#no but really. patrick's voice is GORGEOUS i Love his vocal changes in the songs and how it matches the lyrics

[infinityshigh]

i cant believe it took me eighteen years to start listening to fob this band is fucking brilliant are you kidding me. the songs they put out twenty years ago still hit THE SAME grand theft autumn and saturday are timeless and i just had the most religious experience in my room listening to hold me like a grudge seven times in a row. are you kidding me. i love their music so much i need to eat it

[spirallingstarcases]

Okay but no I actually love listening to eowyg and tttygs calm before the storm back to back. Like you can just hear the growth and how much more complete they are in the updated version. Like to me it’s the clearest example of how essential Andy’s drumming is to their sound bc you hear the version without him and it’s so much less alive, it’s not nearly as interesting or full or just. Idk the og drummer isn’t bad but it’s certainly lacking Andy’s presence. Joes guitar parts are so much more developed and prominent and it feels like he got to be more front and center esp at in the bridge. The bridge itself is miles better in the tttyg version like eowyg it’s almost like they just decided to take a break mid song it’s very minimal. But the newer one is gorgeous and it’s simple but it’s so well composed and layered with all of them. The bass line is mostly the same from what I can tell but we all know that’s not Pete’s real impact. Pete’s changes to the lyrics for the new one! Or at least I’m assuming he was responsible for the verse updates. It feels like him. it makes me think more than anything of how often Patrick talks about how Pete’s words have such a unique rhythm inherent to them, bc the way Patrick sings the new one is so melodic and it fits so well where the eowyg version is just a little clunkier. And Patrick’s VOICE. I remember being younger and listening to cbts specifically in tttyg and the bridge through the end and being like?? This kid?? This is the kid who thought he wasn’t a singer? Because he’s sustaining ridiculous notes and vocal runs and it’s insanely good for his age and where they were and back then I just thought like it’s wild that he was so nervous back then about singing but on songs like that he’s just going all in. And then I found the eowyg one and went ohhhhhh okay because he didn’t start there. He didn’t have the capability or the confidence or the consistency yet. He did start out very rough and had to work his way up to belting out those high notes and the smoothness of his voice etc. So yeah going to tttygs version right after it’s just so satisfying because everything that’s good about it is showing off the core of what makes each of them so necessary to their sound, and what unique parts of the music each of them bring to the table that would make it incomplete without the whole band. Rambling but eowyg is. Eh. But I’m glad we have it if for nothing else than I love the comparison between those versions of the song

anon i don’t have nearly HALF the coherency for good song analysis like you do but it’s like as i read ur ask i found myself going “hey yeah i DID notice that” or “that’s actually a really good point”

but one part i can say is that eowyg is really lacking in terms of like. everything? knowing what fob can actually do might be tainting my opinion on this but listening to it makes me wonder how their actual songwriting processes in and of itself had changed in the time between evening out and tttyg because the guitar sounds wildly different and in tttyg it sounds like there’s actually more then two guitars playing when evening out relied on two guitar lines presumably between joe and trick

and patrick’s VOICE the stark difference between the overstrained eowyg vocals vs tttyg where patrick sounds much fuller and let’s his actual throaty deep voice out, in eowyg it feels like he was focused on sounding pop punk and hitting notes that he didn’t even think he could hit when in tttyg he was more focused on the melody and keeping his runs even

i just woke up so that’s pretty much all i have to say rn LMAO but anon just know ur explanation of it is sooooo real and true

[kumaneko-lxve]

Things I Love About Awsten Knight

-"crabs are from the spider family, they just,,adapted and shit in the ocean. so fuck you, i win"

-he's a momma's boy to the core + has a positive relationship with his sister

-had a band called "the blue poptarts" in high school. not kidding.

-hetero. chromia. i rest my case

-hair which can't stay one color for longer than half a year

-vibrato that's rlly soft and subtle but oh so lovely

-(after watching his first po box opening vid) "i was like 'man, i cuss so much! i don't wanna, i wanna be good!'" two seconds later, "oh these are from our,,thing from warped tour! fuck yeah!"

-has to type in all caps. this is mandatory, there's no reason he can't

-smile that shines brighter than the sun + he smiles with his eyes (that's the cute shit right there)

-laugh that sounds like a loud giggle + when he giggles and he squeaks

-his voice; speaking, it's bubbly and bright, full of energy, but singing you can hear the tiniest hints of emotion that can both make you smile and cry

-said fuck gender roles

-when he scream (for example in 'new wave': and this is something i can't lose!!)

-"why's that funny, fRaNk?! can i call you fRaNkLiN?!"

-how he closes his eyes when he sings, sometimes his face will relax and you can see (most of the time hear too) he's getting into the music + when he sways back and forth (if sitting) and his hands or feet keep time, also when he twitches his head

-😛

-when his hair goes 🌊

-live/acoustic vocals that're so gentle yet so supported and powerful at the same time + when he throws in runs and vibrato tricks, makes a choir nerd's heart soar

-when he smiles or laughs and his eyes squint up, fuck it's so cute

-he doesn't get voice cracks often, but when he does, it kills me

-has synesthesia, which helps in album color schemes. this is also why there are songs titled "pink" and "peach (lobotomy)" because, to quote, "they feel that way" to him

-"and if👏you👏poison👏me, we'll know you did it"

-loves animals more than he loves himself

-the energy he has on stage, so jumpy and just out to have a good time

-uses a blender as a tripod for his phone

-he's the visual representation of adhd

-"stan twitter hates everybody, they hate themselves!"

-songwriting abilities (when he says 'pete wentz and patrick combined' he don't lie)

-he says lgbt+ rights

-jokes and sarcasm that are top teir, nothing can beat his witty comebacks

-he essentially named himself (story: his birth name was "austin," but at around the age of 10/11 he began to spell it "awsten" on his school papers, so when he had the chance, he had the spelling legally changed) + named his sister

-definitely isn't straight, but doesn't want to be labelled

-"call me a sexy bitch!"

-side profile that's really nicely structured, smooth and soft yet pointed with defined angles

-his appreciation of memes and meme energy in itself

-"it's sadness, courtney. it's fucking sadness"

-said fuck toxic masculinity + feminist

-without him, my mental health would probably have spiraled back to where it was when i was 14

-self-confidence is always stan material

-habitually uses they/them pronouns, especially if he's unsure of the person's identity. that makes an enby like me very much a lovestruck mess

-he loves his friends so fuckin much it hurts

-extremely passionate about what he does

-his love for us (even tho he calls us assholes)

-[do you like cats?] "i like my cat!" :D

-brought a goat to a photoshoot just because he could

-the lowkey scary chaotic energy in his tweets

-"fucking tornadoes! ruining my aesthetic!"

