#i wonder why the music videos r mostly vibes based this time round - why was the choice of a single long shot with assumedly jon lipsyncing?

[defenestratte]

CALL THE COPS AND TELL THEM WHAT I WANT / MY BATTERY'S A HUNDRED PERCENT

[aiph-daicerandomstuff]

BLOG Entry #3: FAKESHOW Review | CGM

This is a review/reaction about Da-iCE’s new single. This piece of literature is completely an opinion [mostly a fangirl’s violent reaction], based only on the writer’s point of view. You can always oppose or approve. But, don’t be mean.

FAKESHOW Review

On May 30, 2018 (Wednesday), Da-iCE officially released their new song, FAKESHOW. It is their second single after TOKYO MERRY GO ROUND, in celebration of their 5th Anniversary. It comes along with two songs, “Limits” and the 5 Voice & Bossa Version of “Hello”.

Okay, enough of the formal introduction. Haha! For the reason that I have already listened to FAKESHOW and to its accompanied two songs, I have already gathered my views and opinions and decided to write and post them on this blog.

Alright! – FAKESHOW.

As I’ve already mentioned before, I didn’t really like FAKESHOW that much on my first listen on their official website’s preview. Maybe, it was because I was initially oriented to acoustics and solemn melodious sounds (I was late appreciating too much pop-pop) and so, I was quite surprised by the complexity of the rhythm and the pattern of the song.

Note that I fell in love with the way Da-iCE songs are arranged in pop style, mixed with modern beats of EDM and soulfulness of R&B. Though not at first, I had quickly caught the beat of TOKYO MERRY GO ROUND before (although it’s also another song that sounds quite different from other Da-iCE songs), but FAKESHOW…? It took me a third listen to get familiar with the rhythm. I was like – “Is this the first Da-iCE song that I would dislike?” I was quite disappointed. But then, as well, it might be because the preview is too short. “I might be judging too early.” And so, I decided to wait for the whole song…

And then, Da-iCE released the music video that was also labeled as “Another fake version”. Again, as an a-i, I was energetically happy – jumping up and down. It was a new PV, even though it was not that officially complete, it had already shown the artistic concept and effort that the staff and members had exerted.

I love the costume. They were in formal and not-so-formal suits! They all look so handsome and matured and professional. And the colors? They express elegance and royalty! Of course, it was quite a dark concept, and that’s why I like it more. The way the smoke, mirror, and “wanted” background were used was witty. The lights were tricky as well. Let us appreciate the director and the people behind the whole production of the PV!

I tried to “decrypt” the lyrics with my poor Japanese. Haha! And so far, I can say, it was quite deep. It was about lies and if one would be deceived or not – something like that. I love the part of the lyrics that can be translated to “…wrapping up the smoke, goodbye! Melting away the lies…” [If I happen to finish the translation and take the sense out of those words, I might as well share them to you.]

After appreciating the effort, I finally concluded that “YES, I also like this song.” And now that I think of it, it kind of reminds me of WATCH OUT. I am not saying that the songs are similar. It just somehow “reminds” me of the previous piece. Maybe, it was because of the “TRUTH” part of WATCH OUT and that FAKESHOW is about “LIES”.

Anyway, I like the voices of Yudai and Sota in FAKESHOW. They are in high quality and in characters as well, as if they are trying to deceive [and seduce?] us with just their voices. The lower notes were mastered by Yudai, and the high notes were mastered by Sota, of course.

Da-iCE is getting better and better! They are that confident, they posted a Dance Practice of it! After years of not gracing YouTube with their moves, they finally decided to surprise us. And they did surprise us [me, particularly]! The choreography was once again made by Noppo of sh*t kingz [the TOKI choreographer]. Again, I am thanking him for giving our boys a magnificent choreo.

I love the speed and the sudden shift of steps. My favorite is the hand-and-face part, that “Baby, baby, smoky, smoky…” part [you know what I mean]. That was iconic and easy to remember.

