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cosmixbun · 3 years

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For those who don’t know the song ‘Hallelujah Money’, it is a song released by the band, ‘Gorillaz’ on the ‘Humanz’ album on January 17, 2017. Or more known as the eve of Donald Trump’s inauguration (keep this in mind, it’s very important.). The majority of the vocals were sung by Benjamin Clementine, the rest of course, was 2-d. The lyrics can be found here, if you want to read them. The music video can be found here. I suggest watching and reading both before really looking into this.

DISCLAIMER: I am not a big music person, I only find music video interest in the Gorillaz music videos. If I say something that you do not believe or have differing opinions, great. This is just what I bring to the table all these years later. There’s plenty more where I come from.

THE VIDEO:

I’m going to explain as best as I can with both parts so bear with me. Again, it would help to watch the video to see the background and the emotions in the video as portrayed by Benjamin. So, in the music video upon opening, we see the only person who will be the center of the whole music video, Benjamin. We see him in a shiny, gold building. This hallway, in the building, is a reference to the Trump Tower and Benjamin is portraying Trump, or at the least his ideals. The background images that are used in the music video are disturbing and can sometimes set an uneasy feeling. I’m not going to go super in depth on each image or video because there’s a lot but you can find the breakdown somewhere. In the music video we see flashes for symbols or things that symbolize power, such as the pyramid with the eye on the back of the US dollar bill (which is said to represent God or the illuminati, so pick one), a cowboy, and even a creepy clown video (not really a ‘power’ in a societal sense, but they affected how we lived for a while.) While the videos and pictures are shown in the back, the lyrics are being said. The majority of the time, the video and pictures have somewhat no connotation to the lyrics being sung. The end of the video ends with a clip of Spongebob screaming and crying, this was taken from the episode called ‘Karate Choppers’ from season one. The clip is right after Mr.Krabs, his boss, tells him that he’s fired. “You’re fired.” is one of Donald Trump’s signature quotes.

THE LYRICS:

Going into the lyrics I will also tie into the things that I had talked about in the music video. The lyrics in the beginning are more of acknowledging that the US is a growing country and that everyone is allowed here, except for `The scarecrows that come from the far east”. Benjamin then sings that to keep them away “Is by building walls, Walls like unicorns In full glory and galore” making a reference to the wall Trump had promised in his campaign that he was going to build. A lot of people in the states were looking forward to this and as it states, it was going to be a big project that would be looked at by many. Benjamin at this time in the music video is calm and collected and seems to be confident in what he is saying. He is also singing his thoughts about the American Dream, and how it is only for the starving, To me, this is saying that the people who don’t have it bad in this country don’t even have to think about the American Dream because they think they are already living it. Those who are struggling to get by everyday dream about the day where they won’t have to get up and wonder what their next meal is or even if they will see next week. Those people have their own dreams about the American Dream. He then thanks the people for trusting him, a reference to the fact that he is going to get inaugurated the next day. I’m going to skip 2-d’s parts for now and skip to the next time Benjamin starts to sing. The next verse that Benjamin sings is ‘Trump’ saying that even though this is how life is, we can’t do much about it, everyone in the world just wants power. We can’t be upset over something that is bound to repeat itself. He even says, “And the whole beasts of nations desire, Power”. In some way or another we want power. Trump definitely understood this and had taken it to a whole new level.

Now going into 2-d’s parts he sings both bridges in the song. In both parts that he sings he is singing directly to Benjamin. He’s asking these questions that we still ask today, “When the morning come, We are still human, How will we know? How will we dream? How will we love? How will we know ?” These questions are from the people and they are asking that if the world is so corrupt, how will we ever be able to love each other if all we can do is fight and argue. The first time 2-d comes to ask these questions, all Benjamin can do is listen. 2-d sits in Benjamin’s silhouette and Benjamin stays still. The second time he sings the same lyrics, Benjamin seems uneasy and worried, scared, and fearful. Benjamin’s hands are shaking and the book he’s holding, he is weary about. The music becomes more, ‘anxiety filled’. Then not too long after 2-d is done, Benjamin goes back to normal. Symbolizing that in his campaign and unknowingly, the years to come, he was going to be questioned and under heavy watch because not only was he a public figure, but a lot of allegations and scandals came up about him. In the same moment, he starts to sing, “Hallelujah Money” and rub his hands together in a way that you would say money, with your thumb, pointer, and middle finger. This was then showing that even after all of that, he still had support and his fame, all the efforts did nothing to him. He wasn't phased by a single thing that came towards him.

MY THOUGHTS:

So what are my thoughts on this music video? Three words.

Absolutely.

Fucking.

Incredible.

This music video was not only amazingly made, but Benjamin did the entire music video in one take. But coming away from that, the message that this brings to the table about how the former president saw the American Dream? How he felt about power and wealth? I think it captured it perfectly. The imagery that was used in the back of the video is stunning. The way they used the analogies in this was so intricate, but it worked and fit so well. The way that they went into it and went, ‘Ya know what. Let’s give it to em’.’ My absolute favorite part of this was the lines used to describe the different sides of the American Dream. The way they also used the tree analogy in the beginning to describe the idea of western prosperity just really sold it for me. The way this song was produced and how it sounds like a choir is singing with Benjamin to me is just the opinions of the people who agree with Trump and his ideals and them being like, ‘yeah, for the money.’ The kind of tone that song has is kind of 'rejoiceful' but having that hint of that ‘uneasiness’ that I had mentioned earlier. It just makes you think that it’s a normal Gorillaz song. The entire song is just powerful to me and after seeing it once again and hearing the song once again, and celebrating 4 years of the album...My appreciation only grows for it.

That’s pretty much it but I would like to close out with a quote from none other than Murdoc Niccals himself:

"In these dark times, we all need someone to look up to. That's why I'm giving you this new Gorillaz song, a lighting bolt of truth in a black night. You're welcome."

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ace-of-sspades · 4 years

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A ranked top ten list of my favorite Bastille Covers/Live performances/and OPH stuff:

Basically a compiled list of stuff I’ve found over the course of 5 years of binge watching Bastille content on YouTube as a coping mechanism. Most of it is like super popular, some of it is less known, all of it I’m unhealthy obsessed with.

Edit: Heres a link to a playlist with all the songs (and the part two (in the reblogs)). Original had each song linked but it got my blog flagged.

10. Flaws (Abby Road)- I’m so torn about this slot because I had so many options, but ultimately I chose this rendition of flaws. Flaws is such an emotion filled song and Dans voice really carries that in this performance. The strings are also a really nice touch.

9. The Driver- By far this is my favorite OPH pt III song. It’s very one of their heavier songs (lyrically and with the guitar) and it’s a masterpiece. It says something about the subtlety of the lyrics that I could get it was about Romeo and Juliet (at least partially) without any lyrics explicitly stating that.

8. bad_news (stripped)- This song has also gotten me though some shit, I love the released version but this sound check is literally heart wrenching. I love Wills addition too and Dans voice the smoothest thing ever in this. It’s addictive to watch I stg.

7. Locked Out Of Heaven- The comments on this video are always a trip, but this is a very good rendition of a song I never really liked before I heard this. It’s gotten me though some heart break I’ll just say that.

6. Walk to Oblivion- This is so damn good. And it got me recently obsessed with OPH pt. II. It’s literally like a march to hell in 2 minutes. I love the bit with Ralph but OhMyGod the part when the armor clanking sound and Dan just waling the chores to Oblivion is so haunting, also the backing vocals and the whispering/chanting is equally haunting. I just wish it lasted more than 50ish seconds.

5. Fake It (Reorchestrated)- This is by far my favorite reorchestrated piece. Something about is is very cathartic to listen too. The choir and orchestra add so much, I love the enthusiasm of the conductor and the lady who starts the song off (I believe her name is Bim) is so talented. The audio might be off in this video, I can’t tell if it’s the video or my dumb phone.

4. Anyone But Me X Nightmares- This cover/mashup came out this summer and it was all I could listen too for weeks. It’s amazing, and I’m a big fan of the voice effect used for part of it. Also this is another example of Dan “I hate being the center of attention” Smith totally rocking the spotlight but the real showstopper is Charlie especially around 2:45 in the video 10/10 would recommend.

3. No Angels (Through the Years)- This is a super popular cover of theirs from OPH pt II. And I’m in love with it, especially the versions with the full quote from psycho. This particular video is a little choppy, it’s a fan edit of their live performances of this song thought the years and while it’s not the best way to hear the song for the first time it’s supprisingly well done and it’s really cool to see the progression.

2. Choices- It’s hard to put into words the way I feel about this song. It one has a ton of tallented artists on it, and it’s by To Kill A King but I love Dan and Wills contribution to this version and it’s one of the most nostalgic experience, and I always have it playing on repeat in the late summer/fall because it has those vibes. It’s over all amazing 10/10

1. Blame (Vevo Presents)- Okay these top 3 were really hard to order but ultimately Blame is my favorite song off of Wild World and this is my favorite version of it. Also I found it very recently so I am very obsessed currently. I highly recommend all of the WW VEVO Presents stuff (Send Them Off! Is also excellent). Their sound is very crisp and recorded well in this one, and the video is so so spectacular. Especially the last 30 seconds, it’s a total mindfuck (warning for lots of flashing lights)

There it is, I hope this is helpful to someone. I mean I’m in love with all of these and it sucks that it took me so long to stumble upon some of them. In my opinion what makes Bastille so versitial, interesting, and over all just great is their ability to transform old songs/concepts into something new and I hope this is a way to celebrate that. If you’re a fan and you haven’t checked some of these out I highly recommend it, and if you have no clue what I’m talking about maybe you’ll find your new favorite band. Who knows, but yeah, cheers

#bastille cover #other people’s heartache #bad blood #wild world #doom days #dan smith #kyle simmons #will farquarson #chris wood #song analysis #covers #playlist #bastille

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justkindaoverhereobsessing · 4 years

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the stars always make me laugh (1/4)

Now complete! Here is chapter 2, chapter 3, chapter 4, and the epilogue.

A year to the day after Ziva departs D.C. to return to Paris and reunite with her family, her newfound contentment is shaken by an unexpected loss. Tony and Tali are right where they belong—safely by her side—but she still finds herself feeling drawn to reflect on the past. She might just be able to use this new grief to bring peace to old wounds, renewing hope along the way for a future with her family... but only if she can find a way to let go of what haunts her.

Written as a combined response to two different challenge prompts; also available for reading on ff and AO3. This is angsty but will ultimately be soft.

_________________________

"And when your sorrow is comforted (time soothes all sorrows) you will be content that you have known me. You will always be my friend. You will want to laugh with me. And you will sometimes open your window, so, for that pleasure… And your friends will be properly astonished to see you laughing as you look up at the sky! Then you will say to them, 'Yes, the stars always make me laugh!'"

—Antoine de Saint-Exupéry, The Little Prince

_________________________

January 7th, 2021

It's a Thursday morning when Tony gets the call.

He's working from home today, and he's nearing the end of a video conference when his phone buzzes—he looks down to check it and sees his favorite unflattering photo of Tim McGee on the screen. Paris is six hours ahead of Washington, where McGee presumably still is, which makes it… hmm. It's four in the morning there. He's probably not reaching out for a casual chat, then.

Something tells him to take the call.

"Sorry to be rude," Tony says quickly in French, looking back at his computer screen, "but there's an emergency I have to deal with. Let's go ahead and wrap this up for today and we'll talk progress next week, same time as usual—Félix, go ahead and email me that report, if you can. I'll check in when I'm back at the office tomorrow. Have a good morning, all of you."

Then he abruptly ends the conference; he cares very little if he comes across as impolite, because his thoroughly French team has always seen him as a hopelessly crass American anyway.

Tony hits a button on his cell, catching the call just before it would have gone to voicemail. "Why, if it isn't Tim-Tim-Timothy McGee!" he cries, jovial as usual even though he's a little apprehensive about the nature of the unexpected conversation. "What can I do for you?"

"Hey, Tony." McGee sounds tired, which is little wonder given the time difference. "Do you have a moment to talk?"

"Sure," Tony agrees, dropping the slightly mocking enthusiasm from his tone. "What's up?"

"I don't know how to tell you this, so I'm just going to say it, okay?"

"...okay."

"There was an accident last night, and—"

"Who?" Tony can read between the lines—he doesn't have to hear the word "death" to understand that someone he knows has passed away.

"It was Ducky."

_________________________

Tony is on the phone with McGee for another fifteen minutes, getting all the details and committing them to memory as best as he can through his slight haze of shock. Though Ducky had always been the oldest member of their team and clearly couldn't live forever, he had seemed… invincible, somehow. He was an institution, something timeless and never-ending.

Of course, that had been an illusion, but still, it's strange to know that the vibrant old man is now just…

Gone.

The rest of the workday is spent processing all of this new information and making preparations. Tony can't imagine a world in which they wouldn't fly back to the States to attend the funeral, and though he hasn't yet talked to Ziva about it, he feels fairly comfortable arranging emergency bereavement leave from work and informing Tali's school that she'll be out next week.

Near the end of the call, McGee had asked if Tony wanted him to call Ziva, too, or if Tony wanted to tell her himself. Tony's answer was immediate: he knew without needing to stop and consider that telling Ziva in person would be the right thing to do.

It doesn't matter how much he hates having to give bad news.

Tony intends to do it tonight, once his wife is home from work… she has experienced too much loss in her life for him to be anything less than absolutely gentle in telling her about their old friend. There's no need to make it harder than it needs to be; an impersonal phone call across the Atlantic may have been an inevitability for Tony himself, but now that he knows, he wants to be there to hold Ziva's hand when she finds out, too.

He would give anything to spare her from as much pain as possible, and while he can't do much, he can do this.