-still has a babey face

-wrote an entire goddamn book on accident

-when he talks in funny voices or accents (i've heard two separate instances where he spoke in an aussie accent and i stopped breathing for a bit)

-he paints his fucking nails and i—

-is slowly becoming an e-boy but i'm here for it

-has a podcast with his friend travis (called "awsten and travis' slumber party") that's literally just them reading cursed fanfiction for two hours

-he's so effortlessly beautiful, he doesn't even have to try and he's the most gorgeous person wherever he is

-he treats us much more kindly than we deserve, honestly (if you've seen parxie twitter, than you know the horrors that come from it)

✨𝕞𝕠𝕣𝕖 𝕥𝕠 𝕓𝕖 𝕒𝕕𝕕𝕖𝕕 𝕒𝕤 𝕚 𝕣𝕖𝕞𝕖𝕞𝕓𝕖𝕣 𝕥𝕙𝕖𝕞. 𝕞𝕪 𝕞𝕖𝕞𝕠𝕣𝕪 𝕚𝕤 𝕦𝕥𝕥𝕖𝕣 𝕤𝕙𝕚𝕥 𝕤𝕠 𝕥𝕙𝕚𝕤 𝕝𝕚𝕤𝕥 𝕞𝕒𝕪 𝕖𝕟𝕕 𝕦𝕡 𝕒 𝕙𝕖𝕝𝕝𝕦𝕧𝕒 𝕝𝕠𝕥 𝕝𝕠𝕟𝕘𝕖𝕣, 𝕪𝕠𝕦'𝕝𝕝 𝕛𝕦𝕤𝕥 𝕙𝕒𝕧𝕖 𝕥𝕠 𝕤𝕥𝕒𝕪 𝕥𝕦𝕟𝕖𝕕✨

[notesofarichlycolorednight]

OBC Hadestown Recording Review by a Non-Professional that you didn’t ask for

Alt. click-bait title: THEMES! THEMES! THEMES!

so i just listened to the Hadestown OBCR

so as practice, i’m going to do this review (i have a lot to say if you hadn’t noticed) like a sandwich--positives, mixed, neutral, negatives, more positives

and yes, I compare it to the NY version. it would be Impossible for me not to, considering that’s all I had for years. but I did listen to it with an open mind and wide-eyed excitement

YAS QUEEN

Amber Grey and Patrick Page, lovely as always

I’m glad they introduced Hades in “Road To Hell” also that Hermes is like...is there another god? oh yeah, ME!

Eva Noblezada was AMAZING and I love her Eurydice

Reeve Carney sounds like an wide-eyed, naive, optimistic musician and it’s Wonderful

the overall themes and a more cohesive story--like there were of course themes threaded thru the NY recording, but the themes were much stronger in this version

Hermes being Orpheus’s mentor, rather than just the narrator and occasionally interacting with Orpheus bc he can? the exchange between them reads less like “I’m kind of picking on your bc you’re an artist” and more like “yikes, bro, you messed up. and bc I’m your mentor, and the god of Travelers, I’mma help you out a little”

oh yes, LOVE LOVE LOVE “Wedding Song” and oh, I LOVED that he sang his song in this version (hope to see what happens on stage some day ;_;)

the OBC version of “Livin’ it Up on Top” is still fun as always and I love they included the joke “to hell and back”

Orpheus’s lyrics in “All I’ve Ever Known” are So. Soft. our soft, poor boy Orpheus

Reeve and Eva’s voices fit together really well and I’m cry

“A Gathering Storm” is just Gorgeous storytelling right there, mmhmm. And oh shit, the “It’s not supposed to be like this” damn. And Eurydice’s “bring the world back into tune” Love it.

oh dude, the doubt in “Epic II” mirroring Orpheus’s later doubt poetictheater.jpeg

the lead in from “Epic II” to “Chant” always Great. And oh man, loved more of the storytelling and Eurydice’s lyrics in “Chant” okay but the juxtaposition of Hermes telling Orpheus telling him to look up while the Chorus chants to keep your head low oh jeez. And Eva sounds Great in “Chant” like DAMN

shaken, not stirred

Andre De Shields, sorry bro.

intellectual: I think his performance was great and the way he portrays Hermes fits really well with the style and aesthetic of Hadestown.

emotional: unfortunately, I don’t like his voice. and yes, I’m definitely biased for NY Hermes, but this is like a personal preference type thing. his voice is like the opposite of a stim for me... :\ which is unfortunate, because I did enjoy his performance

“Road To Hell” is before “Any Way The Wind Blows”

intellectual: it definitely fits this version, and I really liked hearing more about Eurydice and understanding her struggles and why falling in love with Orpheus is such a big thing for her

emotional: but I kinda liked the order in the NY version. it kinda felt like a preface to the story itself, and like even tho Hermes is the narrator, beginning with a song the Fates sing, it shows who’s truly in charge (they DO in fact control the speed at which lobsters die)

tho if I’m being honest, “Livin’ it Up on Top” doesn’t quite have that kick the NY version has. idk if instruments or missing or there isn’t enough ppl singing, but there’s just something missing, which takes a little of the fun out of it

It again feels like something is missing from “Way Down Hadestown” :\

intellectual: I guess I understand why they gave Orpheus’s lyrics to the Fates and Hermes (bc like how would he know what it’s like down there, truly?)

emotional: but I also didn’t like it bc as I’ll talk abt a lot in a min, it really takes away from Reeve’s performance

I’m actually super disappointed that Reeve/Orephus wasn’t featured as much as in the NY recording. his voice is almost completely drowned out almost entirely through “Wait For Me.”

intellectual: I quite enjoyed that the rest of the cast acted as the stones echoing back his song, and that it fit with and strengthened the overall themes and plot of the musical. I’m glad that this version has a more cohesive story and stronger themes

emotional: but it was no longer about Orpheus and his journey, and I think they could’ve kept the themes while also featuring Reeve’s voice. esp in such an Iconic song for Orpheus like “Wait For Me”

“If It’s True” I was tempted to put this in the negatives section bc I feel like it really takes away from Orpheus’s story (get ready to here a lot of repetition sorry not sorry fam). but there are some things I liked abt it.

intellectual: I liked that in the OBC version, that it was more abt the theme they’d introduced abt the workers’/chorus’s struggle and Hades’s struggle to keep them nameless, so to speak. I also did like that they show Orpheus’s worldview change. and fucking finally gave Reeve a chance to shine (kinda, with interjections from Hermes and the Chorus)

emotional: but I do think they went abt it the wrong way, bc I liked that it addressed just Orpheus and his feelings of what’s gone on (specifically Eurydice belonging to Hades) in the NY version, and I didn’t like that in the OBC version that it Was more abt the themes. I also felt like it got a little preachy. Like that’s not what I thought the original “If It’s True” was abt yo. I get it fits with the overall theme and message they want to get across, but I don’t think their execution was that Great :\ I also really liked that in the NY version, him just being sad is what moved both Persephone and the Chorus