Now, I can honestly say that I whole-heartedly love FAKESHOW! It is super cool and artsy! It makes me want to look forward to the upcoming album. Oooh, aren’t you excited as well?

Additional Reaction - Limits

After adjusting myself to the complexity of FAKESHOW’s rhythm, I wasn’t that quite surprised by the loudness and all-out beat of Limits. It is “louder” and “more complicated” compare to FAKESHOW. It is full of energy and magical, in a way. It is hard to describe, but listening to it makes me imagine Da-iCE driving race cars and going into an out-of-this-world battle of powers. Weird, eh? No wonder it was used as a theme song of PlayStation 4 “Black Clover Quarter Knights” [I don’t play so I don’t know what this is all about].

You know what’s weirder? I caught the rhythm quickly and enjoyed the song, although it’s quite “rock”. [I am appreciating various genre, yeah!]

Additional Reaction – Hello (5 Voice & Bossa Version)

If you have already listened to this version of Hello, I know… you smiled as well. Because, Toru, Hayate, and Taiki were singing and their voices were great in there. I love the falsetto part of Toru and the bridge that Taiki had sung. I totally smiled on those instances, like – “Why aren’t these three main vocalists?” I am still waiting for the time that they would totally make an official song [with MV] in which they would be singing in harmony and making wondrous blending. It may seem so far from reality, but if that ever happens, I will be more than happy.

As a whole, since it is “Bossa” (it might have been derived from the “Bossa Nova”  genre of South America), this version of Hello makes me think about Hawaiian beach (although I am supposed to feel Brazilian vibes) with Da-iCE wearing colorful floral shirts and drinking coconut juice from their shells under the heat of the summer sun. Haha! That was too much! But, that was what I imagined.

I think, that’s all. So, what are your thoughts about FAKESHOW single?

[thesinglesjukebox]

KESHA FT. BIG FREEDIA - RAISING HELL

[6.38]

Kesha with Big Freedia Energy

Leah Isobel: Kesha has been saddled with one of the heaviest narratives of 2010s pop music, which combines uneasily with her career-long interest in more grounded country and rock signifiers. Now when she works with those impulses, as she did on Rainbow, the effect is one of refutation; Animal becomes an outlier that she made against her will, one that doesn't represent the Real Kesha. To work her way back to the party music that made her reputation, she has to adapt it to the new narrative frame that surrounds everything she does. If she's having fun, she's having fun in spite of what she experienced; partying is no longer an end into itself, but an escape from something else. Hence, "Raising Hell" deploys one of the hackiest pop tropes - gospel choirs used as a shortcut for sincere emotion - married to a pretty decent Big Freedia drop. It's not awful, but I miss the actual, honest-to-god trashiness that she made her stock in trade. In 2019, I guess I'm the only one. [6]

Thomas Inskeep: Finally, an uptempo Kesha record that a) isn't touched by the evil Dr. Luke, and b) doesn't sound like the result of a three-day vodka-and-Red Bull bender, and c) is actually fun. I'm not a fan of the EDM horns in the chorus, but apart from those, this works. I'm a bigger fan of Big Freedia in theory than practice, and accordingly prefer her in small doses; she's quite effective here as a kind of DJ Khaled-esque hype-person. And Kesha sounds free and happy, which makes me happy. [7]

Kayla Beardslee: I'm glad Kesha got her balls back and all, but I'm not enthused that that means a return to honking 2012 pop-drops. I will admit, though -- the combined Kesha/Freedia "drop it down low" hook grows on me with every listen. The rest of the song is fine: it invites singing along and is fun in a hedonistic Ke$ha way, but it's also very, very noisy (lots of erratic shouts and claps in the background that, to me, lean more messy than energetic). My favorite part is the final chorus ("Can I get an amen"), which is a pleasantly melodic contrast to the rest of the track, a close second being the thrilling "aaugh!" Kesha does right before the second chorus. [6]