Fortunately, the timing of McGee's call is decent—Tali has choir practice after school today, effectively speeding up the rest of the evening's schedule. By the time Ziva gets home, it'll nearly be dinner time, and bedtime will follow shortly after.

Tony doesn't want to delay giving Ziva the news, but he thinks it best to wait until Tali is safely tucked away. That way, they don't have to worry about putting on happy faces to keep from scaring her.

_________________________

As soon as Ziva walks in the door, she can tell that something is wrong. Tony looks tired or sad, or maybe both. He kisses her in greeting as usual, though, and when she gives him a questioning look, he answers with an almost imperceptible shake of his head. Later, she understands that to mean.

Ziva is concerned, but she trusts him.

Still, Tony seems eager to rush through Tali's evening routine, telling Ziva her unsettled feeling isn't merely a product of her typical anxiety… she's right, and something has happened or is happening still.

If she was Gibbs, she'd claim a gut feeling.

"Tony, is everything alright?" Ziva asks in a low, tense voice once Tali's bedroom door is shut for the night.

Tony shakes his head. "Let's go sit," he answers softly.

He leads her to the couch and she sits next to him automatically, her heart starting to race in a horribly familiar way. "Please just tell me, whatever it is," she murmurs anxiously.

Tony takes her hand. "Alright." His voice is gentle. "Just don't forget to breathe, Ziva, okay? I got a call from McGee today, and he had some bad news. Ducky was in an accident last night… he passed away this morning."

Ziva's pulse is thudding in her ears, and she focuses on the grounding anchor of Tony's hand on hers as she tries to internalize what he just told her. "An accident?" she echoes, sounding distant even to herself.

"Yeah…" Tony shakes his head and unexpectedly gives a quiet, incredulous laugh. The sound pulls Ziva out of her head a little, and she makes a conscious effort to squeeze his hand back as she waits for details.

He gives her a warm smile, recognizing the gesture.

"Honestly, it was the 'Duckiest' way that he could have died, I think," Tony explains. "He had apparently been out in Newfoundland exploring some continental fault thing, and on the way back, his plane hit some bad weather and ended up crashing. Palmer says it was very quick—Ducky never would have felt a thing."

Ziva nods, slightly faint but quickly getting over her shock. With any luck, she'll avoid a full-blown anxiety attack; the frequency of the attacks has decreased since she reunited with her family a year ago, but they'll always be a threat that she has to be prepared for.

Tony seems to understand that she's not quite ready to talk yet, so he keeps going. "There are worse ways to go, for sure, and I think Ducky would have wanted to spend his last minutes just as he did: coming from from an adventure in a tiny two-seater Bonanza. You know what I mean?"

"Yes… yes, I am sure you are right," she agrees, her voice steadier.

"I'm really glad that we got to see him recently, too. We had a good time, didn't we?"

"We did." A few months back, Ducky'd had a daylong layover in Paris on a trip to a remote area of Siberia, and they'd spent a very fun day showing him around the city. Their daughter had warmed to him quickly, which was hardly surprising.

"Hopefully Tali was old enough that she'll remember it, I think."

"Yes."

Tony pauses, and with his free hand, he reaches up to briefly caress his wife's cheek. "Are you alright?" he questions, concerned. "You're not saying much. I don't want you to pass out on me."

"I am—" Ziva stops in the middle of her sentence and takes two deep breaths. She had nearly said 'fine,’ but she's not, is she?

Ziva likes to think that she can be open and honest with Tony these days, as much as a lifetime of trials has given her the impulse to keep things to herself. The fact that Tony waits patiently for her to finish rather than interrupting tells her that she's right—she shouldn't shut him out.

Finally coming to a decision, she shakes her head. "No."

Tony nods. "I thought that might be the case."

"Are you?"

"Alright?"

"Yes."

"No. No, I'm really not. But I will be."

Tony's words suddenly pull a memory to the forefront of Ziva's mind, and she tilts her head for a moment, considering something.

Tony waits, a slight frown furrowing his brow.

"Come," Ziva decides finally. "There is something that I want to show you."

_________________________

A few minutes later, a bemused Tony watches from the doorway as Ziva digs determinedly through a box in the back of their bedroom closet. He knows what's in that box, and he knows that several identical boxes stacked neatly in the corner contain more of the same: Ziva's old journals from NCIS, dozens of them thoughtfully shipped to Paris by Ellie Bishop.

"Are you looking for one in particular?"

"Yes," Ziva answers, but she doesn't explain any further. After a few more seconds, she makes a noise of triumph and rises with one of the journals in hand.

"Found it?"

"I did."

She leads him back to the bedroom and sits on the bed, inviting him to sit next to her; Tony is relieved to see that while she definitely looks pained and tired, there are no obvious signs of an impending anxiety attack.

Once they're settled, Ziva gently—almost lovingly—pats the cover of the thin book. "This is one of my journals from late 2009 until early 2010."

"That's—"

"Shortly after I was rescued from the desert, yes."

Tony nods; it's not his favorite time to think about, and he knows it can't be for Ziva, either—so why did she pull this notebook in particular from the dozens of identical ones chronicling her experiences?

"Ducky was… helpful to me, in the aftermath of my rescue."

"He was?" Tony interjects in surprise. "You've never talked about that before."

"It is not a subject that I deeply enjoy discussing, something I am sure you can understand."

"Sure."

"Well, because I believe that sharing this memory will honor Ducky, I would like to tell you more about what he did for me."

"Are you sure?"

Ziva nods, and she keeps the journal clutched lovingly in one hand as she reaches over to lay a hand on Tony's thigh. "It has been a long time, and I think I am ready." She offers a smile—it's small and watery, but it's very sincere, and something about it makes Tony's own eyes start to sting.

He's been too busy to cry today, but he knows it's coming sooner or later. Ducky had been family for a very long time, and with this on top of that loss...

"Okay," he agrees roughly, clearing his throat. "Take it away. I'm all ears."

Ziva squeezes his thigh and then pulls her hand away, glancing down at the journal; this one will always be one she cares for above its brethren, because its painful content reminds her of how much she has overcome.

After a pause, Ziva opens it carefully.

Then, her voice surprisingly steady, she starts to read.

_________________________

January 7th, 2010

There is a reason that I have not penned an entry in quite some time; I have walked a difficult road these past months. Today, however, I was offered a comfort that I had not previously possessed the courage to ask for. If I have any hope of sorting through my own thoughts on the matter, though, I need to reconsider earlier events.

Before returning to Mossad more than half a year ago, I was faced with a dilemma that I had successfully avoided in my career before that point—that is, the dilemma of who to trust and who to side with when personal and professional obligations become hopelessly conflicted. I have already written at length about the choices I and the others made in the midst of that conflict.

Much has happened since then, but recent forced introspection has shown me an important connection between the difficulties of Michael's death and the horrors I endured after: a connection between who I was then and who I am now. That night, it only took a few minutes to change the course of my life: in that time, Tony and Michael fought, and Michael was killed. Every single one of us has had to deal with the consequences of those events ever since.

At the time, I let my anger and my grief consume me, destroying all vestiges of rationality in my thoughts and decisions. I followed that pain to the Horn of Africa, hurting and reckless and prepared for death.

Of course, I did not die, and that has brought consequences of its own… consequences that I am only now beginning to come to terms with.

In the wake of Michael's death and doubly so in the wake of my experiences in the desert camp, I found myself vulnerable. For the first time in my life, I'd been forced to acknowledge my heart and acknowledge its fragility. It could be bruised. It could humiliate me. These were things that frightened me, because I knew from recent experience that they could—and likely would—be used against me. My fear led me to withdraw, to hide again; acknowledging my own weakness demanded far less bravery than I would have needed to share that vulnerability with my friends.

I defaulted to an old defense mechanism. I leaned on ability borne of long experience to simply feign contentment. I passed my psychological evaluations, I sent my resignation to Abba, and against all odds, I was instated as a probationary special agent at NCIS. After a time, my colleagues stopped watching me when they thought I could not see, waiting for me to fall apart. I had convinced them that I was alright; perhaps I even convinced myself some of the time, too. Maybe I was not yet as 'fine' as I seemed to be, but I was sure that in time, I would reach a point where my conscience felt as carefree as my forced smile looked to those who loved me.

Darkness, however, is difficult to chase away with one single flickering candle, lit only by the flame of my own exhausted determination. My candle burned low, worn down over time, and I found myself in need of help. I alone could not summon the light that had long since fled my tired soul.

Though I did not know to whom I should turn, fate helped a friend to find me. It was—of all people—Ducky. In many ways, he is something of a saba* to me, the kind that I wished for as a child. Even so, I would not have thought to seek him out as a confidant. I see now how remiss I was in taking him for granted as I have sometimes done. It turns out that he was just who I needed.

He found me this evening in the midst of… I do not know how to define what I was feeling. I can only say that I was lost in a moment of weakness. At the time, being seen that way was humiliating, but now, several hours later, it feels serendipitous.

Ducky and I spoke quite candidly then… I will not record the details of the conversation here, because I feel in no danger of forgetting what was said. I am confident, however, that today marks something of a new beginning for me. There is still so much to sort through and process, but the shadows already feel less dim.

Today, I invited a friend to see my darkness, and despite what he saw, he did not pity me; he only held my hand and lit another candle.

_________________________

*saba = "grandfather" in Hebrew

#ncis fanfiction #tiva #tivali #tony dinozzo #ziva david #tali david-dinozzo #ducky mallard #timothy mcgee #cynthia writes stuff too #this is for two more biscuits challenges that i got way too committed to lol #parts two through four are already planned out and half written #they'll be posted shortly #hurt/comfort #angst but ultimately soft

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brokenbuttonsmusic · 4 years

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Laura Cantrell: Nashville-born, New York-based, Acclaimed Country Singer-Songwriter & DJ (& Kitty Wells Fanatic)

This post is a near- transcript of the Broken Buttons: Buried Treasure Music podcast (episode 2, side B). Here you’ll find the narration from the segment featuring the pioneering rock band Fanny, along with links, videos, photos and references for the episode.

Listen to the full episode on Spotify, Anchor or Mixcloud.

Music blog Stereogum used to have a running feature called “Quit Your Day Job” where they interviewed indie musicians about their current or former jobs. There was one with Marty and Drew from the band Blitzen Trapper. The two discussed being torn about walking away from teaching as their third album, Wild Mountain Nation, was starting to blow up. There was another where the lead singer of War on Drugs detailed some of the disgusting things he had to clean up while working as an apartment property manager. Mostly dead rats and clogged toilet stuff, but he did walk into an apartment that had been converted into a porno set. I remembered this discontinued “musician day job” feature while reading up on my next featured artist and it got me thinking.

How many professional musicians do you think have a full time day job? How many juggle multiple side gigs and still manage to tour and put out records regularly? How many have really successful careers all while trying to make it as a musician?

I don’t actually know. I did some research and there aren’t any reliable stats that I could find. There is a lot of anecdotal discussion on the topic. The consensus seems to be that most musicians are not getting by with music as their only, or even their primary source of income. I don’t think anyone is surprised by that.

One Reddit user said less than 5% of musicians derive all or most of their income from music. He didn’t offer a source or anything, but he seemed very authoritative in his post. And then after a few more Google searches I lost interest and listened to more Laura Cantrell.

Laura Cantrell’s story is what got me pondering how indie musicians go about juggling making art with the necessity of, you know, making a living to survive. In 2003, after two critically acclaimed albums, including a tour opening for Elvis Costello all across the United States and Europe, Cantrell was at a similar crossroads. Laura had risen to the position of Vice President of Equity Research at Bank of America in New York. Yes, you heard me right. Laura Cantrell was working as a corporate executive and touring with Elvis Costello at the same time. She actively worked on the road during the day and then performed for thousands of people each night.

Before we get further into what led up to this point and what came after, let’s hear a song from Laura Cantrell’s debut album, Not the Tremblin’ Kind. Here’s the title track.

youtube

That was Not the Tremblin’ Kind from Laura Cantrell’s first album back in the year 2000.

Laura grew up in Nashville. She played a little bit of piano and sang in the church choir, but did not get into performing music and playing out until her college years. As a teenager she worked at the Country Music Hall of Fame as a tour guide. This job, in addition to the influence of the diverse musical tastes of her parents, sparked an interest in traditional music, particularly classic country. She also became somewhat of an aficionado in this area.

This love and knowledge of the early days of country music would help differentiate Laura as she honed her sound and selected her songs while developing as a performer down the road. Before that, however, it would make her an excellent college radio DJ and later an even more excellent DJ at WFMU, one of the best and longest running free-form radio stations in the country. Out of the New Jersey/New York area, WFMU is awesome to this day, with a wide array of programming where DJs still get to play whatever they want.

Laura is my favorite kind of DJ, and the kind that has been dwindling in numbers since the rise of music downloads, which then gave way to streaming and endless algorithms. First off, she’s knows her stuff. She carefully curates each shows, and thoughtfully sequences each set within every episode. She packs in history, context and story to create something that transcends your typical weekend-afternoon-background-radio-soundtrack. I know this show is about under appreciated bands and artists, but Laura Cantrell’s contributions to radio deserve to be heard by more people. You can find her past WFMU shows, called The Radio Thrift Shop, archived on the WFMU website. You can hear her present day on her “States of Country” radio show on the Gimmie Country radio app, or on her SiriusXM George Harrison themed show “Dark House Radio,” on The Beatles station.

This concludes the part of the show where I babble my enthusiastic endorsement of Laura Cantrell’s past and present radio career.