“Wait For Me (Reprise)” is the same as with “Wait For Me”

intellectual: I’m not saying  that the new, stronger themes are bad or anything--like I’ve said, I Loved that they strengthened the themes and made the musical more cohesive overall.

emotional:

(+): Okay but also I really Love Eurydice singing what Orpheus sang in “Wait For me”

(-): Reeve’s voice is often drowned out and it’s no longer about his and Eurydice’s story as much (it’s in the very first song! “brother, thus, begins the tale of ORPHEUS AND EURYDICE”). I really do think they could have gone about it in a way that highlights Reeve as Orpheus AND keeps with the theme and the message they wanted to get across by including the Chorus. I mean look! Look! Reeve stands off to the side or isn’t singing for like ALMOST THE WHOLE SONG DUDE. he gets 36 measly seconds singing in this song, I timed it. it’s a 3 mins and 12 second song. and most of those seconds are spent singing the song with the chorus (I do not, however, really count the times Hermes is speaking bc those lines are Great and when Eurydice is singing at the end, but Still!). like I said, I’m so glad they have Eurydice singing his song back to him, but I Really Do Think they could have composed it so it was still Orpheus’s song (with Hermes, and Eurydice at the end, keep that of course!), but held those stronger themes.

“Doubt Comes In” ...like at this point, are you even surprised?

intellectual: strong themes. great. okay.

emotional:

(+):  I Loved Eurydice’s part in this, encouraging Orpheus even tho he can’t hear her. I also did love that they added in Orpheus’s thoughts--pique drama, I LOVED it

(-): third verse, same as the first (and second): Reeve just wasn’t featured as much as I would have liked him to be! the Fates get the lines Orpheus used to sing! when Orpheus sang, “where are you? where are you now?” the first time more steady and sing-song-y, the second time more desperate (but still beautiful holy shit Damon Daunno was Amazing) as he starts to go out of his mind,,, i felt that and i’m incredibly disappointed (and angry lbr) that they took those lines away from Orpheus.

not really a point, but this needs its own bullet point: it just does Reeve a huge disservice, bc he’s a Great Orpheus. I Loved his Orpheus, but the fact that he’s taken out of so much of the story he’s the protagonist in detracts severely from his performance, and it’s a damn shame

I did really liked that they made the “la la la” more complicated in “Epic III” and when Persephone and Hades danced, and how it was softer, but I also liked how powerful the “la la la” crescendo as Hermes, Persephone (I believe) and the Chorus joined in along with the instruments was in the NY version so,,, ¯\_( : \ )_/¯

I don’t think they changed any of the lyrics for “Road To Hell (Reprise)” (they added stuff, sure) but it sounded and felt different, and I’m upset that it wasn’t the same as the NY. it’s in this section tho, bc it was still good (think I like the NY version just slightly better, but I do like the OBC version too, but for different reasons)

neutral(ish)

the change of characters who says/sings lines isn’t my fave, but it’s not bad either and, based on the theme and more cohesive storyline, it makes sense

I’m trying to decide if Patrick Page’s descent from a higher vocal range into a lower one is a stylistic choice, but I don’t feel one particular way about it or another (except for the fact that it didn’t sound like him I questioned if it was at first)...tho the bass drops for “Hey Little Songbird” so maybe it was a stylistic choice and if so, Brilliant! (but it will stay in this spot since I can’t tell if that was intentional)

I’m a little surprised they didn’t give Eurydice her spot light in “Why We Build the Wall” but it’s not like it changes the story much. I think I just liked that she stood out, and with those lyrics, bc it’s dramatic irony--we know her mistake but she doesn’t yet realize that it is a mistake she’s made

“Word to the Wise” it was good. not great. I liked NY version better, but I think I mildly like NY Fates better bc they sang in a very harsh and solid way. like in some parts the OBC Fates do too, but not in the songs where it matters (to me)

the changes made to the Epics. I liked the more story-telling aspect of them, but I also didn’t quite love the changes. but the songs themselves were still p great, so (it’s here, rather in the mixed section) bc I don’t particularly feel as strong one way or another abt the NY Epics compared to the OBC Epics

Once again, I feel like smth is missing from “Word to the Wise” :\ like some kind of instrument to really push it into extraordinary, to hold it up. But the Fates were a little better at being brutal so ¯\_(ツ)_/¯ i guess

hard no, babe

that being said, regarding first point in the neutral section, I didn’t like that they took away (even) more of Orpheus’s lines because it then removes (even) more of his voice, when he’s HALF THE FEATURE OF THE STORY. I know it’s really about two love stories (and like I said before, it does strengthen the themes and overall storyline), but the main focus was Orpheus and Eurydice !!!

the sound of the train whistle. mmm, I’ll pass. it’s so dinky. bring back the NY train!

The way Reeve says/sings some of his lines (not all of ‘em tho) could use some work? doesn’t sound great. didn’t love it. idk if it was a stylistic choice on the director’s part or Reeve’s own choices in how he wanted to play Orpheus, but I didn’t agree with them. I think he uses his falsetto a little too much for some lines. And let me tell you, was very afraid they were going to do that three-voice thing (like in the concept album) when Orpheus meets Eurydice. glad they didn’t, but I also didn’t really think they needed it at all

I’m actually uber disappointed they took out the old radio sound for Hermes in “Wait For Me.” I just really liked it man.

ngl, I. was. Heartbroken. when they’d changed the lyrics to Epic III (which is why it’s in this section :\). Esp like I CANNOT BELIEVE THEY CHANGED “where is the man, WITH HIS HAT IN HIS HANDS, who stands in the garden, with nothing to lose” (emphasis mine). like, again, i understand the changes were made to keep with the themes introduced, BUT can you Imagine. holding the whole world in your arms (when Hades gets the girl) compared to holding something so small and insignificant (BEFORE Hades gets the girl). COME ON! it’s like the perfect juxtaposition AND I thought it made Hades much more human AND it still keeps with the themes. (tho I am glad they kept that part at all bc when I realized how much of “Epic III” they changed, I was worried they’d taken that part out too. it’s in this section tho bc the changes are unforgivable overall)

