Again with the sampling the television and movies. I’m just assuming that it has something to do with their name being tv girl. 7/10

Safeword This song is very simple, almost too simple. One thing that I noticed was the second verse made me think of the doll chorus from shrek. i don’t know how to feel. The third verse gives off the same vibes, but a little less. The chorus is just three words, so the song is very simple but reminded me of shrek so 4/10

For you I was a bit taken aback by children singing to me in the beginning. And was almost as surprised when again the lyrics got very horny. I’m not finding a lot of complexity in this song at all. 4/10

Loving Machine I was pleasantly surprised with a change in how the instrumental sounded. It almost sounds like elevator music but its okay, it is the little victories with this album. I like that it is simple lyrically, but not too simple, it is something that my overthinking ass self could actually ponder about the meaning a bit more than the others. However, I’m not in an elevator, so I would like to not feel like it with the minute-long instrumental at the end. 5/10

Heaven is a bedroom Again with different instrumental style, and I so like it. I’m not as big of the fan of it when the lyrics come in, but I do also like the storytelling style of the lyrics. I did find myself getting a bit bored with the lyrics though if I’m being honest. Especially with the song being a closer, i feel like it should be a bit more memorable. 6/10

Overall I would Rate this album a 6/10 as I would likely not put it on to listen to myself, and I would surely not purchase it on vinyl. 

Mathematically it gets a 5.7

Personally I don’t get all the hype I have been seeing recently. I was a bit disappointed by this album, but I still plan on looking at other TV Girl albums to see if they are good. This album was very horny. That is honestly the only way that I know how to describe it. Like someone help the person that wrote this. Now This doesn’t mean that I dislike forward, or even horny lyrics, but DAMN. 

My favorite song on this album would have to be Cigarettes out the window, while the bottom of my list will have to be Safeword because of the shrek thing. 

If I had to say the three things that stick out about this album it would be 

1 Horny

2 Shrek

3 Simple.

Album Info

2016, 10 tracks, 36:55

Taking What’s Not Yours

Song about me

Cigarettes out the window

Till you tell me to leave

Not Allowed 

(do the) act like you never met me

Safeword

For you

Loving machine

Heaven is a bedroom