Laura began playing music with others in college at Columbia University. Her jam pals included Andrew Webster, future member of Tsunami Bomb and Mac McCaughan, who would go on to form Superchunk and Portastatic + found Merge Records. The friends would call their band Bricks. A lo-fi, mostly apartment recording projects that played sporadic gigs over the years.

Here’s the Brick’s song, The Girl with the Carrot Skin.

Living in New York, Laura began playing guitar and writing her own songs. She also plucked some choice classic country finds and incorporated them into her own performance catalog. One day she met a guy named John who asked her to sing on a song that would appear on his band’s next major label release for Elektra.

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That’s The Guitar from They Might Be Giant’s 1992 album, Apollo 18. John Flansburgh asked Laura to sing on that recording. It was the first time Laura recorded in a professional studio. John Flansburgh became a fan of Laura’s music and released her first recorded material as part of his Hello CD of the Month Club, an EP called The Hello Recordings in 1996.

Let’s hear another Laura Cantrell song. This time one that she wrote with Amy Allison. From Laura Cantrell’s 2014 album, No Way There From Here, this is All the Girls are Complicated.

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That was Laura Cantrell with All the Girls Are Complicated from her last full length release, No Way There From Here. Actually, that was her last full album of new material, but Laura did release an album a few years back of her BBC recordings on John Peel’s radio show. That album is called At the BBC: On Air Performances and Recordings 2000-2005.

I mentioned earlier that Peel was a big fan. Again, here’s John Peel’s full quote about Laura’s first album, Not the Tremblin’ Kind: "[It is] my favourite record of the last ten years and possibly my life.” Having the endorsement of the legendary English disc jockey was enough to give Cantrell wider exposer throughout the UK. She developed a loyal fanbase through regular appearances on Peel’s show, as well as US and European tours, including the opening slot for Elvis Costello. Which brings us back to Laura’s fork in the road. Before her third album, Laura decided to walk away from the corporate gig. She was excited to focus on music full time, but a little worried about walking away from the security of a successful career she liked and position she was good at.

From a spotlight CNN Business did on Cantrell in 2004:

“For several months until she finally quit, Cantrell balanced her day job with a growing schedule of rehearsals, gigs, recordings and publicity. On the day she appeared on the Conan O'Brien show she was at her desk until lunchtime.”

“And while life as a professional musician is a dream come true, Cantrell still looks back with fondness on more than a decade on Wall Street.”

“‘I came into Wall Street with a very typical kind of stereotype that it was all going to be people just obsessed with money. What I found was that there were just loads of interesting people who were a lot like myself, just doing it as a job and who had lives that were full of other things.’

‘So I miss some of the contact with people I met. Ironically it was a very supportive environment for me as an artist.’”

Laura’s first two albums were released on the the indie label Diesel Only, which was founded by her husband, Jeremey Tepper. Her third album was released by Matador Records, also an indie label, but with an impressive roster that included Liz Phair, Modest Mouse, Pavement and Sleater-Kinney. Released in 2005, Humming By the Flowered Vine continues Cantrell’s classic country sound, but with some evolved production and arrangements. Laura’s mastery as a song selector gets more and more impressive. This album includes a cover of a rare, unreleased Lucinda Williams song form 1975 called, “Letters.”

In fact, Lucinda Williams herself was thoroughly impressed with Laura’s cover of “Letters.” She attributes the cover to bolstering her confidence to go back through her earlier material and look for her own buried treasures.

From Blurt Magazine:

“The inspiration for her journey through the past struck when she heard Laura Cantrell’s version of her song ‘Letters,’ which Williams wrote around 1975 and recorded on a demo but never officially released. Explains Williams, ‘She got a copy from a mutual friend and did a beautiful, really sweet version of it that made me think wow, she brought this early song back to life, maybe I should go back and review some of my old stuff. I’ve got all these tapes of old little songs, but I never thought they were good enough to do anything with.’”

You know you’re an ace at finding under appreciated gems when you surprise Lucinda Williams by helping her discover one of her own songs. Let’s hear Laura Cantrell’s version of Letters.

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That was Laura Cantrell with Letters from her 2005 release Humming by the Flowered Vine.

In 2008, Laura returned with an EP called, Trains and Boats and Planes with 9 songs about… trains, and boats and planes. It’s very good and it includes a fun cover of New Order’s Love Vigilantes.

Throughout this time, Laura continued her radio show. She also started a family and became co-owner and co-operator of Diesel Only Records.

In this clip from an interview with Face Culture, you can really hear Laura’s passion for country music and its roots. She talks about the importance of country’s influence on rock n’ roll, and how each artist is inspired by something great that came before.

And Laura continuously pays tribute to the greats that came before through her radio show and on her own records. In 2011, Laura released a tribute to Kitty Wells called “Kitty Wells Dresses: Songs of the Queen of Country Music.” The collection includes nine Kitty Wells covers and one original, the title track, Kitty Wells Dresses.

From the Washington Post:

Here’s Laura talking about the inspiration for the album.

“Kitty wore very typical stage clothes for women who performed at barn dances and in early country music shows,” says Cantrell, a Nashville-born, New York-based country singer and host of an old-time music show on the legendary radio station WFMU.

“They were these frilly gingham dresses, non-threatening and cutesy. It became this uniform that all the women of the era wore, and I always thought it was a great metaphor for how you can underestimate the strength of the person or the value of the artist underneath.”

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That was the song Kitty Wells Dresses from Laura Cantrell’s tribute album of the same name, released in 2011. Wells was the oldest living member of the Country Music Hall of Fame upon its release. She was also the first woman inducted into the hall. Cantrell met and talked to Kitty about her album. She said that Kitty asked which songs were selected and as Laura began calling them out, Kitty would sing each one.

I’ve mentioned all of Laura’s past and present DJ efforts, all of which I’ll link to on my website, brokenbuttons.com. Laura also continues to release music. She had planned a host of special activities for the 20th anniversary of Not the Tremblin’ Kind, which had to be put on hold due to all things 2020.

You can contribute to Laura’s IndigGoGo campaign to help fund her new digital singles collection that she’s already started releasing. The plan is to release six singles with an A and a B side, all working with different musicians and producers. I’d recommend the $50 Kitty Wells Dresses Pack, which gets you access to the digital singles as their released, a signed CD copy of both the singles collection and the Kitty Wells Dresses album, as well as a copy of Laura's essay on Kitty and Patsy Cline from the book "Rock and Roll Cage Match: Music's Greatest Rivalries"

Laura Cantrell is the rare performer whose work is deeply rooted in its original source material while still feeling fresh and exciting. Laura’s radio shows can be described the same way. A buried treasure unearthing buried treasure and taking the old and classic and making it new and lasting and so much sweeter. Laura Cantrell.

References and other stuff to check out:

Laura’s Indiegogo campaign for her digital singles series

The Radio Thrift Shop - Laura’s prior radio show. You can stream past episodes and check out her playlists

Gimmie Country, where Laura hosts her current show States of Country. New episodes air 3:00 Monday EST. Laura chats during the show with listeners in the app.

Darkhorse Radio on Sirius XM. Laura’s other show dedicated to George Harrison. New episodes air Thursday at 3:00.

John Peel wiki entry about Laura

TMBG wiki entry about Laura

A Wall Street journal feature on Laura

An NPR feature on Laura

A CNN Business Week feature on Laura

Stereogum archive of the Quit Your Day Job feature

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a-silent-symphony · 4 years

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THERION Drops Music Video For 'Tuonela' Feat. Ex-NIGHTWISH Bassist/Vocalist MARKO HIETALA

Sweden's symphonic metal pioneers THERION have released the official music video for the song "Tuonela". The track, which features a guest appearance by former NIGHTWISH singer and bassist Marko "Marco" Hietala on vocals, is taken from the band's 17th studio album, "Leviathan", which arrives today (January 22) via Nuclear Blast.

THERION mastermind Christofer Johnsson comments: "Like everyone else, I'm very sad and was also surprised to read that Marko is leaving NIGHTWISH. But I understand the meaning of his reasons and there are many that are frustrated about the same things. But Marko has been active as a professional recording artist with various quality bands since the mid-'80s, so I am absolutely sure we will see his return to the scene in time. He is simply too good to not be involved with music. But right now I hope he will take a good amount of time to just find himself and get the full energy and inspiration back on track."

Balancing ominous atmosphere and powerful, seducing chants, "Leviathan" succeeds in virtually conjuring the mythical sea creature the song has borrowed its name from.

THERION has always been a band that challenged itself to explore new paths, while remaining true to its musical core values. For its 17th studio album, "Leviathan", Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore," explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood", among other classic metal albums. At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness..." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface.

The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length "Beyond Sanctorum" (1992). With "Symphony Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards. With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the '90s — among such acts as their compatriots TIAMAT, THE GATHERING and MOONSPELL that were often referred to as "gothic metal" at the time.

THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq - Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs. While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th-anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998).

When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan", named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION has created a giant hit album — and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band.

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#Marko Hietala #NW members side projects #Therion

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tomorrow-human · 4 years

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MY THOUGHTS ON iDKHOW'S ALBUM DEBUT: RAZZMATAZZ

So I DON'T KNOW HOW BUT THEY FOUND ME have just released RAZZMATAZZ today and heres what I think...

[SIDE A]

¹LEAVE ME ALONE:

A bombastic opening track. Was released in the beginning of August...? Probably? This song just SCREAMS at you with retro futuristic funkiness. It has 8-bity flourishes in the instrumentation and seems to be maybe talking to the same person as Choke (from 1981 E.P.) and the title track Razzmatazz have been (or maybe a separate entity as suggested by the vinyl booklet and Indoctoration?).

Anyway, fantastic track, great opener, and nice mood-setter.

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²INDOCTORATION:

It's... eerie. It's not a song in the same sense as Leave Me Alone, despite having a wobbly backing track. It's a spoken interlude that seems to be initiating you into Tellex maybe? It yet again mentions the White Shadows that will be overseeing your progress with Tellex. It seems oddly nostalgic for some reason. That's strange. Overall, solid little piece of lore building that really reinforces the concept aspects.

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³MAD IQs:

It's the first song from this album that wasn't released as a single and it made my jaw literally drop. It has a similar lyrical and vocal structure to the opener and New Invention, but what I like is how much they were able to do with it, though it makes you wonder about how far apart these songs were written; but In the context of the albums concept and the Tellex stuff however, it could be interpreted as a corporate decision, this repetition. The minimal instrumentation in the verses with Ryan's sturdy drumming and Dallon's bassline makes me go fucking bananas. It's so fucking great and full of this punchy energy. And the HARMONIES. YES. "Voluntary victim~" "I'm burning~ in your mad IQs" SIR STOP BEING SO VOCALLY TALENTED. Also I think i heard him shriek right before the bridge which? Snazzy. So Mad IQs, energetic track, filled with more of iDKHOWs signature darkness.

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⁴NOBODY LIKE THE OPENING BAND:

Ah yes, Opening Band. Ironic considering how often iDKHOW are the opening band, but I'm sure that's obvious, seeing how they usually sing this one at the start of their gigs. It was actually (I think) the first or second song I didn't know how but found through youtube so I might be pretty biased here. It's a sweet sounding change of pace with the instrumentation being made up of only the piano and tambourine that tells of a typical opening band, that no ones ever heard before and likely will never hear again, via a sympathetic narrator with a hint of the typical iDKHOW teasing. In all honesty, it would've worked better as the album opener, which then could've been followed by Leave Me Alone, but it's a nice change of pace overall.

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⁵NEW INVENTION:

I already reviewed this song on my other blog right here so imma keep this brief. It shares similar aspects to Leave Me Alone, with the music video concept and song structure, but It manages to darken the narrative, and the choir-esq harmonies sound like ultra bright neon lights that only push this mood further. It still is a magnificent song and by far one of my favourites in the album.

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⁶IN THE GALLOWS:

MASSIVE SHIFT IN STYLE HOLY FUCKOLY-. The track opens with a very cutesy old timey little piano intro and starts the verse with a little funny beat. If you don't listen to the lyrics, it sounds like a silly little oldie song. But as we all know, iDKHOW doesn't do silly. The lines "For you, I'd die▪︎Or kill myself▪︎which ever makes you smile," From just the first verse are a prime example of this. The narrators murderous and suicidal intentions have clouded the romantic attraction into obsession- And I kinda like that, in a poetic way. The chorus is a standout, with the calm start to the explosion in the line "I'd swing from the gallows and wave" that just swings at you with a baseball bat to the chest. Oh, and the sax solo? Magnificent. This whole song is a chefs kiss from me.

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⁷CLUSTERHUG:

I love the lyrics of this song the most of it all. It sounds like a rebellious teenager wrote it after thinking about how shit their hometown is and wanting to get out. It also incorporates how much the narrator would want to do all this with their crush, adding that slightly goofy and pretend-aloof chorus of "only if you'd like me to I could fall in love with you" as if they weren't already in love or at least that's how I see it. The vibe of this song is more pop-y than the rest of the album, but that's more likely because it was repurposed for Razzmatazz after being originally written for The Brobecks, their older band. It's a nice little tune :).

[SIDE B]

⁸SUGAR PILLS:

This. Will. Get. Stuck. In. Your. Head- and. You. Will. Like. It. Basically, just seems like a song about drugs that, for some reason, reminds me of Gorillaz (who I dont even listen to). But the BASSLINE AGAIN- Jesus help me live. It has more of that energy we saw with the first few tracks and adds even more electronic elements. It's probably my second favourite song from this album that's not a single because of how fun the chorus sounds. What else can I say? I can just imagine myself bopping to this in the car screaming 'SUGAR SUGAR SUGAR PILLS' On a hot day.