Come Home With Me I and II (Reprise) !!! I’m extremely sad they changed the lyrics so much. Admittedly, I do like the first “Come Home With Me” introducing his song that will bring spring back. But the changes are too unforgivable for me to put it in the mixed section. I really liked Orpheus’s proposal in “Come Home With Me II” in the NY version and that repetition of “say I do, I came all the way just to ask you to” and then the Fates step in and are like, “Mmm, sorry boo, she belongs to Hades now” and the song ending with Eurydice saying “I do” but with a totally different meaning. like okay, the OBC version fits more with the theme, and I’m glad they still kinda included it in “Papers” (I do actually like the way it’s composed in “Papers” if I’m being honest, the “I did. I do.” just,,, hits me) but it’s too unforgivable to put in the mixed section. OH GOD and. esp,,, okay Listen. HOW could they take out “are you always this confident?” // “when I look at you I am” and then later hearing Hades sing, “Orpheus the undersigned SHALL NOT LOOK BEHIND // SHE’S OUT OF SIGHT and he’s out of his mind” LIKE COME ON MAN that was Perfect AND YOU TOOK IT OUT ???

the Fates in their “Way Down Hadestown (Reprise)” I Loved the NY bc they Tore into Eurydice (I love my girl, but that song is a Bop and they are Ruthless). the way they sang, it was harsh and cutting. in the OBCR...not so much. It’s too sing-songy and embellished (is the best way I can explain it), and I was disappointed bc it was one of my fave songs in the NY version. not to mention, I Did Not Like Eurydice’s lyric changes. and I know that it strengthens the themes, and I did actually like that they showed Eurydice losing herself as she worked (esp bc it adds more to “Flowers” and again strengthens the thread linking the songs), but I disliked it as a whole enough that it can’t be saved to be moved into the mixed section

OH NO I. CANNOT. BELIEVE. THEY CHANGED “YOU’RE EARLY” // “I MISSED YOU” TO “IT’S YOU” // “IT’S ME” // “ORPHEUS” // “EURYDICE” FUCK YOUR THEMES but for real, I think keeping “you’re early” // “I missed you” would’ve have kept with the theme way more than what they changed it to bc 1) they’re referencing smth the two litchrally just said to each other. and 2) THAT’S WHAT PERSEPHONE AND HADES SAID TO EACH OTHER WHEN HE CAME TO GET HER FROM HADESTOWN AT THE BEGINNING OF THE SHOW. it’s a theme that’s introduced in the beginning of the musical--“it’s a tale from long ago”--bc Persephone and Hades’s relationship was SUPPOSED to mirror Orpheus and Eurydice right? there’s the fact that Orpheus’s song is what Hades heard long ago like ??? a HUGE Point of Orpheus and Eurydice’s love story was to remind Persephone and Hades about the love they shared when they first met (“wait for me?” // “I will”). and gosh darn it, it still would’ve fit the themes if they had stuck with “you’re early” // “I missed you” bc of that!

SPEAKING OF I CAN’T BELIEVE THEY TOOK OUT PERSEPHONE’S LYRICS IN “CHANT (REPRISE)” LIKE WHAT like it worked so well !!! (esp bc I’ve read reviews of the show, with Hades and Persephone circling Orpheus and Eurydice as they’re dueling and switching the direction they walk when the chorus makes that “kch” noise like poetictheater.jpeg) it was such a good juxtaposition between what Hades thinks Persephone wants and what Persephone actually wants (I do like that “Chant (Reprise)” is more complicated composition-wise, but not enough to move it into the mixed section). ALSO “He said we’d build ‘em up // And then the walls would set us free” // “Is it true, what he said?” // “He said we’d soldier on // And then the war would bring us peace.” I thought that got across the message quite well in the NY version, esp since they were echoing Orpheus’s “if it’s true.” they’re also just Great lines and I Cannot Believe they took them out 

YAS QUEEN

I’m a HOE for singing in the round, and the beauty of Orpheus’s “la la la la” joined in by the chorus in “Wait For Me” got me like. OKAY AND THE LYRIC ADDITIONS I LITERALLY CANNOT IT’S SO BEAUTIFUL AND POETIC AND GOOD WHEN ORPHEUS SANG “I HEAR THE ROCKS AND STONE, ECHOING MY SONG, I’M COMING”

I mean,,, how can you Not like “Our Lady of the Underground.” I also really enjoyed the more jazzy feel. Like it was already jazzy, but it’s even more jazzy in this version, to me

if you couldn’t tell, I loved Reeve and his Orpheus

“Papers” is Great and idk why but I Love “everything and everyone in Hadestown, I own.”

oh shit dude, Orpheus’s song being something from long ago that he like picked up on bc Greek mythology be like that and then HADES RECOGNIZING THE SONG. THAT. WAS. BRILLIANT.

“Flowers” felt like it fit much better in this version, with the themes being stronger and all that. also could actually hear it clearly, so that could be why bc I’m pretty sure they didn’t change a single lyric lol. still Loved it

the lyric additions to “Wait For Me” I’M SCREAM SO GOOD (even tho I’ve mentioned this before lmao)

“How Long” was. so. good. I just really enjoyed the exchange between Persephone and Hades in this song

DUDE I JUST REALIZED “NOW I SING A DIFFERENT SONG” FROM THE ONE ORPHEUS REMINDS HADES OF BRILLIANT

“Oh, it’s about me?” that made me laugh out loud. Oh god Also the repetition of lyrics in “All I’ve Ever Known” in “Epic III” to show that Orpheus and Eurydice’s love mirrors Persephone and Hades’s? poetictheater.jpeg

“Promises” omg. I actually liked this one better than NY “Promises” sorry not sorry. don’t get me wrong, Eurydice has every right to tell Orpheus off since he made all those promises he couldn’t keep in the NY “Promises” but in OBC “Promises” it feels more mutual. it feels softer. rather than Eurydice going, “you done messed up A-A-Ron” it’s more like Orpheus going, “I done fucked up and I’m sorry.” Orpheus is more self-aware and I liked that.

dudes, I’m extremely happy they added Eurydice back in for “We Raise Our Cups” it really rounds everything out. And it’s just a really good epilogue song. (I’m curious to see if Reeve is out on stage for this or if he stays backstage)

Final thoughts: the stronger themes were Great. don’t get me wrong. okay. I liked that about this version. but I feel like by trying to be too In With The Times(TM) they lost some of the heart of the story, which ultimately detracted from Reeve’s performance as Orpheus.

sometimes I really think a story can be just a story about two people (or two love stories), and the themes and messages will find their way in naturally. it doesn’t need to be this big thing about everyone all of a sudden. at the very least, bc it’s obvious the themes and messages are stronger in the OBC version, it does take some work and planning, but I felt like they were trying just a tad too hard and ended up being too heavy-handed.