Alex Clifton: High Road appears to take the party-all-day spirit from Kesha's earlier work but mixed with the rawer, more down-to-earth material from Rainbow. In theory this is a dream come true, and there's so much about "Raising Hell" that makes it a joy to experience. The post-chorus is godawful, though. Tonally it doesn't fit and stalls the song from its natural flow. I'm also longing for the day that Big Freedia gets the feature she deserves: her appearance is mostly limited to drop-it-drop-it-drop-it-drop-it which is delivered well but also literally one-note. Kesha's trying to have it all ways she can--country and gospel and dance and bounce--which, as someone who likes a good genreproof song, I really respect. Unfortunately the whole package doesn't come together as fully as it could. [6]

Stephen Eisermann: "The best possible Andy Grammer single" is not what Kesha and Big Freedia should be collaborating on. This is a waste of time and talent and no amount of conviction from either participant can convince me otherwise. [4]

Alfred Soto: This sounds sacrilegious: instead of defiling a religion, it defiles my idea of Kesha. After proving herself up to thumbing her nose at any genre she experimented with, she acquiesces to gospel cliches. She's earned the right to want salvation in them, lord knows, but she needn't sound as if Julia Michaels was her pastor. [4]

Josh Buck: How do you have a hook like "I don't wanna go to heaven without raising hell" and video centered around prosperity gospel preachers and NOT make it a country song?? At this point, Kesha has proven that she can tackle a variety of genres, but this bounce effort just feels scattered instead of celebratory. I realize this a loaded statement and not at all meant to be a defense or endorsement of the man, but judging by Kim Petras' endless recent string of bangers, Dr. Luke may have been an irreplaceable ingredient in Kesha's more crowd pleasing, debauched pop efforts. In recent years, she's sound much stronger on her Struts and Eagles of Death Metal rock cuts, and i'd love to see her spend more time in that arena. This one reminds me a bit of the final album by The Donnas in terms of we-might-be-too-old-for-this vibes. [3]

Katherine St Asaph: The narrative, inevitable and damning, around Kesha was that in severing her ties to Dr. Luke, she lost her source of a signature sound. Rainbow, with its grabs at musical styles and Kesha's required-for-optics but personality-dampening show of penitence, didn't do much to dislodge it. Which is why "Raising Hell" is such a triumph: it's evidence that she was the source of her signature sound. The song feels massive; if sound alone determines a hit, this would be No. 1 everywhere. The hook is recognizably hers: a melody that's kin to "We R Who We R" and also to hymns. The drops r what they r; the interpolations are canny and nostalgia: an interlude of "My Neck, My Back" filtered through "Hollaback Girl," an interlude of preaching filtered through Prince. Freedia is incapable of sounding like she's phoning it in even when she is (I'm sure she'll do a lot of that in the next few years), and unlike Iggy Pop or the Eagles of Death Metal, she's an actually exciting guest pick, rather than one mostly exciting on paper to boomers. And throughout, Kesha recaptures the anarchic glee that made her career. [8]

Jonathan Bogart: Maybe it was my naïveté in 2010 that made her sound so recklessly out of step with the rest of pop; but her post-Luke music, however much better it has been for her soul, still sounds faintly like capitulation. The secular-gospel structure and chantalong melody followed by jump around breakdowns sound like every pseudo-celebration on the market: the saving grace is Freedia's booming authoritativeness (surely the angel Gabriel, when he tells the roll up yonder to drop it down low, sounds like her) and Kesha's impish use of language, dancing on the borders between sacrilege and piety, hooks it up to the great stream of American song, where there is no Sunday morning without a Saturday night. [8]

Kylo Nocom: Of all things, this reminds me of Vacation Bible School theme songs and the "Cheerleader" remix. I have scored this accordingly. [7]