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⁹KISS GOODNIGHT:

It's so sweet 🥺. It's one of those songs I could imagine a character in a movie singing to someone from a stage. If you want pretty song vibes just listen to it. Because it is a pretty song. And that's all I have to say on it. Now allow me to take a moment and shove it into my pretty song playlist that acts like my personal lullaby machine.

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¹⁰LIGHTS GO DOWN:

Yes. F u n k y. Give me that sweet sweet disco energy, thank you. It's just filled with all these *☆~blingy and sparkly~☆* effects, and, combined with the drumming, the result is just glorious. The best part of this song is in my opinion the bridge where it goes darker lyrically and in sound that just naturally slides into another funky-ass sax solo. I can definitely see myself dancing to this at a party and then in later years growing nostalgic for those days.

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¹¹NEED YOU HERE:

It's supposed to be happy in tone and hopeful slightly but it just makes me sad. It's a song about how, because Dallon has to tour because it's his job, he has to be away from his family often. And he had nO RIGHT ADDING HIS DAUGHTERS VOCALS AND RECORDINGS INTO THE MIX ITS LIKE HE WANTS US TO CRY. It's not my favourite of the album, not going to lie here, but it's also such a sweet song with nice instrumentals and vibe 🥺 so that's all I'll say.

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¹²DOOR:

It seems like this one was written around the time sad ukulele music was really at its peak but am I complaining? Fuck no because this song is great. It just gives it to you straight, that if the narrator ever does anything that the recipient doesn't like, they can always cut them out of their life. It's nice in that regard- you don't usually get songs that don't try to deflect the pain or gain pity. We need more of these kinds of songs. The shortness of it really adds to the effect of this being more like a regularly said thing, even though I'm always a bit sad that it ends so fast. It does, however, nicely close the near end of the album before Razzmatazz.

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¹³TOMORROW PEOPLE:

Creepy Tellex thank-you note. You're welcome..? I want no part in your conspiracy tho. Go away weird American corporate man voice.

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¹³RAZZMATAZZ:

And there it is. The title track. Like new inventions, I have already reviewed it here on that same blog so this will be brief also and more just thoughts. It's a great closer and is more old timey than most of the songs here as well. And with the last instrumental and sax solo, we come to the albums inevitable end... until next time.

[GENERAL THOUGHTS]

Overall, this was a fantastic little debut for iDKHOW and I loved it. So worth the pre-order. The songs were great and the lyrics were just excellent. My only real criticism is that the song order on Side A was a bit strange. I feel a way to fix this would be to throw Nobody Likes The Opening Band into the beginning, then have Leave Me Alone as a second track, and maybe even switch one of the songs on this side with one from Side B (either Mad IQs or New Invention with something else but then that would be kind of stretching it). Or maybe even switching Clusterhug with Mad IQs or New Invention could work. So in general? Razzmatazz good album. Next question.

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Thank you for reading, anyone who happens to see this and have read this. Hope you've enjoyed some of my thoughts on the debut and agreed with at least 2 points I made. See y'all on another review (or shitpost)!

-L.J

#idkhow #i dont know how but they found me #idkhbtfm #the i dont knows #dallon weekes #ryan seaman #lenas opinions #razzmatazz

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juliaisabellphoto · 4 years

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My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist.

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did.

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her.

Chris Stapleton, Starting Over

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love.

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece.

Mac Miller, Circles

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever.

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out.

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best: “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do.

Halsey, Manic

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off.

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent.

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020.

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them.

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers.

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.”

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions.

Miley Cyrus, Plastic Hearts

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan.

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals.

Empress Of, I’m Your Empress Of

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship.

Tame Impala, The Slow Rush

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion.

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance.

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album.

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more.

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo.

Also worth mentioning:

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather

J Balvin, Colores

Kelsea Ballerini, kelsea

Dominic Fike, What Could Possibly Go Wrong

#music #2020

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mainstreamloupe · 4 years

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AMERICAN LIFE | MADONNA

On her 9th album, Madonna tried to wreck the American dream illusion with a political-conceptual-album filled with down to earth statements that sank in its release year and recovered sense overtime.

After 'Music'ssuccessful development in 2000 with chart-topping singles as 'Music' or 'Don't Tell Me', 'American Life' felt like a train-wreck as a continuation to Madonna's commercial pop legacy.

'Music', rejoiced on dance and electronic instrumentals that highlighted Madonna's talent to produce tracks that set a trend on mainstream music and began an EDM and Pop historic revolution with a merge of both genres. But, when 'American Life'emerged on full, it was a lot to take in back in 2003.

'American Life', the first single off the album, if described in one word would be: controversial.The music video couldn't follow its promotional journey in full due to public complaints about its aggressive and raw scenes exposing war, political and religious points of view. But, not only the lyrics on the track and the visuals were straight-to-the-point, but the song's production was also edgy: Madonna rapping on the bridge, a punchy synth was fighting with acoustic guitars to take the lead on the instrumental's composition, and all being summed upended not being easy to digest since the first listen as her previous works.

'I'd like to express my extreme point of view, I'm not a Cristian and I'm not a Jew, I'm just living out the American Dream and I just realized that nothing is what it seems' - A quote on 'American Life' title track that pretty much was summarizing the whole concept of the album in a matter of seconds, and an ideal that might've been contentious back in the days.

Madonna's narrative went from ideal-defensive to system-attacking.'Hollywood' fearlessly addresses the materialistic environment surrounding the celebrity-capital and sarcastically judges society's obsession with fame. But, on tracks later on the album, songs like 'X-Static Process'strip down to share that even after all the pressure, loneliness, crowds and search for meaning, Madonna found her value along surrendering to the natural process of life.

'Love Profusion'is the album's personal refugee from the world's issues as destruction and the lack of empathy within society. Madonna finds peace and sanity within a love overdose that lets her forget the confusion and social values mess and translates those feelings by merging folk and electronic compositions on its instrumentals.

The lyrical content of the album is one of the most personal cuts from Madonna.'Nothing Fails'opens up the track confessing 'I'm in love with you'and minutes after turns into a choir-supported performance comparing the emotions that love creates upon her with a religious experience. 'Mother and Father' is another track that merges purging lyrics talking about the emotional struggles after a family rupture with a multi-diverse set of synths and electronic beats that could've felt out of place but instead help to give the lyrics the attention they need to get involved with its story.

'American Life'is a hard-punching shell of political and religious statements with experimental instrumentals and acoustic phases but on its core, Madonna surrenders to the power of love to make her feel clarity and meaningful. 'Intervention'takes away fear with the essence of true love on its lyrics and its production jumps from guitars to heavy electronic layers just when needed.

American Lifeshatters the fragile and mistaken perception about money having the power to give happiness. At the point where Madonna had already made a lot of money and had all the 'power' that 'should' make anyone happy, she was the perfect voice for a worldwide public to listen that this message about finding meaning in life through material things wasn't real.

The storyline on the album might be not so easy to follow on its first listen, but it makes sense when we get to really understand that the mess around her as the social pressure to be a certain way or act in specific ways leads to self compare to others but even after all of this, we all need to learn from the challenges in life and move on with self-empowerment and love.

The musical concept of the album was too experimental at that time, not only her fans, but the general public was used to listen to the same structured pop songs for it to feel well executed. It's not that hard to listen now to 'American Life' since the music industry has suffered a change within the last years, being more open-minded to step out of the box on the development of track's production and a society that might not accept alternative takes on all genres in full, but we surely have made advances and maybe soon we'll be able to fight against a predisposition for the musical genres and how a 'pop' song 'should' sound.

youtube

#madonna #american life #review #music review #pop music #pop culture #culture #pop #music #music journalism #journalism #new playlist #new playlists #spotify playlists #madonna playlist #love profusion #intervention #american dream #controversial

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youngboy-oldmind · 4 years

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DISCOGRAPHY REVIEW: 1) THE INCREDIBLE TRUE STORY ft. My Girlfriend

“Tell me what I wouldn't wanna give for a life like this, arm and a leg quite like this/ Fuck around wanna fight like this, take a hike like this/ I might just, might just, I don't know/ Reinvention, that's my intention/ Want so much more than this third-dimension/ That's not to mention my true ascension is a bigger picture/ No metaphor, I’m being real with ya”

Overall Thoughts

After the success and impressive display Under Pressure, Logic follows up with his sophomore album The Incredible True Story: A perfect embodiment of Logic as a person, rapper, and artist. Here, he is at his most creative, telling an entire story through the lens of a futuristic fictional sci-fi story. Filled with narratives, skits that give insight to the crew’s personalities, and an overall message that resonates even after the album concludes, The Incredible True Story is the perfect reflection of Logic as an artist.

If someone asked me to introduce them to Logic, I’d start with this album. If you start with a deeper, more experimental album like Everybody or a project not quite as unique like Under Pressure, they may be left unsatisfied or unimpressed. But it’s near impossible to dislike his most rounded and well-constructed project.

I’ve said this with every project of his, but the production was excellent. The techy, spacey instrumentals perfectly parallel the theme and tone of the project. The vocal inflections on “Fade Away”, “Young Jesus”, “Run It” and the choir in the first half of “City of Stars” were all brilliantly executed. Also, Logic allowed collaborations on some tracks and they were some of the highlights on the album: Big Lenbo on “Young Jesus”, Lucy Rose on “Innermission”, and Jesse Boykins III on “Paradise”. Overall, the construction of each song on this album was near perfect. It can’t be overstated.

Logic branched out stylistically on this project. On Under Pressure, each song had a relatively similar tone, which made that project very consistent yet unspectacular. The fixed tone was good for the purpose of that project but restricted him from reaching a high peak. Here, his delivery, instrumentals, and lyrical style varied and was less consistent, allowing him to reach highs like “Fade Away” and “City of Stars” while also allowing him to reach lows like “I Am The Greatest”. Despite that flaw, the unique style of the album improves its overall ranking and separates him from the issue of his last project; the issue of being indistinct and being a carbon copy of his influences.

That’s one of the biggest strengths of this album. While I can think of other artists that could do Under Pressure or No Pressure, I don’t think anyone can do The Incredible True Story. Logic has a niche combination of lyrical talent, production skills, and geekiness that shines profusely.

The main theme of this project is doing what you love and finding life. This theme paired the fictional nature of the album’s structure loosens the restraint on Logic. Before, he was limited by discussing his experiences and thoughts in an autobiographical way, whereas now he’s allowed to discuss things from an outside perspective and speak more prophetically.

Album Breakdown

Side Note: I will be adding comments and thoughts from my girlfriend who also loves this album. Her comments will be bolded.

1. Contact

This was extremely creative. I was instantly drawn into the music. Sounded like a soundtrack I'd hear in a movie. And the introductory conversation between the two men established a very interesting and compelling start to the album and makes it feel like I'm getting ready to start a story book. Solid start, can't wait to see what happens.

2. Fade Away

Off the rip, this track had me excited. As I mentioned earlier, the composition and instrumental is excellent. He also comes through with an intense flex of delivery and rhyming and syllable scheme construction. This is the first song I’ve ever heard from Logic and it still gets my hype every time I hear it.

The flow in this song just hit me like a truck. The lyrics were pretty good and not necessarily a brag, but more of a showcase of pride. The music was also very catchy and had my bobbing my head before he started rapping. But the flow! Absolutely loved it. Def a hype song for me.

3. Upgrade

This track transitions well from the previous song discussing kai upgrading his system. Logic discusses “upgrading” from his old life and mindset. The space background with a simple drum pattern is satisfying.

Loved how the intro music played off of the space theme established by the intro. The music was already banging, and the countdown had me anticipating what's to come. Liked how the lyrics also incorporated space elements. Somewhat simple song with somewhat basic lyrics, but overall still quite enjoyable.

4. White People (Scene)

This was super fun to listen to and I was laughing when the black guy made fun of the white-man-horror-movie stereotype. I was almost wishing for them to investigate. I am really liking this album so far. Who knew Logic was such a innovative storyteller.

5. Like Woah

Although this song doesn’t say much content wise, the vocals were pretty slick and the instrumental was constructed well. Verses were average and I found the chorus a little iffy. But overall, it’s one of the more mid tracks.

The others definitely fit the theme of the space, but this song felt more of a Top 100 hits song. The flow was not as stellar as the songs so far, definitely no Fade Away, but still steady and impressive nonetheless. Nerdy comment, but the music reminded me of something I'd hear in a video game with the female singing--maybe Zelda or Fire Emblem.

6. Young Jesus

Although this song isn’t in my top 3, it’s still one of my favorite on the album. The boom bap 90s throwback mixes well with the modern, techy sound of the album. Logic and Big Lenbo both flow perfectly; this some of the best chemistry Logic has had with another rapper, the only other contender being Big Sean. Instrumentally this song stands out the most because its composition derives so much from the rest of the track list.

This throwback to the 90s flow with a slight modern twist was fresh as hell and a very fun listen. I actually very much enjoyed Logic's flow in this song. "See I'm a self diagnosed hypochrondria/ Either at the crib, or on the tour bus, is where you'll find me at" was a fun, funky flow that had me smiling as I listened to it. Would have definitely enjoyed if he did this flow and slight drawl in words a bit more. Big Lenbo was perfect for this song. His voice has that 90s feel and his lyrics fit the bragging feel seen in old hip hop songs.

7. Innermission

Another top track on this project, “Innermission” features Logic discussing his life’s purpose and “inner mission”. Lucy Rose on the chorus is beautiful. The mellow beat allows Logic to truly dive into his thoughts without being overwhelmed by the instrumental. And I loved the skit at the end.