I thought the themes and message they were originally trying to get across got across just find in the NY composition (specifically for “Wait For Me (Reprise)” bc the themes are definitely stronger throughout the overall musical in the OBCR composition)

now, I’m not saying don’t include messages in your art, that’s what art is for! But I think they could have either kept it about how it was in the NY version, because there were still messages (just a little more lucid and not as strong) OR they could have composed it some way that kept the stronger themes and messages AND kept the importance and presence of Orpheus’s role, and Orpheus and Eurydice’s story.

for me, Orpheus, esp OBC and Reeve’s Orpheus, doesn’t strike me as the guy to start a revolution and lead the Chorus thru hell. Like when the Fates say, “who are you to think that you can hold your head up higher than your fellow man?” I honestly get confused bc,,, he... doesn’t think that though? He just loves Eurydice and wants to save her from Hadestown. and maybe that’s actually the point? that Orpheus wasn’t ready for the pressure suddenly put on him to not just lead Eurydice out but also all of Hades’s workers, so doubt came in. but then what was with “If It’s True?” which, as I said, did start to sound pretty preachy? not to mention, the one time their themes and messages aren’t clear

anyway, long story long, the way I see Orpheus is his voice just does That. it doesn’t have to have some secret, overarching message for his songs to influence and move people. in the original “If It’s True” he sang about his loss and it was emotional enough to move Hades’s workers. to me Orpheus’s gift, his music, his voice is about emotion. and I think of Coco in that respect: “de la Cruz was a nobody, but when he sang, people listened” paired with, “I didn’t write it for the world, I wrote it for Coco” yet “Remember Me” (and all his songs) still resonated and moved people

so anyway, here’s my Hadestown hot take: Reeve wasn’t nominated for a Tony because the new composition underutilized him as Orpheus

no i don’t take criticism

[patricksilvrrozartistry]

Current Music Obsessions: October 1 - 16, 2018

Well. I'm obviously working on purging my watch later playlist because this list is LONG. So let's get started with the honorable mentions.

MaYaN - Saints Don't Die Progenie Terrestre Pura - Twisted Silhouette LVCI - Not Yours Suodeth - Gauja The Number Zero - Web of Truth Trail of Tears - Poisonous Tongues Harpyie - Berserker A Metaphor for Betrayal - Confess Rave the Reqviem - Are Yov Happy Now, Fidelio? Jem - Come On Closer Shadowrise - To Live and Die For Dust in Mind - This is the End MaYaN - Tornado of Thoughts (I Don't Think Therefore I Am) Dim7 - Spinecrawler Oudn - Chaos Ignea - Queen Dies Black Mirrors - Mind Shape Bif Naked - Lucky MaYaN - The Power Process Illuminata - Phoenix Infinite Tales - Innocent St. Evil BrightStorm - Vampire Setanera - Spettralia Michael Romeo - Djinn Bysantine - The Cicada Tree Lena Katina - Косы Victorius - Lazer Tooth Tiger Elyose - Psychosis feat. Mark Jansen (Epica, MaYaN) The White Swan - Pelvic Sorcery

And now for the MANY obsessions.

1. The Last Martyr - Into the Black

This a really great find on Spaceuntravel that really caught me by surprise. I'm so glad I decided to give this song a shot, because it's super great. I wasn't sold at first, but when homegirl started screaming I was totally on board. I'm definitely am gonna check out more from these guys.

2. Asphodelia - Cassandra

I found these guys through IG one day when the band/singer liked a post or followed me, so I decided to check them out. The song is fairly simple, but the impression it leaves is a strong one. Their singer has a really pretty voice and the video is so striking with the look she wears where she's sporting the contacts.

3. Zahna - Underneath

Ok, from now on, I'm gonna put Spaceuntravel at the beginning of my statements for any song from them since I keep finding such great jams from that channel. This is a really beautiful alternative metal track and I'm obsessed with the lead singer's voice. There's just something about it that I'm just over the moon about. And the song is pretty catchy too, so that definitely helps.

4. Dol Ammad - Force of Freedom

This song is my favorite off their new album. The middle in particular is absolutely everything to me. There's something about that one singer just softly singing those lines and the rhythm that just really gets me. It's such a simple song, but the production and execution make it the excellent track it is.

5. Lavinium/Levinia - Alluring Fear

After discovering Levinia, I decided to look more into them and found their bandcamp where I saw they had their first demo/EP of the same title when they were originally called Lavinium. This song is definitely one of my favorites off that demo and is an absolute powerhouse of a track. I can't wait for Levinia's debut EP, Liberation, to drop on Halloween. These guys have quickly become a band on my immediate radar, and the fact that they are a symphonic metal band from the States that are this good blows me away.

6. Leprous - Contaminate Me (live)

Thank you Facebook memories for rekindling my love for this ballbuster of a track. Ihsahn is a fucking beast. He really takes this song to the next level, especially on this live version. And Einar's voice is gorgeous as always. I really love the fact that him and I have similar vocal ranges.

7. MaYaN - The Flaming Rage of God

This is my favorite song off Dhyana. It's so dramatic and powerful. The choirs in the beginning are absolutely everything. The verses where Laura and the male singer (not sure if it's Henning or Adam) are singing are so epic and haunting. They harmonize together so well. The pacing of this song is so great and I love the solos. Definitely give this track a listen.

8. Battlelore - Journey to Undying Lands

Another song I rekindled my love for thanks to Facebook memories. Definitely one of my favorite early tracks from them and the video for it looks like a legit movie. It's so exciting to know that they're working on a new album after such a long hiatus.

9. The Anix - This Machine

This is the second single they've released and I'm so hyped now for their upcoming release. This song has so much energy behind it, but still has an ambience to it in the verses leading up to the chorus. I hope a lot the new album packs in a lot of energy like this and Fight the Future. I love the softer, ambient tracks, but these tracks really show off the singer's voice so well, and he's got a beautiful one.

10. Chthonic - Millennia's Faith Undone feat. HOCC

This is the latest single these guys have put out and it's an intense one. These guys are a symphonic-ish blackened death metal band from Taiwan that I've known of for a little while now, and this is my favorite song I've heard from them so far. The energy behind it and the female guest singer has a lovely voice that adds such a great dynamic to the song.

11. Alesti - Eye of the Storm feat. Diego Tekuo

Spaceuntravel. This track isn't that special, but the production and Diego's voice are wonderful. This is the second song I've heard him on (the other is The Hidden Truth by Against Myself, which shows off a lot of his vocal talents) and is nice to hear this kind of singing from him. He's got a nice voice.

12. Sick N' Beautiful - Megalomaniacal

I discovered these guys after finding the singer on IG one day and holy tits is this a fun song. I'm definitely am gonna check out their new album, The Art of Sex. It sounds like it'll be just as fun and wild as this song. I live for the sci-fi vibes of their look and the video is so much fun to along with how fun the song is. I love their singer's green hair and her look in the video is amazing.