Michael Hong: The bombast of early 2010s Ke$ha meets the soulful Kesha of Rainbow racing down that same road to self-empowerment. Ke$ha's talk-singing, a choir that makes a line like "bitch, I'm blessed" all the more enjoyable, drops mixed with the gospel influences, and Big Freedia's bounce make for a hell of a maximalist fantasy. [7]

Jackie Powell: When "Raising Hell" begins, it fools the listener. When the piano chords and Kesha's introductory vocalization grace my ears during the song's first five seconds, I'm convinced that a power ballad or at best a mid-tempo track is in store. But Kesha quickly changes direction. An explosion of camp from collaborator Big Freedia, a blaring saxophone in the chorus, the return of talk-singing in the verses and an epic build in the pre-chorus: it sounds very familiar. That's what Kesha wants. She wants us to feel like we are once again at a 21-century hoedown. (But without Pitbull this time.) On this track, Kesha proves that both she and her fans can be "animals" while simultaneously being people with "fantastic souls", which might have been something missing from the pre-Rainbow eras. Here, however, Kesha desires fun and a rebellion that are a rejection of evil behavior and suffocating authority figures. She's not just sticking it to the man without a purpose. That's the difference between Kesha of 2019 and Ke$ha of 2009. "Kesha got her balls back and they're bigger than ever," she said in the album trailer for High Road. But I don't agree with that. She's had them since her inception. Her evolution has been honest, which is something that not all artists can say. [7]

Isabel Cole: MY! GIRL! Having proven herself an actual musician to every idiot man in the country, Kesha (perhaps sick of being so serious) gleefully returns to her favorite stomping ground of, well, glee. Raising Hell makes text what has always been the implicit mission of the Kesha project: a commitment to the fundamental sacredness of joy. It's hard to imagine a more succinct encapsulation of her ethos than "I'm all fucked up in my Sunday best / no walk of shame cuz I love this dress": it's not that she takes no pleasure in the transgression of elevating ass-shaking to the level of the divine, but it's a gentle mischief born of the deep belief in the holiness of enjoying our corporeal gifts while we still can. Feeling good is a form of worship, and a killer beat is no less legitimate an access point than a hymn. When she combines markers of religiosity with artifacts of base delights (my favorite is "Solo cup full of holy spirits," although I also adore the the vulgarity of "bounce it up and down where the good Lord split it"), the point is not to revel in contradiction but to toast to the fact that there is no contradiction; and when she opens her scope in the coda, dedicating her preaching or perhaps this round of shots to the misfits of creation, there's a (frankly Piscean) generosity to it. Also, (1) it slaps (2) biiiiiiiiiiiiiitch I'm blessed (3) her voice sounds just wonderful, as dextrous with an implicit smirk as ever and with a thrilling power on the places she gets to soar; I love the bit of grit we get in the chorus, like she's singing this after a night out (4) it FUCKING slaps (5) "I'm still here still, still bringing it to ya": ten years since TiK ToK this month, and the party still don't start till she walks in. [10]

[Read, comment and vote on The Singles Jukebox]

[krisrowland]

Promises for this year and reflections on last year

 A few activities that I’m trying to have a positive impact my life in 2019

Reading (so many books I haven’t read on my shelf)

Drawing in my Adam J Curtis book

Writing Kasper pieces

Spend time figuring out a vague shape for Kasper so far.

Organise Skype sessions with friends, Helena, Steph/Archie, Tina/Aine, Rosie, Lauren,

Research artistic meetups

Find time to meditate

Find time to be silly/rehearse monologues

Singing in the shower

Practising monologues

Writing thought pieces

Practical things to work on in 2019

Get a credit card and spend     £50 each month

Buy all birthday cards and     presents for sister, mum, dad, matt, Archie, Sophie, Jonny and Rich and Helena. + any  other major birthdays

Organise birthday party in August

Organise China trip in August

Things I promise to be this year

Being a better uncle to     Archie

Everyone is a little bit racist as they say. I want to be less so.  I want to understand more and go to talks, plays, listen to activists that have a BAME voice . And figure out how else I can be an ally.