Not gonna lie, the music initially reminds me of elevator music, but the lyrics hit hard. Hearing his story of his home life and his friend in prison was...heartfelt? It made me introspective of my role in my friend's lives and my own background. This song has a nostalgia to it as Logic retrospects his life before reaching fame, yet an almost hopeful undertone as he contemplates why he wanted this lifestyle and how he managed to actually accomplish it. And, of course, ending the song with a child continuing the space them fully establishes the air of wistfulness as I hear the kid's innocent tone reminiscing about his home. Genius move.

8. I Am The Greatest

There are few songs that make me rush to the skip button. “I Am The Greatest” is one of them. I hate this song. The different voice clips have no rhythm or syncopation, seemingly haphazardly tossed together. The beat is underwhelming and the yelling is obnoxious. And logics lyrics and delivery are really bad. I strongly believe this should’ve been cut or put on a project like Bobby Tarantino.

9. The Cube (Scene)

As someone who can rap and solve a Rubiks cube, I found this very funny. But also ironic, since I pulled exactly 0 girls from solving it. But, Logic is a nerd and this skit fits his personality well.

So this didn't make much sense until I looked up "logic the cube" and saw some videos of him solving a Rubik’s cube. Cute that he inserted a past time into this.

10. Lord Willin’

Logic has a very distinct flow throughout this album. It's very similar in each song with similar rhythm--I find myself bobbing my head at the same speed as his other songs. Not a bad thing, but just an interesting note. I actually quite like it, though. It makes the songs in this album more harmonious and makes it feel like one long story, rather than several songs thrown together onto one album. The lyrics themselves were actually quite inspirational. I felt a sense of pride in myself swell as I listened to him overcoming and living a full life and encouraging me to do the same.

11. City of Stars

Arguably one of the best on the album, “City of Stars” features Logic discusses his negative/toxic relationship with the hip hop industry. The spacey beat and echoey chorus vocals area AWESOME. The echo on the snare paints a visual of singing in a wide open space. Logic’s singing is above average, his use of auto-tune isn’t bad either. The beat switch to an intense boom bap and going in sent shivers down my spine. Although this has been done before, its definitely an excellently put together concept.

Also, only hip hop fans will notice but Logic incorporates patterns and lyrics from other songs: Drake’s “Forever”, Kanye West’s “Last Call” & “Two Words” of The College Dropout, and Talib Kewli’s “Get By”. Logic isn’t one to shy away from nodding to his influences, but here it feels like paying homage instead of stealing. Top 3 track.

12. Stainless

This song is 100% dope. From the vocals on the chorus, complex background in the instrumental, Logic’s intense flow and delivery, along with the content. Another top 3 on the album.

Bruuuh, this song slapped from the moment it started. The music had a flow different from the other songs, and his energy from the first few lyrics was solid as hell. I was hype and smiling not even 20 seconds in. This is a riding-with-the-windows-down-with-the-volume-blarring-on-the-highway-as-you-flaunt-your-youth-and-just-jam-hard kind of song. I would have def played this before a basketball game to get myself hype.

13. Babel (Scene)

“Babel” was the best skit by far. I think this plays well into the theme of the album: The concept of doing what you love and finding life. This skit mentions how “paradise” may not be something you find, but something you make and maintain. And on the flip side, you can also turn paradise into “purgatory”. So this journey is about creating the best and making your own incredible life instead of trying to find it. It also transitions well into the next song both musically and thematically.

14. Paradise

This was an interesting song. When he described Paradise initially, he spoke of it as a land of racial equality. I had not expected race to play a major role in this story, but it makes sense, given his background, why he would consider this Paradise. As a fellow biracial person born without a silver spoon, I can relate to his struggle. So hearing him describe this planet called Paradise, I can see why it earned that name. But the beat change. I find it interesting that he switched the message behind his lyrics up. It changed to perseverance and strength to overcome haters and obstacles and doubt. It gives me this feeling of self-worth as I push through the negativity to achieve Paradise. Interesting that he decided to include this message after describing what Paradise looks like. Did he do this to highlight the struggle it would take to get there? The challenge? Saying how "Of those around me that down and pray on my demise/But it only makes it that much better when I rise" definitely encapsulates his ability to attain Paradise. I'm not sure, maybe he did so as proof that he finally reached the top.

15. Never Been

Years ago, I used to be a hater of Logic. I used to despise when people complimented or praised him. So this song about remaining positive and persevering while blocking out negative hits even harder. He battles with fears of being inadequate while projecting a message of not letting those fears control your life and potential success. Amazing message. Musically, the track is very solid. The sped up, high pitched vocals on the chorus and outro remind me of Kanye’s style, and the simple beat isn’t distracting emphasizes the introspective nature of the song.

"Talk all you want about me homie, I'mma let it live/Hater this, hater that, say I sound repetitive/ Hatin' in your blood, you was born to be negative" now THAT is how you diss someone. If someone said this to me, I'd just walk away because what do you say to that? I appreciate that he is able to both dis and praise in a song, yet not come off as cocky and arrogant and braggy. Listening to him, it truly sounds like he worked his ass off to achieve his fame, so hearing him brush off haters and telling me I can do it too actually makes me feel like he's right. This songs has an introspective vibe as he recounts his insecurities of failing, yet how he can't afford to "let the devil in."

16. Run It

“Run It” is another very good track on the album. The flow and beat were dope and simple yet effective and pleasing. I think this song’s placement was strange. After hard hitters like “Stainless”, “Paradise”, and “Never Been”, “Run it” feels underwhelming by comparison. I could see this after between “Like Woah” and the White People Skit. But this late into the album, this song’s tone sit right. Ultimately a great song though.

17. Lucidity

“Lucidity” gives good insight on the theme of the album. Thomas describes taking for granted people on Earth having dreams and wants instead of living to find paradise. I like the concept of one’s life and story being defined by pursuing what you want. Mostly a set up for the final song, it’s still a solid scene.

18. The Incredible True Story

This track can be defined by one word: epic. From the first half with Logic’s vocals and singing, encapsulating the whole question in this album “Who Am I?”. The instrumentation is beautiful. Then the second half with the crew landing on Paradise is so powerful and well constructed. As a listener, I feel like I’m there with the crew. You can feel everyone’s fear, nervousness, excitement, anticipation, and hope.

What. An. Ending. I had no idea how Logic was going to end this and he did not disappoint. His lyrics in the beginning. The sub-sequential inspirational message of following your desires. The 2 men as they get ready to land on Paradise. All of that was flawless. My favorite part was the music change as the female finished her countdown of the landing and it changed to this soft, exploring sound full of hope. Hearing the 2 men talk in wonder as the sounds of nature slowly encompassed the music before hearing the woman say "Life" literally made me so fucking emotional, I'm tearing up thinking about it.

Final Thoughts

The Incredible True Story is the embodiment of Logic as an artist. It is strengthened by being unsafe. Under Pressure felt like bowling with the rails up. You’re definitely gonna score, and you may hit a strike on your own, but it’s just not as good as bowling without safety rails. And yes, you may hit gutters (”I Am The Greatest”), but putting everything on the table and living/creating unrestrictedly allows you to reach highs in life/art you wouldn’t otherwise reach. And I think by allowing himself to create riskily and unhindered, he fulfilled his own theme.

As an avid bibliophile, I will tell you that most sequels are shit. But damn, this album was fucking amazing. I have been sleeping on Logic. Honestly, 12/10 ending. Logic wanted to leave a statement that he could still be one of the best even after his debut album and, trust me, he proved it. This ending alone proved that he knows how to do this shit. I feel like I just finished reading a great book. Who knew rap could be like this?

Top 3 Tracks:

1) City of Stars 1) Stainless

2) Paradise 2) Paradise

3) Innermission 3) Incredible True Story

Overall Grade: A+

Album Link:

https://open.spotify.com/album/5dOpbgAmJeyoakKQ0QLWkR?si=bAQ0FEA4RMupkUEspycH1Q

#music review #album review #hip hop review #hip hop #logic

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tisthenightofthewitch · 5 years

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AN INTERVIEW WITH TOBIAS FORGE.

The Swedish rock band Ghost will be performing at the TaxSlayer Center on October 8. Coming off a European stadium tour with Metallica, the group has headlined summer festivals and has embarked on a massive North America tour that includes New York, Los Angeles, Chicago, Toronto, Boston … and Moline.

Tobias Forge is Ghost's creative force, front man, singer, songwriter, musician, and architect of the storylines woven through the band's albums, videos, webisodes, and live shows. Although Ghost has been awarded a Grammy and had three consecutive number-one songs on the Billboard mainstream charts, it is the musicians' tongue-in-cheek anti-pope appearance that truly defines them. In a July 30 interview, Tobias spoke about developing the band's visual identity and his aspirations as a filmmaker.

Visuals define Ghost’s image. Are they as important as the music?

Oh, absolutely. Even though I don’t sit down and specifically draw and paint our album covers, I’ve always been very specific in what I wanted. And how I wanted the record sleeve to embody the record I made.

As a record collector, I am more than often compelled by the artwork of a record. I’m a firm believer in a really nice-looking record sleeve. And that makes me want to like the record more. Today, even though people might not consume a recording in the physical way we used to, it’s definitely a case of your visual presentation that accompanies whatever file they are going to listen to. If the graphic content is aesthetically pleasing to the eye, it opens up an avenue into people’s souls. I know this because I’m so easily charmed by record sleeves.

Are the album titles also important?

Absolutely. There needs to be a sort of a narrative between the artwork and the title of the record. And, of course, its content. In some way or form, it helps if the title summarizes a little what the record is about. Usually, most good records have some sort of theme – even though the songs might be about different things.

A lot of singer/songwriters go through phases: it’s the “divorce” album, it’s the “I’ve just gotten married” record. “I’ve just became a father or mother” record. And “now I’m older” record. And “the midnight crisis” record. And “the beard” record. In some way or form, it’s good to communication a little of what kind of state of mind you were in while making it or which state of mind you want the listener to think you were in. As opposed to just leaving it blank.

There’s a fascinating word play in your titles. Do you enjoy playing with words? Creating a sense of mystery through words?

Very much so. I’m also very much influenced by cinema. Even though I know there’s no film called Infestissuman (the title of Ghost’s second album), I also try to come up with a title for a record that could be a film as well. Like a big epic, three-hour mastodon matinée film. (Laughs). I’d like to make a film called Meliora (the title of Ghost's third album).

I understand that you have aspirations to be a filmmaker. That you’re working on a film. Could you speak about the film?

About a future Ghost film?

Yes.

I cannot speak about it in detail. But, yes, I’ve always been very fascinated with the art of filmmaking.

I definitely am in the process of exploring the possibilities of combining my musician career with a film project. Let’s put it that way. And as with anything cinematic, it takes a lot of time – and way more politics – than making a record.

In the process of this, I’m trying to vet my brain and my ideas into being super-sober about making a film that is actually needed and called for and will turn out really great – so that it doesn’t just became a really confusing project.

Over the course of rock history, there are a few films that have been made that are really cool. Even though many of them end up in more of a cult section because they are … weird. I don’t mind weird at all. I grew up watching a lot of films like that.

I would love to make a film. I would love to make it good-weird, but it needs to be good as well. It needs to be something that people can watch. I’m currently in the process of learning if I can.

The humor in your webisodes complements your albums, which sound epic. That’s a fascinating combination.

Yes. Just to give you a hint of what I spoke of in my previous answer about a possible film: a full-length film would be in that vein. Based on that sort of mythology. I believe that there is something more to tell within the storyline – within the concept of what we’ve outlined briefly – in those episodes.

Most of my favorite films have some sort of absurd humor in them.

I think it’s important for films, too. Just as with any dish at any restaurant, there are certain ingredients that you need to have. Even if its just a pinch of salt. Usually you need that. There are certain aspects in there that make it a consumable plate.

Even if you’re making a horror film or drama or thriller, there needs to be some sort of comic relief at some point. I guess what would change in a long format, is that it wouldn’t be as comedic every minute as it is in the short form.

As there is comedy in a horror film, your music has a unique dichotomy. You have metal riffs and an understated singing style. That’s very appealing to me. Was this natural to you? Is it something you developed?

Everything develops on the basis that it is being received. So I believe that to a certain degree if you’re an artist – be it a musical artist or a filmmaker or a writer or a painter – you need to be somewhat auditive when it comes to the needs and the wishes of your receiving part. As much as any aficionado of subculture, I like a lot of artists that just go against everything and make whatever that comes into his or her head regardless of what a public thinks. But most successful artists have in some way or form nurtured the relationship they have between themselves and their audience. The way that you would nurture any relationship with another part – be it a partner in life or a partner in work. There’s some sort of collaboration.

If you look at big bands that went from debutantes playing clubs to big arena acts, their first records are usually slightly more raunchy and maybe faster in tempo and might include a little bit more complicated arrangements. What you usually find over the course of time and further into their careers, they start making records that are more moderately paced. Or they are paced in a different way. Certain songs don’t really translate very well in a very, very big room in front of thousands and thousands of people. Common lingo among rock fans is that, “Oh, they sold out. They just want to sell records.”

No, they write music that will feel comfortable in the setting – in the forum in which they are performing these songs.

You do what you feel is good for both parties, and that’s how you develop your relationship with your crowd. You don’t do this 100 percent all the time. But you should be aware that if you start doing shit that your significant other – in this case the crowd – doesn't like, you’d be stupid if you continue doing it.

Coming out of a Swedish metal tradition, your music is surprisingly melodic. Sometimes hauntingly beautiful tunes with beautiful choirs. How did this sound emerge?

I have always listened to lots of different music styles. Everything more or less oriented in punk and rock. Except for my love for underground extreme metal from the '80s, most of the other types of music that I listen to are actually quite melodic. I’ve always been melody driven. Ninety-nine percent of the time, my way of listening to a song is to listen to the melodies. It doesn’t hurt if there’s a really good rhythm.