13. Sirenia - Love Like Cyanide feat. Yannis Papadopoulos (Beast in Black)

I wasn't so sure how I felt about this new single of theirs at first, but it grew on me and became an obsession. It's a bit all over the place in experimenting with different sounds. You got some symphonic metal, gothic metal, power metal, black metal. It's a big melting pot of different stuff and oddly everything mesh well together. It's a definite improvement over the last album, I'll say that much.

14. Dead Can Dance - Sanvean (live)

My Facebook memories really gave me a lot of stuff to reminisce over. This live performance is absolutely divine. Lisa is an absolute goddess and she proves it with this performance. I'm so excited for the new album to come out.

15. Dark Sarah - Golden Moth

I wasn't too keen on listening to the new album since a lot of the singles have been pretty lack luster, but this song changed my mind. This song is exactly what I needed to hear from them. It's full of so much beauty and emotion. And don't get me started on how amazing and gorgeous the video is. I can't get enough of it.

16. Eliza Red - Still

I can't remember how exactly I found this guy, but I found a song of his and thought it was too short and found this song, which in my opinion is also too short. But that doesn't stop the fact that I absolutely love it. It's an atmospheric r&b track and his voice is so lovely. I'm definitely am gonna look more into him, even though all his songs are super short.

17. Soulextract - Cryosleep

Spaceuntravel. This song became an obsession for one possible reason only: SPACE SHIT. I love it when songs are about space. Hello, I'm Patrick and I'm a sci-fi buff who's obsessed with space and the universe. Anyways, the song itself is pretty simple, but the execution and the fact it's about space shit is what makes me love it so much.

18. Meg Myers - Numb

I found this song through an IG ad one day when browsing through stories and had to check it out immediately. It's a great alternative track that has a punk vibe to it. I'm really interested in checking out more from her and seeing just what else her music entails.

19. Soul Desire - From the Flames

This is one of my favorites off their debut EP. It's such a lovely song that really shows off their front woman's range and the beauty of her voice. It's much slower compared to the other songs, but that's what helps it to stand out.

20. Northward - Get What You Give

This project is looking like it's gonna be an amazing one. After listening to an interview Floor did recently, it turns out that this is going to be strictly a rock project, so no soprano moments (hopefully Nightwish will incorporate that aspect of her voice way more in the new album). I'm still hoping there will be some growls that will pop up here and there though. Anyways, this is a really fun track that has some groovy verses. She gets some good high notes in the chorus, especially the final one, which is always wonderful to hear from her.

21. Hydria - Enjoy Your Greed

This is a throwback track for me. The second verse randomly popped into my head one day and I wound up rekindling my love for this track. I really need to get back into these guys. They had a really great symphonic metal sound and Raquel's voice is so lovely and stands out next to a lot of singers in the genre.

22. Arcane Roots - Curtains

Found this song one day when I tuned into a Metal Ass Gaming stream on Twitch. Jake decided to play this album and I had to give this and a couple other songs a listen and I wound up falling madly in love with this one. This song is pure proof as to why I love prog so much. It starts out really ambient (like Sigur Ros level ambient) and slowly picks up pace and then jumps into some hard-hitting djenty progressive metal. It's such an amazing track and you bet your sweet ass I'm gonna check out more from them.

So yeah. A SUPER LONG list. I know. I can't guarantee that the next half of the month will have a super long list, but it just might. At least we got some really great jams out of this though.

[squidbob-is-canon]

Thoughts on the Spongebob Musical cast recording

Soo having seen the musical live twice, I’ve been dying for the recording for a long, long time. I’ve had to rely on a very low-quality audio recording for about a year but now that I finally have the original in my possession I can happily say that again, the Spongebob Musical remains one of my favorites and that’s from someone who is a big fan of Broadway. 

I know next to nothing about the mechanics of music but here are my two cents anyway, comparing the soundtrack to what I saw live. 

1. Prologue - So this is just a 30 second intro with the narrator and Sponge’s foghorn. What I noticed is that in the theater, certain actors sound a lot more like their characters on stage than they do in the recordings, whereas for others it’s the opposite. I thought Tom Kenny actually voiced the Narrator but in this track it’s obvious it’s a different guy. Doesn’t make it any less cool (as it helps distinguish the musical as its own), just noting.

2. Bikini Bottom Day - Ethan Slater sounds equally good on stage and in audio and I love that. I can finally hear the ukulele clearly in the beginning and it gives the song a lot more charm. Danny Skinner also pretty much sounds the same as Patrick. I am not too thrilled with some of the autotone in the soundtrack, tho. THEY DON’T NEED IT.

Also not used to Squidward’s intro not being interrupted by people in the audience bursting into laughter. Gavin Lee sounded exactly like Squid in the show but in the audio his voice is a bit higher-pitched, I suppose so he could have more better use of his vocal range. 

Sandy’s Texan accent was toned down a bit in the soundtrack. And I’m sad ‘cause Krabs and Plankton’s actors have been replaced -- at first I was iffy about their voices but I quickly grew to love them because they still captured the essence of the characters, so it’s a shame they won’t be on Broadway.

Karen sounds more robotic.

I sorta miss Spongebob saying ‘hi’ to literally everything and wish they’d included that in the song.

I’m glad they cut out the needlessly expository parts like Krabs having to address his darling whale daughter as such.

Pearl sounds more like cartoon!Pearl here than on stage!

3. No Control - I LOVE THIS SONG OKAY. I LOVE PERCH PERKINS’ DEEP DEEP VOICE. The soundtrack version is pretty much perfect. Love the techno riffs (that weren’t as audible live). I just love when SB has his big “NO CONTROOOOL” moment.

Okay I kinda wish it was a bit louder because I want to rock out to it.

And Patchy not chiming in with his “AAAH” in the end is strange after being so used to that but I wasn’t expecting that to make it in, anyway.

4. BFF - This song is so cute and catchy and I love singing along to it. It really is the quintessential Plain White T’s song. Spongebob's and Patrick's voices go really well together.

5. When The Going Gets Tough - Sooo at first I didn’t dig this song when I watched it because there’s just so much going on and at times all the voices would get jumbled. But Plankton def sounds more Plankton-like and, well, the soundtrack version is A LOT more coherent so it’s one of my favorites now.

They added an extra line to Plankton’s burn to Mr. Krabs. Mr. Krabs' “I wasn't hatched yesterday” was taken out though, which is sad because I love that line.

6. (Just A) Simple Sponge - already heard this before the rest but to me this is still one of the better produced songs since it’s pretty much exactly the same as the stage version. No complaints here.