Always be willing to learn

Reflections on 2018

January 

I met Chris at Paul's birthday party which was amazing it was so fun and an overwhelm of lust and play.  I stopped doing the Landmark Education introduction Leader Programme after  4 months of emotional, frustrating and enlivening phone calls. I couldn't deal with the pressure I was putting myself under. My grand visions of social justice and my own creative practise were in severe conflict with reality and I needed to reassess what I was saying to myself. I think Landmark has undoubtedly changed my life it has made me really respect myself and find ways of being more flexible on a day to day with others. I now have the best relationship with my Dad, Mum and work I have ever had. I also started counselling for the first of three times this year to clear up some irrational thought patterns, which has continued my personal development journey and understanding of myself. Katharine and I continued our obsession with Stacey Makishi @ The Yard Theatre. Paul and I watched an earthshattering theatrical version of Network at The National theatre.

February started with Rosies hen do and a rekindling of the Notts college crew. I had a two week break to hang round London see shows and art galleries. I had my first rehearsals for Kasper, a performance piece I have wanted to do for ages and invited Chris k to collaborate. I also partied hard with Kayleigh Foulkes for the first time in a number of years in Camden and G.A.Y. The broom dancing team were on form (minus Heather)

March Rosie and Bob's wedding was another wonderful reminder of the awesome people that are in Nottingham, god I love our college crew there is so much I have to thank you for. Catching up with Jake was great, though we only met up three times this year, a culture vulture with a big heart and the best company. Kris R's party was a messy fun night with glitter et al at G.A.Y. And another messy night to welcome Gurdeep to his new Stratford home.

April Discovering the cruisey vibes of Bloc bar with Bryan was amazing. It felt like I was at a gay trance night in the 90's. Pulsating music, guys and telling the time by the number of topless men you could see. April was also Jamie's birthday with a terrific karaoke and Chinese evening. I went to Nestas people powered health conference which made me want to do a service design ma in the new year and had a number of wines for the road with my director and manager.

May was an eventful month starting the new job, Eurovision being a messy evening to say the least in a fabulous location.  I saw Hamilton with Jamie which was an honour and a pleasure it was the best musical I'd seen in ages, intelligent, mainstream, modern and political, never mind catchy. The amount of times I listened to the soundtrack  Spotify created me my own Hamilton playlist as if it was a genre.

In June I did my first stint drinking no alcohol at house parties with support from Helena as she was trying to cut down as well. I joined the Grapes quiz team and won a number of times throughout the rest of the year with them. Helena and I went to Phobiarama which was a political and race based ghost train. Followed by a very iffy messy night at XXL. It was Jonny and Rich's 40th and Sophie's 30th. We said goodbye to the first care leavers peer support group and partied at Chris's caravan to say goodbye to Chris and Helena on their next adventures.

 The start of July was Helenas leaving party :( This years London pride felt like the first time I really understood why we still celebrate. A space in which you can be anything you want to be and feel comfortable being who you are. Years and Years were epic at the Roundhouse showing off their new album with much pizazz. Grindr the Opera was a weridly touching patische that was both hialrious and heartwarming. Helena was back in London and had a brief visit to see Gary in his new pad with Lindsey on the Henley part of the river Thames.

August was my first holiday with my dad in a beautiful air bnb in the New Forest. I had a joint birthday with Chris K starting with a picnic in Green park and ending in the beautiful Set You Free at The Chateau for pure 90s pop #messy. Kayleigh came to London again and we saw Britney at the O2 and went to Jonny woo' club The Glory.

 September I headed off to see Helena and explore Estonian culture in Talinn. I managed to do my best time on a half marathon. 1hour 54 minutes.

 October

Not much happened in October.Cabaret night with Phil Will and Kris. Halloween twas

November I met a really nice guy on Tinder but just didn't get the spark. I started Kasper rehearsals again, trying to figure out what the hell you do in a devised rehearsal space. Fantastic Beasts was a disappointment.