For me, melody is like the dialogue of a film. If you just make a film with just background, it might be an interesting idea. But if you want the film to be of value, you definitely need to have someone within frame saying something. And it’s important what he or she is saying. That, for me, is the melody of a song.

But then you can pimp the song out in so many ways and that’s part of the craft of songwriting. But without a melody, the likelihood of a song being good is not big.

On your first album, I understand that you played all of the instruments except the drumming. Is it hard to only be the front man in live performances?

No, I’ve learned how to deal with that. I just had to sort of disregard how I viewed myself. I always thought that I was going to be the lead guitar player of a band. A Keith Richards in the band. My intention with Ghost was the same. During the first four years – between 2006 and 2010 – up until the very last moment of recording the album, I still thought that, just before mixing the record, that we better find a singer. We never found a singer. So we kept my demo vocals basically. I re-sung them to get better takes. They were on the demos just to explain how the song goes.

That’s the way I’ve always worked. When I write a song I always play everything. So regardless of who might have executed it on a record or executed it on stage, it’s always my way of playing. If I were to play a bass in another band, that’s how the bass would sound. If I were to play drums in a band, the basics of how I arrange songs, that what you hear in Ghost. That’s how I play the drums. Then I get a really good drummer in to play really well, but that’s how I approach thought in all these different instruments. And that has become a signature thing for Ghost.

That makes writing records easier. That makes having a band together very hard. But that is just the nature of the beast. It’s just coming to terms with accepting and owning that. It has definitely taken some time.

Fame doesn’t seem to be your prime mover. What do you think of fame now that your identity has been revealed?

I have, as much as anyone who has any inclination to rock in a band, always wanted to be in a well-known rock band. What comes with that is fame. Up until I was probably 30 years old, I wanted to be very famous. And I wanted to be known. After I started working with Ghost, I was definitely enjoying … . I wouldn’t say anonymity. I was never anonymous. But Ghost and the visual side of Ghost was definitely overshadowing anything that I was. Over the years of being in a well-known band without being a very well-known person myself, I actually started to prefer that over being a recognized person myself. Despite having wished for that before, there are definitely two sides of being recognized. When you dream about it, you only see the upsides. It’s only about the perks of fame.

I don’t feel in any way or form that my so called “coming out” was negative. It was just a weird thing having to deal with a higher level of recognition so far into your career. That was a little bit weird because it usually comes gradually.

For example, for seven years I never took photos of people. If you ever saw a photo of me, it was always a friend of mine that took a photo and I thought it would never be posted online. Or it was someone taking a photo of me without me knowing it. So all of a sudden, when I was out of the closet, you couldn’t really tell people any more that you wouldn’t take a photo with them. All of a sudden, you can’t say no to anyone.

That is something I suddenly had to adopt to because it was very easy earlier to say no, no, no, no. You know how it is. Now if I say no, someone could be very offended. Which is a little sad because I might be on my way into a car that is leaving in 10 seconds and we’re in a hurry. And there are 10 people by the car and you’re like, “I really don’t want to do this to you but … .” And I can’t even finish that sentence before the door is closed. And people get offended. I don’t want people to be offended and sad.

Fame is something that sort of came overnight. But it’s a good problem to have.

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#Tobias Forge #Tobias Interview #The Band Ghost #Ghost Band #Cardinal Copia

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jflashandclash · 4 years

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Tales From Mount Othrys

Ajax: Fidget Spinners XII

“Can we promise me one thing? One thing for Christmas and my birthday? Screw video games. Screw a new slingshot. Screw an army of squirrels to help me spread havoc. Can we just agree no more dismembered limbs?” Pax asked. He currently held a makeshift bag that contained four, and that was four too many. The girl he was half-carrying, half-dragging was missing one, and didn’t appreciate when he joked that they try to attach one of Prometheus’ to her stump.

While Pax was up, discovering the riddle of how do you solve a riddle or crossword puzzle without a key—you cut around it—Lou Ellen had broken into a fever. The blackness around her stump had expanded. She babbled now and again, about Alabaster, about her real parents—depressing stories that fell into the category of things he did not need right now—and how bad she was at magic.

Axel couldn’t help them. He stumbled forward with the world’s least convenient backpack. They had taken pieces of their pants to tourniquet what was left of Prometheus’ wrists and ankles. The titan stopped bleeding quickly, but that didn’t make him any less nightmare-inducing. He managed to shrink to normal-human size. If Pax had to guess though, his brother was going to collapse soon. Giving deities piggyback rides: not advisable after dragging some dude out of the River Styx, running from Hades, falling into a mass of cotton balls, and fighting a massive eagle.

“There they are!”

The call came from behind. It was female and sounded angry.

Axel and Pax had been deliriously stumbling for about ten minutes. Lou Ellen was the one who knew the layout of Tartarus, and she’d been reduced to incoherent jabbering. Pax felt so parched, he couldn’t make jokes. That was the real travesty.

The agreement was to head for the flaming river. The river had sustained them. Prometheus advised that he could regenerate his limbs quicker if bathed in the river. Fire=regeneration didn’t make sense to Pax, but he wasn’t a lizard, unfortunately. He didn’t know how regeneration worked.

“Ajax, go,” Axel said at the scuffle of movement behind them. He weakly dropped a hand to the sword in his belt.

Knowing their luck, it was a Fury that had come to take out Hades’ vengeance for calling his helm stupid. Hades couldn’t hold a grudge about it for that long, right? Or maybe it was some rogue monster, here to feast on the tiny demigods—

Pax had been struggling to keep his feet shuffling one after the other. The idea that “go” could mean anything more than “keep at the exact same slow pace” made him attempt a laugh. Instead of laughter, he coughed on the noxious air.

Something pulled Lou Ellen from his back.

Pax tried to shriek.

Just because they looked like carrion didn’t mean they were carrion yet. He’d admit the likelihood of it happening soon, but he was still standing. Tartarus vultures were cheaters!

Although he was so exhausted that he’d be willing to bunk with one of the cannibal tribes they’d aligned with—a shocking number of those in Greek society, supposedly all liking a midnight snack to be close at hand—Pax felt a renewed surge of delirious fight. He would not let someone take Lou Ellen—

Pax flung an arm back, expecting to be just in time to grab Lou Ellen’s ankle as a Fury skylifted her.

That’s when he realized the figure had been talking to her. “Idiots! Complete and total idiots! I ought to have turned you into pigs—cows—and diced you into an experiment—”

The strength went out of Pax’s limbs. He felt himself falling sideways and didn’t care.

All he cared about in this red and black wasteland were those two green orbs: a symbol of hope, of growth, of future ass-kickings for convincing Lou Ellen to come down here.

Alabaster managed to snag Pax’s arm before he smacked into the ground. A second later, Pax slumped onto it with Alabaster kneeling beside him. The Witch Boy had Lou Ellen in his arms, pressing a mostly blackened hand to her mostly blackened stump. His mouth moved rapidly in some Latin chant that Pax couldn’t keep up with, though, he managed a hysterical, “Ave Maria,” to make himself feel like he had helped.

Lou Ellen’s hand glowed the same shade of green as their eyes.

Then she thrashed and screamed.

“Jack! Get over here!” Alabaster hissed.

A calming song swept over Pax like a security blanket. A flare of sweat-slicked red hair appeared over Alabaster’s shoulder. Pax wanted to cry in relief, but his body didn’t have the extra moisture to make tears.

“Ajax! My boy!” Jack’s voice was raspy, and, when he began to sing, “Let faith arise, in spite of what I see—” he sounded less like his typical angelic choir and more like a hellish rock star.

Pax’s caretaker dropped to his knees alongside Alabaster, dragging Pax into his lap. This gave Pax a good line of view to see Lou Ellen’s gangrened arm. The limb was attached and Alabaster frantically grappled to keep Lou Ellen from clawing at it.

Jack’s voice trembled into a song much more desperate, much more eerie, “See my eyes I can hardly see? See me stand? I can hardly walk. I believe you can make me whole. See my tongue? I can hardly talk. See my skin? I’m a mass of blood—”[1]

The soothing sensation of Jack’s power cooled blisters and bruises Pax didn’t even know he had. A fever ebbed from his skin.

As Pax had once seen Jack heal burns, the child of Apollo peeled off a layer of skin just above his wiry bracelet. “See my legs, I can hardly stand. I believe you can make me well—” He rubbed his thumb against Lou Ellen’s wrist, peeling away her dead skin.

Alabaster wrangled to keep her still. “Lelly, you are already grounded—if you keep thrashing like this, I’ll ban you from playing any music in the laboratory other than opera or Tchaikovsky—” The threats sounded near tears. Alabaster must not have been sure if they were too late to save her hand.

When Jack pressed his strand of removed skin to Lou Ellen’s raw not-skin, she squealed.

“Water from Phlegethon,” Jack requested and lifted a hand behind him, like a surgeon asking for a scalpel.

Another set of hands placed a bucket in Jack’s hands. The weight was such that Jack almost fell over. The set of hands must have realized this and lunged to help Jack set the bucket between Alabaster and Jack. Flames licked over the sides.

Jack gently pushed Lou Ellen’s hand into the fires.

She shrieked, kicked, and fought against Alabaster’s hold.

“This had better work, Flash!” Alabaster snarled.

“Augh, isn’t that our drinking fire—er—water? I guess that’s auto-sanitation if it’s constantly burning germs away,” said the voice attached to the hands.

Pax was unused to the humor in the voice. That couldn’t be who he thought it was.

Before he could check, Lou Ellen’s hand jerked out of the bucket. Her fingers were twitching. The skin around her wrist did not look pretty—well, “skin”—and she would not be a hand model in Witch’s Weekly, but her hand appeared to have successfully reattached.

With that, Lou Ellen’s eyes rolled up in her head and she collapsed into her brother’s arms.

Alabaster exhaled heavily. Throughout their travels, much of Lou Ellen’s hair had escaped her ponytail and clung to her face. He gently pushed strands back into her hairline. “Lelly, idiotic, thoughtless—” he whispered.

“You should use all your fancy words to spell out her name. It would be more of a challenge,” Pax said, his voice cracking from lack of drink.

Alabaster glanced up. The typical coldness in his eyes melted. They shifted to Pax’s caretaker. “Thank you, Flash.” Expressing the gratitude seemed to physically hurt Alabaster.

Now that Lou Ellen’s hand was taken care of, Jack turned his full attention to Pax. “Boy,” Jack said, his voice hoarse, “Do you have any idea what kind of trouble you’re in? Torrington and I have been discussing how to punish you and Lou Ellen—we were so worried. No Reese’s Sticks for a month!”

“That is not all we agreed to,” Alabaster said, shooting Jack a look.

Jack brushed him off. He took Pax’s face between his hands, seeming to check Pax’s eye dilation by waving a hand over each eye in turn. “How are you doing? Are you hurt? What were you thinking!”

The last question went more over his shoulder, to where Axel must have been standing. “Of course, Ajax would come after you! You two are in SO much trouble!” Jack continued. His words cracked and crackled with dehydration. He scooped a handful of flaming water from the bucket and shoved it into Pax’s mouth.

Now that Jack’s song had healed most of Pax’s aches and bruises and the river’s water had…. “soothed” him, Pax realized how tired, hungry, and thirsty he was. By this point, all he wanted was to curl up aboard the Princess Andromeda with the hell hound puppies.

They no longer had the timer of Lou Ellen’s magic-tricked wrist, but he didn’t know how they were going to get back. That didn’t seem to matter. Pax knew, with Jack, Alabaster, and Axel together, they could keep him and Lou Ellen safe. Just looking at Alabaster’s green eyes and Jack’s flash of red hair eased him.

Hadn’t the person who shouted at them been a girl?

Pax rolled in Jack’s lap, keeping as tightly burrowed and weasel-like as possible, to see who stood by Axel.

One of them reached over to pick up the bucket.

He was a blonde guy with a military cut. Pax blinked, wondering if someone has sucked the dude’s insides out and replaced them with someone else. In the past, Pax has become accustomed to Luke’s rigid posture, constant irritation, and scowl. This Luke looked… younger. One of his hips jutted out and he had a hand on it. The other one swung the bucket back and forth. He looked skeptical. The expression made Pax realize that Luke may have always found the world annoying; but, once upon a time, Luke had been able make jokes about the annoyance.

“Alright, I give up,” Luke said. “Who are these guys?” He gestured with the bucket between Pax, Lou Ellen, Axel, and Prometheus.

Axel must have sat down during Jack and Alabaster’s panic. The titan sat beside him.

Above them stood a familiar empousa, the one who must have shouted. In the above world, Pax had seen her cover up some of her demonic features. Down here, her hair flickered a fiery red. She fit in so well, she could have been a real estate agent.

She laughed airily and went to sling an arm around Luke’s shoulder.

He ducked out and away from her, looking uncomfortable.

“Luke,” she chided. “These are more of your subjects.”

“Yea, okay,” Luke grumbled.

Prometheus tilted his head to one side at the use of “subject,” glancing Luke over from nasty facial scar to sneaker. “Kronos?” Prometheus asked slowly. His grey eyes seemed to bore into their leader.

“That’s the story,” Luke said, shooting Alabaster and Jack a suspicious look.

“We had to splash some of Lethe’s water into his face,” Alabaster said, sounding exhausted.

Prometheus chuckled softly. “Ah, splashing a demigod that once feared monsters with Lethe water while surrounded by monsters. You didn’t think that one through, did you?”

Alabaster glared. “We were running out of time—” His green eyes flicked from Lou Ellen to the titan. His jaw dropped. “Did you guys cut off Prometheus’ limbs?!” His annoyed hiss went to a horrified shriek.

Pax and Axel looked at each other. Axel shrugged. “We were running out of time.”