7. Daddy Knows Best - okay so apparently this song is hit or miss with fans but I ADORE it because of Pearl’s crazy vocals and Krabs’ catchy song. And the version in the soundtrack is even better! They changed Krabs’ beginning verse. The song sounds so much better because you can actually hear all the instruments and I love how it goes from some theme park tune to a rock power ballad.

Strangely enough Pearl’s crying sounded differently on stage.

8. Hero Is My Middle Name - This song was never one of my favorites and it’s odd because I loved Kinky Boots’ soundtrack, but you don’t quite hear the same explosive flair in this song. In fact it seems a bit too calm when the trio should be hyping themselves up in it.

9. Super Sea Star Savior - Didn’t like it in the play, grew to like it in the audio rip, but this song sounds reaaaaaally fantastic in the recording. They’ve really spiced up the song with a very upbeat arrangement and I wish they could’ve done that for the previous one, too. Danny sounds less Patrick-like but, well, he has to, to hit those killer notes so I’m not complaining.

(The FIGAROOO part reminds me of Waitress now).

10. Tomorrow Is – Beautiful on stage and beautiful in the recording, too. I think this one is the most classically “Broadway-sounding” tune among all of them, which seems obvious considering it's the only one that wasn't made by a recording artist. It's pretty much their version of One Day More except a lot more somber, which isn't something you'd expect from a Spongebob Musical. But it sounds gorgeous and everyone really gets to let loose here. A+++++++ to all their vocals.

11. Poor Pirates – this is one of the songs I don't necessarily crave to listen to because even though it's a very cute and funny opener for Act II, the visual gags (and seeing Patchy's plot unfold) are necessary to truly appreciate the song. Still, it's pleasant in its own way and I love Patchy's singing especially towards the end. I (sort of) wish Sara Bareilles had gotten to write a song with a more interesting theme but she did great with what she had.

12. Bikini Bottom Boogie – So... this is my least favorite song in the musical because it feels like Aerosmith just didn't try, sadly enough. Whereas everyone else tried to make their songs relevant to the characters/plot, this is just a random bop with vague references to underwater things. The singing is good, the tune isn't great, lyrics are eh.

13. Chop To The Top – Some lyric adjustments to this one, which didn't necessarily improve the song since there wasn't anything that needed to be improved tbh. I  enjoy it and it's reaaaaally fun to jog to. I think people will appreciate if they see it live.

14. (I Guess) I Miss You – I wasn't too fond of this live since I felt like it killed some of the momentum. Aside from SB and Patrick's harmonizing and the “peas in a pod” line I didn't care for it, but the studio version sounds better and I like it a lot more here.

15. I'm Not A Loser – AND OF COURSE. I've not bothered to hide the fact that this is my UTTER FAVORITE and even without seeing it live it's just so incredibly amazing to listen to. The “HEY SQUIDWARD!!!” did not disappoint and the way the song just gets more and more ramped up is fantastic. One teensy nitpick I have is that I wish they'd included the initial stomp of the sea anemone (when they surprise Squid and scare him a bit). The added “...Okay” of Squidward is just icing on top of an already perfect cake. In the live version, he says “Okay” in When The Going Gets Tough. I guess they moved it here instead...?

I've listened to this song so many goddamn times it's not even funny. It's odd how it depresses me in the beginning then by the end of it makes me feel like I could take over the world.

16. Best Day Ever – pretty much exactly the same as in the play. It's such a beautiful, uplifting song and the Elvis part will never not make me crack up. Of all the songs to take from the show, this was truly the most appropriate one they could've chosen.

17. Finale: Bikini Bottom Day (Reprise) – Weirdly enough, this song contains the most changes compared to the original, lyric-wise. Krabs' original lyric pertaining to SB making him a ton of money is a lot more in-character but I guess they really want that feel good ending. And they changed Squid's line of complimenting SB on his dental hygiene ( ͡° ͜ʖ ͡°) to instead him calling SB a “HERO” (my heart) which is adorable so I can't really complain.

18. Spongebob Squarepants Theme – I'll say it again: putting it at the end is perfect.

Random notes:

-Pearl and Squidward both cry in the middle of their songs

-Whereas SB laughs in his song.

-Patrick goes full on opera in his song.

-Random thought: how weird would it have been if they replaced all of Squid's tapdancing with squelching noises

-Sandy's songs all include copious amounts of sound effects.

-Had Krabs' retained his original line in the play, then he would've literally sung about money in every song he was part of.

-THEY DIDN'T INCLUDE BIKINI BOTTOM DAY (REPRISE) WITH SB AND GARY WHICH IS MY BIGGEST COMPLAINT ABOUT THE RECORDING BECAUSE I LOVE THAT VERSION

-I have listened to this album more than 20 times since I first got it

[fadeoftheinternet]

Fall Out Boy Mania, 1 Listen Review

Guys, I’m not gonna lie, I was a little worried about Fall Out Boy after Champion came out last year. I didn’t think the album was sounding as good as it could be. When they announced it was being pushed back to make a better product, it was as though my heart could beat again. I’ve heard the singles and was a little bummed when the album was only 10 songs. That’s short and to the point without a lot of room for error. So how did they do? 

Below is my Mania 1 listen Review!

Young and Menace. I understand why it’s so divisive in the fanbase, but I freaking LOVE THIS SONG. It’s a jam. Patrick Stump definitely is beginning the album with the same opening pomp as the last two fall out boy offerings. As an opener, it makes total sense. The placement gives you the feeling that this album is going to be a journey. For a song that’s nearly a year old, it sounds fresh. It’s not dated even though it probably should be. The Patrifications during the last minute of the song sound even better with the context that this is a palette cleansing album while also giving you vintage fall out boy. Plus, I love Andy’s drums!

Next up is Champion. Now, those of you who heard my first reaction know that I wasn’t a really big fan of Champion when it first came out. I felt like it was an easy ESPN pick up. I understand it’s place. It sounds natural coming after YAM. It keeps the energy. I still love the champion for the people who don’t believe in champions line. I can’t listen to the song without imagining it being retroactively added to a Rocky montage. Sylvester Stallone, this is the Balboa anthem you’ve been waiting for. For all you gym junkies and those that are just trying to reach 30 steps without breaking into a sweat, Champion is for you

Third song and first non single. Stay Frosty Royal Milk Tea. Now that’s a title. I was like, am I missing something? Is this like a Sugar Honey Iced Tea situation? I was like SFRMT doesn’t mean anything. Oh well, lemme listen to the song. WHOA!!! I wasn’t ready for that intro. Holy crap. Early favorite. The vocals sound like Brendon Urie was in the studio and Patrick was trying to show him who’s boss. ARE YOU SMELLIN THE ——. Okay this chorus meant to be screamed by fresh faced teenagers who still believe in emo. “ALL MY CHILDHOOD HEROES HAVE FALLEN OFF OR DIED!” GFD PETE YOU KILLT EM THAT’S A DISS TRACK. This nigga Pat is singing in French. oh shoot. This song feels like, OH SHOOT BREAKDOWN, it feels like what I imagine elevator music on Planet Cybertron sounds like. Man, don’t let Michael Bay hear this song or it’ll be in the next ill fated Transformers movie. Dang, freaking jam.