December started off with a fab racalette and wine evening with Chris Will and Phil. We had two Team away days on the same day which I helped organise. The Xmas party was at one my fav craft beer places. I had the gayest of Secret Santa's with unicorn Christmas decorations, a apron with a fake cock attached to it and a very fluffy rainbow pen. I finally went to see The Inheritance. A beautiful bittersweet depiction of modern gay life and the debt we owe older gay men.

Throughout the year I have been volunteering at a care leavers peer support group in Thurrock. It has been a challenging experience with the young people but also being able to find our place in the group. I wrote a blog about my experience here. I am continuing this into next year and won't be continuing after June.

It was a bit of a shock in May to hear that Helena (my closest and best friend) would be moving to China. We have really gone through thick and thin together and with each other over the last two years. Meeting at Landmark on a course and then developing a social impact concept together. Whilst the CCA's output may have left much to be desired. We created some unbelievable friendships ourselves and with other people including Gary, Kris , Annie and Papola. July was the month when she departed to go to Estonia for a few months before leaping over to Bejing to be a lecturer. Looking back over the year it strikes me how much of an impact she has had on me. Getting me off my seriousness addiction, pushing me when I didn't think I could give much more. She is one in million a real open, honest, not afraid to share her thoughts, willing to give anything a go and also a mysterious multitasker that you don't realise is doing so much brilliant stuff.  She has opened my eyes to the EU migrant experience in Britain, Estonia's vibrant culture, my own biases, helped me celebrate myself and so so so much more. Helena I frigging love you and miss you, no one can ever take your place.

At work it was an up and down year. A department restructure and consultation had been taking place since September 2017. After six months we had the finalised structure, my line manager was leaving which was a blessing and a curse. (In some ways he was an amazing line manager giving me space to explore with him what I wanted to develop in the role but he was also not great at following up and holding me to account plus our meetings could go on for hours.) Then looking at the final paper I saw that my job had been deleted. So I had to interview for a new position which mostly matched my previous role, though it was the grade above which softened the blow. We welcomed Jane to the peer support team and many others into the unit and it felt we had new found energy and ambition.  Two colleagues and myself started the LGBTIQ+ workshop which has been an amazing 6 months of creating events, learning, creating structures and trying to see how we are best placed in the organisation.  At the Xmas party we even had someone congratulating us on sustaining the group and seeing us as a steering group for the organisation. I also travelled to Birmingham and Swansea for Influence and Participation (I&P) events, helped create an animation and will be facilitating a session next year for a new set of videos explaining the benefits of I & P to people on their recovery journey. The success of our staff forum pay paper meant in April  that all staff got a pay rise, with further Brexit/ economic developments this will be a key focus in the coming years to see how we can support staff within our capacity as a charity. I was recently made the staff forum chairperson as Zadie leaves after having helped us navigate a consultation that asked major questions of our internal structures and leadership and form a project plan. Things now seem more on track with my role with a clear steer that my efforts to troubleshoot and problem solve is a positive contribution to the units and department as a whole. We will see what happens in the new year.

Jamie was another of Paul's friends who I instantly hit it off with. An amazing creative/ animator who has enthusiasm for all things culture with a labyrinth of music, film, TV shows and merch surrounding his almost iconic living room.  We created a film club watching films we had never seen before it was a zany mix of animation, black comedy, surreal adventures and classics that you are suppose to have seen. After a bit of persuasion Jamie created an amazing puppet lipsynch to Robyn's here. Talent screaming out, can't wait to see what next year brings for this phenomenal guy.

Chris what to say about Chris. Well he has given me some of the best nights of the year pub quizzes, theatre, drinks, nights in, films, banter, Karaoke, clubbing, a picnic. His smile is inffectious. He made me value the small things. We dated and that came to an end but he became a solid friend. There is so much going for him I just wish he would see how great he really is.

Big love