Prometheus gave a goodhearted shrug. “They brought them along, just in case they didn’t start to grow back naturally, like my spleen does.”

“A titan’s limbs..?” Jack mused. He cradled Pax up against his chest, so Pax could hear the Energizer-bunny heartbeat inside. “I might be able to help you grow those back after a few gallons of peppermint tea, honey, and licorice root.”

His voice was scratchy and hoarse. Pax wondered what had done the worst number on it: the hours of singing to keep Luke alive, the friendly volcano-like atmosphere, or the times Jack shrieked when something scared him.

“I stole some pink dye from Alabaster’s workroom,” Pax whispered, “We can use it to make your tea extra flameboyant, in case you end up missing this vacation.” It was a bad joke and completely off the mark, but Pax felt like he had to say something.

Jack ruffled his hair appreciatively. “Once we get top side, I plan to never think of this place again. We can heal Mr. Prometheus and get that harlot away from Luke.” Jack’s bright eyes narrowed to glare at Kelly.

Kelly touched Luke’s hair and pouted. “I just want to remind Luke how close we were before…”

Luke flinched, but didn’t pull away this time. His eyes flicked up and down Kelly’s figure with boyish interest. Pax had to wonder how old Luke thought he was right now.

“You weren’t that close!” Jack snapped, sitting up. Pax would have slipped out of his lap if Jack hadn’t scrambled to grab him.

Kelly rolled her eyes. “You’re just jealous.”

Alabaster snorted. “Yep, and Luke and I were best friends.”

Pax saw a beautiful opportunity that he couldn’t miss. “And you promised me that you’d give me a pony.” A weak request, but Pax suspected, “A truckload of Reese’s” would garner suspicion.

Luke’s blue gaze narrowed further. “I doubt both those things.”

“We’re not friends,” Alabaster said. His lips twitched. “But, you did promise Pax a pony.”

If Pax wasn’t already huddled up with Jack and it wouldn’t require knocking Lou Ellen to the ground, Pax would have hugged Alabaster.

Axel gave a heavy sigh. “Don’t get him a pony.”

Luke put his hands up for silence, seeming to realize he was in control, even if he wasn’t accustomed to it anymore. His fingers shook with the insecurity. He frowned thoughtfully to the side. “I wish Thalia was here,” he mumbled more to himself. “She would know what to do.”

Kelly huffed, removing her hand from Luke to fold her arms. “You don’t need her. You’re stronger than she is.”

Luke gave Kelly an incredulous look. He shook his head. “Okay, we found these… three, following the magic tethering that hand.” He pointed to where Lou Ellen was curled up in Alabaster’s arms. The Witch Boy rose to his feet, lifting his little sister with him.

Limbs that are magically attached from a distance. Gross.

“How are we getting out of Tartarus? I’m not really fond of staying in monster-infested territory,” Luke said. He shot a meaningful glance to Kelly. “No offense.”

“Oh, I can’t wait until we board the ship,” Alabaster said. His lip twitch shifted into a malicious grin. “He’s in for such a rude awakening.”

“Luke,” Kelly chided. “You like monsters.”

Luke self-consciously reached to his back, grasping at nothing. Pax remembered Axel saying that Luke once used a golfing club to fight off monsters. Pax tried to picture that: their overbearing overlord riding valiantly into battle with a golf club. He choked back a laugh.

“Besides,” Kelly continued, checking her sharpened nails, “I am your ticket out of here. Climbing out of Tartarus? That’s like a typical Monday morning for monsters—”

“Good name for a band,” Pax mumbled.

Jack nodded. “Monday Morning Monsters. Still not right for us.”

“When Lamia realized Alabaster would come down here to look for Lou Ellen, she sent me down here to kill him,” Kelly said.

Pax swallowed, knowing he was to blame for the hired assassination attempt.

“Naturally,” Alabaster grumbled, rolling his eyes.

Kelly gave him a vicious grin. “There are other empousa scouting Tartarus for him. But, we all like Alabaster leading Hecate’s children.” She tilted her head to one side while examining the Witch Boy. “You don’t make us wear black robes and light candles on the Satanic Sabbath. Do you have any idea how hard it is to seduce prey when you reek of incense?”

Pax thought Alabaster’s herb-cabinet smell was seductive, but maybe that was just him. From the look on Kelly’s face, this might have been a Pax boy oddity.

Alabaster sighed and Pax wondered how many others had implied is musk was anything but spectacular. Considering everything reeked of carcass down here, Pax decided he’d have to subtly sniff-test Alabaster later.

With the knowledge that they had a guide, everyone got a renewed vigor to get the hell out of hell.

All in all, this came out the best case scenario: Alabaster joined he and Lou Ellen to make a merry trio, they were plus-one unexpected titan, Luke both had the curse of Achilles and had temporarily forgotten to be an asshole, and there was a high chance everyone would be able to keep their limbs.

They played musical chairs with the titan. Axel went to piggyback Prometheus again and almost collapsed.

“I am the titan of forethought,” Prometheus said gently when he saw Axel’s embarrassment. “I weigh heavier on some people’s shoulders than others. Hand me off to your little brother.”

It took several minutes of convincing (and several minutes of Pax pretending he wasn’t on the verge of a longed for coma) to get Axel to agree. The whole group seemed to expect Pax wouldn’t be able lift the titan—a theory Pax also supported and secretly hoped for. He didn’t want to heft the titan. That would mean effort and the responsibility of some dude that didn’t have hands or feet.

When Pax put all his strength into picking up Prometheus, he did not expect to almost toss the titan. He was feather-light.

“You don’t think ahead much, do you?” Prometheus mused.

“I strive to be impulsive,” Pax said, managing a smile.

Once their group began to move, Pax felt like Tartarus might not have been so bad. Maybe they could come down and vacation here to visit some of Alabaster’s other relatives.

With the extra weight of Lou Ellen, Alabaster moved slowly. Pax dropped behind to walk alongside him while Axel tried to catch Luke up on everything he’d forgotten and fend off Kelly’s it’s-not-creepy-at-all-that-I’m-hitting-on-you-now-that-you’ve-lost-your-memory advances.

With the lack of hands to grab Pax’s back, Prometheus was more cumbersome than heavy. Mental note: pray to Fates to let him keep both his hands, Pax thought. Unless he gained regenerative powers. Maybe having regenerative powers would be cooler. Like a lizard.

“Witch Boy,” Pax said, “Not that I’m upset that you came to save us with suit-bribery with Charon—”

“You’re lucky my grandfather insisted we keep up connections with that designer,” Alabaster grumbled.

“—but you were only an hour behind Lou Ellen and me, at max. You weren’t supposed to find our note until—” Pax was going to say “tonight,” but the lack of sun or sky left Pax uncertain of what time it was. “The night of the day we left,” he finally said.

Alabaster released a long sigh. “You would leave a note when sneaking off to Hell.”

So, Alabaster didn’t even know about their note.

“How did you know to come looking for us?” Pax asked, wondering if this was some spooky, witch thing.

Alabaster’s lips twitched into a grin despite their surroundings. “Let’s just say that Axel and I aren’t the only people who will be punishing you when you get home.”

Pax swallowed, wondering who he could have forgotten.

***

Thank you for reading! I hope you enjoyed :D Stay tuned next week for the last installment of this short story where Pax—wait, learns to feel guilty? Pax, I didn’t know you were capable of shame… He says not to believe the chapter; it’s libel spread by his enemies.

Also! Some of you mentioned wanting a taglist for these posts. Please let me know who you are if you still wanted that XD

***

Footnote:

[1] I don’t do as many footnotes in this story as I did in my other series, and definitely not ones related to childhood. This is from a scene in a movie where Jesus is ambushed by beggars and cripples. At first, he’s startled, but compassionate. Then, the crowd gets more and more aggressive, trying to claw the holiness off of him while he’s begging them to stop, “There’s too many of you. There’s too little of me. Don’t crowd me! Leave me alone!” as he gets dragged under. This horrified tiny Jack for years >.>

#Tales from Mount Othrys #Percy Jackson and the Olympians #Heroes of Olympus #TFMO #PJO #HOO #writing #Pax #Alabaster #Axel #Lou Ellen #Jack #luke #Luke not being an asshole?!?!?!#Wahhhh????!!!!

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dextervoid · 4 years

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An Exuberant Affair of Longing & Adventure - The Tomb Raider Suite, Album Review

The Tomb Raider Suite took place on a cold Sunday evening before Christmas in 2016. Festive cheer was in the air and hardcore Tomb Raider music fans descended upon Hammersmith Apollo to witness the Royal Philharmonic Orchestra and City of London Choir interpret the classic pieces by composer Nathan McCree. I remember being a couple of minutes late, having caught the bus from Richmond following a few tipples at the very boozy annual Christmas sing-a-long, which usually finds a cacophony of kazoos mimicking ‘Seven Nation Army’ among other pop hits! Upon arrival, I tried to realign my composure and emotions, ready for a special performance of the video game music I’d been obsessed with for near-on twenty years. I always fantasised about the music of Tomb Raider being played live by an orchestra, and that I’d somehow release the soundtracks on vinyl LPs via my own video game music specialist label! A somewhat naïve idea I suppose, and one I was inept at pursuing to fruition.

Anyway, the show that evening was a remarkable success. As I climbed the steps to locate my seat, I felt chills shudder up my spine as I heard the avant-garde musique concrète from the opening ‘Caves’ level. It was slightly comical hearing this two-minute experimental piece of music resound in a huge auditorium, and not within the confines of my impassioned mind. Voice actress and original voice of Lara Croft, Shelley Blond presented, and interjected snippets of information throughout the course of the evening. Robert Ziegler conducted and Nathan McCree appeared onstage himself too, as did others, all coming out of the vaults to recognise and disclose their appreciation to the game and its female protagonist.

Following the concert, a successful Kickstarter crowdfunder saw the newly arranged pieces laid down in the studio at Abbey Road during the latter half of 2017. The results are The Tomb Raider Suite, finally released in 2018 in a variety of formats and deluxe packaging.

But what matters here is the wonderful music that McCree created some twenty years ago. He’s done a fantastic job of rearranging and composing the pieces for a full orchestra, and likely without the budget and tech constraints when the game was simply a mid ‘90s experiment for the still relatively new PlayStation console.

The album opens with the moody and claustrophobic ‘Temple of Xian’, a brief forty second piece from Tomb Raider II, which is lengthened to take on a more sincere role. Its melancholic and compassionate air sets up the tone for the listener and the type of journey they’ll entail. Harp plucks unfold gently like foliage as the Metro Voices Choir unleash the ever-so familiar, and overarching Tomb Raider theme tune and motif. The ‘Tomb Raider Theme’, a staple since 1996, is faithfully brought to life with clarinet and brass circulating almost mechanically like an orrery. Solo violin pierces through and swells under such emotional weight.

The Metro Choir carry this music in all respects and is very much a key component to the overall sound. The eerie and often ambiguous acapella vocals drift with unease on ‘Where The Depths Unfold’, and genuinely convey how the games are shrouded in mysticism with a solemn reverence for relics of the past and ancient civilisations. My favourite piece from this section is originally heard at the start of the Natla’s Mines level and is just as stirring in its performance here. Equally uplifting in parts and despondent in others, it echoes the Christian mystic music of German Abbess, Hildegard von Bingen several centuries prior.

The pace picks-up on the high intensity piece, ‘The T-Rex’, its strings, vibraphone and percussion bounding along frantically. The fact the piece is extended beyond the one-minute mark of the original will delight many, and overall, it feels as though these pieces have taken on a certain ‘radio edit’ friendliness, in order to fully realise their potential. The problem I had with the original game was how the music erupted on screen, only to disappear soon after. The music was also sparse in terms of presence, which is forgiven when the levels aim to emulate the claustrophobic nature of an underground tomb. To the present day, Nathan has arranged his pieces in an almost unpredictable, but moreover clever way – it’s like they’ve become radio hits of the classical world, and their reworkings are appreciated.

‘Longing For Home’ is sublime and sumptuous, the strings slickly wrapping around the listener, whilst ‘A Friend Since Gone’ peddles a 1970s passionate Ennio Morricone Italo-soundtrack, as the ever-lush strings envelop us in yearning. Likewise, ‘Time To Run’ gracefully energises as we lead into the Tomb Raider II section.

The ‘Tomb Raider II Theme’ is a little middling in comparison and the motif flogs the same tract on ‘Vertigo’, albeit with a darker tone. However, a firm fan favourite of the game was the rip-roaring anthem, ‘Venice’, which saw gamers speeding through the canals and vicious underbelly of the Mafia in the otherwise Renaissance city. The track is sublime and this studio recording is a pure joy to behold. The harpsichord rattles and jangles on as the triumphant strings soar. You’d be forgiven for thinking you’d walked in on a recital from Handel himself!

Inducing goose bumps, it’s typical of nostalgia and the ecstatic impulse lurking within this music. Another classic moment from the sequel is when we drive a snowmobile in the Tibetan foothills. ‘The Skidoo’ unleashes a series of edgy pizzicato probes, as dramatically camp piano thuds are backed with the intensity of prolonged strings, all leading up to a crescendo of brass and thunderous timpani. The original version was presented as a fabulous quasi-techno track, so I feel the omission of some sort of electronic beat weakens it somewhat. And with the amount of reverb and layered instrumentation going on here, it can get lost in a frantic stew. Yet, the fantastic percussion leading us out is very much welcomed and is one of the albums joyous highlights.