Hold Me Tight or Don’t. OK. By far my favorite of the music videos released. Oh wait, Wilson is dope AF though. I like the bounce to this album. Initial reactions are I was right about this album sounding like Infinity on High mixed with ABAP. OF YOUUUUUU OF YOUUUUU. Dang, thats a freaking chorus. I imagine white girls everywhere singing to their friends, heads bobbing side to side, “Hold me tight….or don’t.” Yeah this song feels like the one that made the label believe again. BUT WE ALWAYS BELIEVED BECAUSE BELIEVERS NEVER DIE! Dang I took too many hits off this memory is a bar. Pete you haven’t lost your pen game. Nigga out here penning Drake songs nowadays. This song is anthemic. These dudes just know how to craft a sing a long. PATRICK IS THERE NO NOTE OUTSIDE OF YOUR RANGE GFD DUDE. Andy, you are a star with the drums, but let me not sleep on Joe’s guitar work. This song has you singing the chorus before you’re even done with the first listen. Definition of an ear worm. I imagine this is going to be a bonus song on Pixar’s Coco

Halfway through and FOB drops my favorite of the pre album singles. This song makes me feel like I’m driving in Las Vegas with college friends and making memories we’ll look back on. Dang. Windows are definitely down. That bass. Pete’s not just a writer, he’s got the groove on this song. CAUSE YOU’RE THE LAST OF A DYING BREED I WONDER IF YOUR THERAPIST KNOWS EVERYTHING ABOUT ME. Oh man, is this a love song in the most FOB kind of way? Don’t let anyone tell them they don’t use real instruments anymore. I am a collapsing star with tunnel vision, but only for you. What does that even mean? No one knows what it means but it’s provocative. Patrick, you can’t expect to be singing all of these live right? Like your voice will be shot. That guitar riff has me like, “nananananaaaaa” The bridges on this album have me like, “ooh issa bop.” I can’t even sing a long to fall out boy songs anymore. I just gotta shut up and hear Pat wail.

Wilson. Okay, have ya’ll seen the video? It’s great. such a meme. now honestly, i hate the way that this song begins. I just hate the vocal melody. But after the second talkin about i’m all in. This song was meant to be put in a California Hot Topic, you know the kind where it’s all emo but everyone is West Coast beautiful? That darker color line is going to be some angsty teen’s senior quote. Do people still need to find someone to teach them how to Dougie? Because this song has that level of groove to it. It’s the same type of style as like an America’s Suitehearts, in the sense of a dense chorus with a great rock to it. Man, after this album, i gotta say, it might be time to bust out the black eyeliner again. Man, i gotta find my skiniest jeans and shrink them again. This album, upon the first 6 songs, is better than ABAP. Wow. HITS. And then the ending is gorgeous

Church. TAKE ME TO CHURCH MAKE ME CATCH THAT HOLY GHOST. They got the organs. Ooh is this a love song? WHOA OKAY PAT. Okay, this song is big but probably my least favorite of the ones so far, however that may be due to the familiarity i have with the previous 6. Just not a lot of lyrical change. But this is Patrick pushing his voice to it’s limits. Okay the second half isbetter OH MY FREAKING GOSH THE INSTURMENTS JUST WENT OUT AND PATRICK SNAPPED AND SINGLE HANDEDLY SAVED THIS SONG I WILL COME BACK TO THIS SONG WOW. PATRIFICATION CONFIRMED THE FALL OUT BOY MACHINE AIN’T BROKE IF YOU WERE CHURCH I’D GET ON MY KNEES CONFIRMED

Heaven’s Gate? Hmm….they must have ran into some of them LDS missionaries. Ooh we got ourselves a what a catch slow jams patrick soul song. have ya’ll seen the meme of the woman jammin? imagine Leslie Knope jamming at a black church. That describes how i feel about this song. This song could have been on the end of a SUPER strong episode of One Tree Hill. Like it’s a coda where a bunch of stuff happens. I like the guitar pan to the right ear. It’s good. I’m not really sure what pat is singing, but I am enjoying it. Patrick sings like a baptist confirmed. PATRICK WHAT DO YOU NEED LET ME GIVE YOU THE BOOST. Oh man, is this a choir coming??? Oh yes, ya’ll are going to be listening to Heaven’s Gate for a while. This is the one that is gonna get you through hard days in the future. This is a song to save someone’s life.

Sunshine Riptide (feat. Burna Boy). Rap feature? Maybe? Lol the opening line made me laugh. Nigga hit a missy elliot. you’ll get it. There’s a lot of things going on auditory wise. Okay, this song was made during the same time as Hold Me Tight or Don’t. Actually it also gives me the same vibes as Champion too? Whoa, it’s a rasta feature. Oh man, YA’LL NEED TO GET CHANCE THE RAPPER ON THE REMIX GOOD GOD THAT FEATURE JUST PUT ME IN THAT MOOD I NEVER THOUGHT I WOULD SAY THAT OH SHOOT, THESE NIGGAS TRY BE FALL OUT THE BOYS. I’m a fan of this one. Ya’ll tryna get a nigga to find his XD emoticons and band tees for the last warped tour. Too bad all the singles have been released because this song feels like it’s begging to be put on a CW show like 90210 or Arrow trailer. HIT.

Bishops Knife Trick. Okay Fetzer, what you got for us? It’s the final song and I feel like I’ve been on a nonstop ride the whole time. Soulful pat? Wasn’t ready for it. It’s also the longest song on the album, clocking in at 4:23. This song sounds like, I can’t believe I’m gonna say what i’m gonna say, it sounds like the album that would have been made in between IOH and SRAR if the others didn’t exist. It’s like both. You won’t get it until you hear it. This is a thoughtful song. I need to listen to the album again with the lyrics so i can appreciate this song more. Patrick’s voice is an instrument. He’s not a singer in the conventional sense. Sometimes his words don’t sound like words. Dang, don’t let this album end. Don’t let it end. Don’t let it end. The last song flows into Young and Menace. Wow, ya’ll did you fast. Fall out boy, is the knife trick ya’ll revitalizing your sound and your fanbase? Because you most certainly have.

8/10 album. Church was the weakest song on the album, Heaven’s gate was the most meaningful and arguably the strongest