By the time we reached Tomb Raider III, we all but knew the main soundtrack motifs and components, as well as the tried-and-tested game formula. The task for McCree was to come up with something as original and engaging as before, yet take listeners even further into the realms of mysticism and intrigue. Thankfully, he succeeded in doing so with the third instalment. The compositions are distinctly mature and delectably admirable, developing on an even grander scale. This is evident on ‘The Puzzle Element’, ‘Tony (The Loon)’ and ‘The Cavern Sewers’, which all reverberate with meek and enigmatic vibraphone, akin to the abstractions found on an Evelyn Glennie record.

One piece that stands out is the unashamedly mystic ‘Something Spooky In That Jungle’, which introduces tabla and drone as a welcome interval. It plods along with ease and in a diminished fashion, the ebb and flow of the strings sliding around sitar. It also briefly progresses into tiki exotica territory with poised marimba swaying in an emotional cauldron that embraces the essence of voodoo and Indian mythology. Superb.

Throughout the album, many sections revolve around a variation of themes, often taking on new forms altogether. It’s an intriguing listen, and having a good knowledge of the music, I feel quite a few of the shorter pieces are missing from the album. I believe they could’ve been utilised in some way, a gathering of musical ideas, if you will. However, for the sake of the album, it feels more complete without them, with the best musical moments harvested for the final performance.

To close the album, Nathan has included a new piece titled ‘In The Blood’, which celebrates the trilogy of games. It utilises themes already witnessed but has a lovely air of finality about it and summarises Nathan’s ambitions with his soundtracks. Weirdly, the inclusion of three medleys at the end doesn’t seem relevant to me. Nevertheless, The Tomb Raider Suite is a meticulously pensive concept and artefact, an extraordinary time capsule for a pop culture icon and gaming phenomenon.

https://www.tombraidersuite.com/

#tomb raider #lara croft #soundtrack #video games #music

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aurora-daily · 5 years

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AURORA’s Q&A during Spotify Listening Party

Q: Hello Aurora. Is „In Bottles“ related to „In Boxes“ because in „In Bottles“ you are singing underneath her bed and when she is lying in bed maybe she is laying on her spine. Is that the story behind that phrase ? ❤ You are the Best and i Love you ❤

A: they are both about the same lady... that is really well spotted. It has a really strange meaning to it. she wants to be close to people in a very strange way... !

Q: Aurora what is your favourite song on the album?

A: it changes from day to day.. right now its Soulless Creatures. because of its meaning.

Q: Where do you record the álbum?

A: i did it in bergen last november with Magnus <3

Q: Can we expect Step 3, or it's the end of "A Different Kind" era?

A: this is definitely not the last step... but i cannot tell you yet when it will be released.. !

Q: when is the time of day/night you write music the most?

A: i definitely have the most ideas at night, or when im about to fall asleep, sometimes it can keep me awake for hours later than i should stay awake.. but its worth it.

Q: Will you travel to Vietnam???

A: YES

Q: Are you singing in Frozen 2?

A: i might be heard in the wind…

Q: your birth name represents just your music, the universe, peace ... have you thought how would you call yourself artistically if you had another birth name? Which one identifies you?

A: ive always felt that my name fits me so well, and i remember when i learnt what it meant when i was young that i took it like a little mission in life. to create a little light in the world, in one way we all should

Q: Aurora, I meet you the last month and I gave you a skirt, I just wanna say sorry cause it was too big, And I send you a message in your private (sorry)Facebook horse account, I need and advice

A: i love it!! im going to make it a bit smaller, haha !thank you so much!

Q: Do you make your own clothes?

A: yes i make them with my sister Viktoria who knows how to sew!!! i like to know where the clothes comes from, and with her i know the source of the clothes, which feels very good! i like to wear whatever feels good, so its good to have someone who can turn my dreams into real clothes!

Q: Tell us about your language in ADKOH single... what does it mean?

A: its my own language, and one day i will tell you. its based around its core which is human emotions. i want to make it easier for us to discuss our emotions with the world!

Q: Thank you for supporting us - LGBT. I must admit that it is very useful in Poland. We fight a homophobic government and you give us power

A: that moves my heart so much to hear. im sending you so much love. and that is just the beauty of love - it is so much bigger than us. anyone who dares raise a fist against it will always loose the fight. love will win <3 always.

Q: I have found that this album is best fully realized while being outside. I've been running and interpreptly dancing around my neighborhood everyday and it's transportive

A: i love this so much `3

Q: What was your favourite song to produce?📝🤔

A: i loved producing Soulless Creatures and Appletree. ADKOH was also a journey of its own kind. very lovey. Ive used samples from my life, and mixed them with the beauty of electronic music. A bit of both worlds, living in harmony.

Q: How long did it take to right this album? Where did you write?

A: ITs taken me two years to work on all the songs from both Step I and II. and producing Step II took a whole month, with no sleep and long days me and Magnus Skylstad made the whole thing with some help from a norwegian artist called Askjell (on Daydreamer and ADKOH) we cried so much. and laughed. so many emotions. very very beautiful.

Q: Why is 8 your favourite number?

A: i cannot really explain it. i just feel its right. i have a very strange relationship with numbers, i need them to be right. and 8 and 11 have always made me feel so good. their both the same when upside down and mirrored which i love. very reliable.

Q: Can we expect some songs in Norwegian?

A: yes...!

Q: We know in AMDGMAAF you had a sample of you hugging a tree, have you sampled anything unusual/interesting and put it in this album?👀

A: ive sampled all kinds of stuff, my breath, rain, steps, books, washing machines, crushing things, animals, chewing... etc. its so fun. i love working that way. On soulless creatures i have the sound of me tapping my own chest to my heart. <3

Q: "fear not, fear not when you go" that part gets me every time (and i have listened to this song like 100 times)

A: <3 <3 <3 !!!

Q: how do you keep up with all the questions? hahah

A: i dont!! hahaha

Q: do you write lyrics for other artists?

A: yes sometimes i do!!

Q: The symbols in adkoh are a new language right? But are they letters, more like a code, or it's literally a new language where symbols can be a entire word?

A: their all a part of my own language, one day i will show you all of it.

Q: I think your albums are literature, it is really interesting how there is a connection between all of them. From awakening to mothership, is there any plans of releasing a book some day?

A: i will x !!

Q: are there any more music videos coming?

A: Y to the E to the S

Q: I know some people in Tromso but theyre a bit strange. Is everyone from Tromso strange?

A: yes.

Q: Everyone is talking so quickly, I guess I'll shout into the void :p If you get a chance to read this Aurora, I know that you know how many lives you've touched so I'm not special for saying that you as a person, as well as your music, have saved my life. You're so good at making us all feel like your best friends, but I know what it's like to not be a very social person and it's scary. You're so brave and wonderfully peculiar in your heart. please stay true to yourself.

A: thank you so so much for these beautiful words x i promise i will. forever and ever.

Q: the choir goes SO GOOD with in bottles YOUR MIND

A: !!!!!!!!!

Q: Your numbers are 8 & 11? Very cute, in spirit these are good numbers, one means positivity and the other is financial abundance

A: i dont believe any human being could know the true spiritual meaning of them, they belong with the gods, or the trees. everything that we dont know x

Q: .I want to know about that percussion sound that's in a different kind of human...it sounds so different but really "authentic", I know that sounds weird

A: i am really into strange percussion. and im a percussionist myself so i tend to focus a lot on the rhythms. i had the beat for this song in my mind days before even writing it. and i wanted it to sound like something that doesnt exist from before. like ship. the mothership.

Q: What's your patronus?

A: a big wolf. <3

Q: I feel like an ant!

A: me too.

Q: Which song are you most excited to play live that you haven’t already?💃🏼🎶

A: appletree and daydreamer. so full of energy.

Q: Hei Aurora ^_^ En hilsen fra *nesten* nabokommunen din, Kvam! Jeg så deg for første gang på Bygdalarm i 2016. Jeg lytter til musikken din hver dag, den åpner dører, gir meg friske pust. Jeg ville egentlig bare si at jeg er så stolt over deg, selv om jeg aldri ordentlig har "møtt" og snakket med deg. Jeg føler du lager sanger som representerer en helt spesiell del av det å være menneske. Å ha et åpent sinn, se ting som andre ikke ser. Vokste selv opp midt i en skog, tekstene går rett til hjertet!

A: tusen tusen takk. dette var helt nydelig.

Q: Where did you get the inspiration to make "Apple Tree", not only the lyrics, but the sound of it since it's different from anything you've ever made.

A: i dont really like to put any walls around myself, so that day i felt like i wanted to do whatever made me feel nice. and i felt very playful! i have always liked to make different kind of music, like The seed and animal, it happened quiet and under the water etc. its nice to try lots of different expressions. thats what its all about.

Q: I just want to thank you. I've recently been diagnosed with ME, also known as chronic fatuige syndrome. Your songs fill me with strength and energy when I listen to them<3

A: that is so good to hear. I am so sorry youve gotten this extra thing to deal with in your life. im sending you lots of strength. and love.

Q: Do you believe in aliens? I do!!

A: of course!!!!

Q: Have you ever listened to a Black Metal band?

A: yes i love it so much. i love Gojira, Mastodon, Tool, System of A down and Perfect circle too. very nice.

Q: what do you think is the most important message behind your album? <3

A: I think all of them are. The fight for love, the fight for nature. the whole thing about our consuming, and the way we dont appreciate what we have. about having respect for eachother and mother earth. its about so many things that i care about. maybe the environmental focus is one of the most important message right now, and that we all can save the world together. In appletree its all about that. We. can. save. the. world.

Q: Is your language an alien language and are you actually an alien?

A: i am an alien yes, but i belong here on earth too. my language is al alien language that i have made x

Q: Just want to let you know that your music is well-loved in Asia even many of us don't speak English,your music is no boundaries,can we except your Asia tour soon ?

A: my dream is to go to asia. so yes. YES

Q: i don’t use spotify and i couldn’t get this stream to work so i deadass created an account and bought premium for this smh i love u aurorie

A: Oh My GOD!! really!_! that is amazing. thank you for doing all that to be here with us !

Q: Mothership is so important and special to me because last year my best friend committed suicide and it makes me feel like she's gone to a safer place ✨🌿💗

A: i am so sorry to hear. The Mothership will take those people, who felt like the world was a too dark place to be. Its a horrible thing when people think that is the only way out. Sending love to you and the family who lost a loved one. She is in a safe place now.

Q: Have you ever attended piano lessons, can you read notes, or rather you are self-taught

A: i dont know anything about music theory, im self taught!

Q: Aurora, I'm a painter. And I can not get my paintbrushes and paint something without listening to their songs. You inspire me a lot. That's the reason I can do everything I do. Thank you for that.

A: aaaaahhhhh. thank you so much for letting me inspire you. thank you. keep painting!

Q: aurora do you sometimes feel like talking to trees and plants? cause i do sometimes and they are beautiful creatures! they have a very caring and loving energy!!

A: i do too!!!

HEllo hELlo you lovely people. I am really trying my best to answer all of you. but its as difficult as building a castle of melted chocolate. Soon the chat will close, but before i go. i want to say thank you to all of you. you are such great people, and i am so happy to share this album with you. thank you for diving into it <3

thank you all for coming!!! will stay for 11 minutes more until the chat closes!!! JUST HAD TO SAY THANK YOUUUUUUUUUUUU

Q: What is the emotionally hardest song for you to sing from your new album?

A: i think Dance on the moon. x

Q: I seen in a fanwiki page that you like minecraft, DO YOU PLAY MINECRAFT???

A: i love it so much. i always play on creative mode though!!

Q: Do you intend to write a book someday? We would love to read it!🥚

A: i will, and i think its so nice that you are all interested in me doing so!

Q: The beat from apple tree has any inspiration from olodum ? (A Brazilian type of beat )

A: YES! and hip hop too. i felt it deserved a very alive and bad-*** groove.

Q: Have you dealt with anxiety and/or depression?

A: Yes i have. its a long time ago since i was depressed, its so strange how ******************************************************************************************************************************************************************************************************************************!!

Q: Are there any songs that almost didn’t make it to the album?👀🎶

A: actually daydreamer and dance on the moon just barely made it!!!

Q: what helped you get through the lows of your life?

A: making music. and giving myself time to heal. ive never felt guilty for being a bit out of ... tune with myself. being an emotional human being is hard, but at least you can always make yourself feel better by finding an outlet. or talking. or crying. just let yourself feel, dont escape from it. then suddently youll feel better one day.

Q: AURORA THE FATE OF THIS WORLD DEPENDS ON YOUR ANSWER TO THIS QUESTION!!!!!!! what is your favourite primate? is it the humble chimpanzee which would align with my favourite? or perhaps the solid orangutang. i am curious to see

A: haha this is so funny. i love the orangutang.

Q: You’ve talked sometimes about there are some things on the industry and big companies that you don’t like. How do you deal with it? How is your relationship with big production companies?

A: just remember to always follow my instinct. <3

and thank you for all the birthday wishes!!!!

Q: AURORA'S FANS ARE THE SWEETEST!! I LOVE YALL AND AURORA SO MUCH!! YOU MAKE THIS PLACE SUCH A SAFE PLACE TO SHARE, AND TO THE FANS TRYING TO PUT DANCE ON MOON ON NASA'S PLAYLIST, YALL ARE THE B ES T!!!!!!

A: I KNOW!!

Q: Aurora, Is Star wars still on you phone ring?

A: hahah yes!!

Q: Do you read the messages we write on instagram

A: yes <3

Q: Aurora your a inspiration and a safe place for a lot of LGBT+ that listen to your song, especially me, thanks for all the love you spread across the world

A: thank you so much! <3 sending you love. love love love love love

[credits for this recap!]

#aurora #aurora aksnes #interviews #spotify #in bottles #in boxes #soulless creatures #apple tree #step 2 #magnus #askjell #daydreamer #adkoh

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