#she has a gorgeous upper register that she's used to great effect in 'light me up' (album not the song)

[kalach-cha]

re: my last post, i have come to a realisation. taylor momsen is a mezzo trying to be a contralto and lana del rey is a contralto trying to be a mezzo

[mooksie01]

With Teammates Like These, Who Needs Friends? (1/5)

Summary: Clover doesn't care what the other Ace Ops have to say, he absolutely does NOT have a crush on Huntsman Branwen. He just admires his skill on the battlefield. And the visible results of his obviously-excellent training regiment. And his gorgeous eyes. And his mysterious demeanor. And voice.

Okay, Clover might have just a little bit of a crush on Huntsman Branwen, but that doesn't matter, because if the other Ace Ops are going to tease him relentlessly for it, then he just won't pursue any relationship with the guy!

...Maybe.

Warnings: None, really, for this chapter. Death mention in the context of a joke. Gratuitous bullying of teammates. Spoilers for RWBY Volume 7.

AO3 Link: [X] 

Notes:  Hey, so... I haven't really written for fun in over four years. Which. Is pretty crazy to think about. But my New Year's Resolution this year is to get back into it because it used to make me really happy. With that said, I'm pretty rusty nowadays, so I'm sorry if any of this reads a little awkwardly. I'm hoping to get back to the level I used to be at with some practice, but I know it'll take time. This fic is mainly my effort at shaking the dust off with my current favorite show and favorite ship.  I hope you all enjoy! Please like, reblog, and comment if you have the time to do so, I'd really appreciate some encouragement while I get back into the swing of things! FAIR GAME RIGHTS!!

---

Clover can’t say that he isn’t expecting it, but even he is a little taken by surprise when, only mere seconds after closing the door to the Ace Ops’ commons, a heavy hand lands on his shoulder and spins him around with enough force to make him dizzy. 

Elm’s ecstatic face immediately fills his entire field of vision. 

Oh, Brothers.

“Clover!” 

He attempts to wave her off, feeling his face grow hot. “I’m trying to head to bed, Elm. Gotta be up bright and early tomorrow, you know.” 

Her shit-eating grin only grows larger. Her vice-grip tightens. He will not be escaping any time soon. His death warrant is signed and hidden somewhere in the mess that Elm calls her quarters. 

Elm manhandles him to the couch and shoves him down to sit, then flops down next to him and tosses her wrapped feet onto the coffee table. 

He wrinkles his nose. “Elm, please. I’ve talked to you about your feet and the table.” 

Ignoring him (as she so often does) Elm simply continues to grin smugly at him. “Who would’ve thought?! Our very own captain!” 

Clover rolls his eyes in what he hopes to be a clear sign of his exasperation. 

“Elm, what are you even talking about?” Marrow pipes up from where he is leaning against the wall. His arms are crossed over his chest in a deliberate attempt to appear uninterested, though his faintly wagging tail gives him away. Clover hadn’t even noticed him until he’d spoken. 

Looking around, he realizes that all of his subordinates are standing about the room, watching the interaction with varying degrees of interest. Just great. He considers whether or not it would be worth it to attempt to preemptively write Elm up for not-yet-conducted insubordination. 

Hm. He probably isn’t allowed to do that.

He startles as Elm yanks her feet off the table next to him, instead throwing herself forward so she can bang her fist against the helpless furniture to punctuate her next statement, “Our captain has a crush on Huntsman Branwen!” 

“Elm,” Harriet sighs, “stop being an idiot. Again. You know that he--” 

Clover pulls himself away from Elm and her interrogation couch. He stands up, straight-backed, falling into a parade rest that has his shoulders held just a little too tightly to his ears, positive that his face is red. “That’s enough,” he orders, voice as firm as he can make it, “what I do is none of your concern, Elm. Nor anyone else’s. This conversation is… unprofessional, to say the least. And it’s over.” 

Rather than be appropriately cowed by his scolding, Elm only flashes him an even bigger smile. On the other side of the room, Harriet makes a choking sound and starts to sputter, “Holy shit, you are--!”

Elm jumps to her feet, swinging a muscular arm over his shoulders. “I think you mean ‘who you do,’ Captain!” 

Clover shrugs her off, scowling. “Elm!” His mind races, attempting to formulate a way to escape this horrible situation, but it seems that no amount of luck is getting him out of this one.

“Well,” Vine rubs speculatively at his chin, finally deciding to contribute something to this dumpster-fire of a conversation, and Clover makes the split-second mistake of hoping that he will be the voice of reason to shut the whole thing down, “you can hardly blame our captain. Huntsman Branwen is, objectively, quite conventionally attractive. Not to mention his skill-level and renown in the field and all of the good he has done in the ongoing battle against Salem….” 

Clover feels his soul die a little.

“You’ve gotta be kidding me!” Marrow throws his hands up in the air, his tail raised in visible agitation. “What are we, a buncha kids? You’ve known the guy for five minutes!” 

Elm laughs uproariously, “And he stared at Huntsman Branwen for all five! Not to mention the extra twenty seconds when he was watching him walk away!” 

Harriet gags. She looks incredibly annoyed and vaguely disgusted at this turn of events.

“That really is enough--!” Clover tries.

“Really?” Vine tilts his head, coming a few steps closer. He peers at Clover in a speculative manner. “It seems to me that it would be difficult to catch a glimpse of Huntsman Branwen’s posterior, considering that the cape he wears covers it quite effectively. Are you sure, Elm, that that is what Clover was doing?” 

“Haha!” Elm raises her hand for a high-five, which her partner passively returns.

Clover is sure his skin-tone must faintly resemble that of the Atlas Academy mess hall’s tomato soup by now. He had not been staring at Huntsman Branwen’s ass. Even if he were interested in Qrow Branwen like that, he’s too much of a gentleman to do such a thing. Besides, there were plenty of other attractive aspects of Huntsman Branwen to focus on without having to drool over his “posterior” like some sort of mangy grimm. Like his soft vermillion eyes; or his trim waist; or his hair, which looked like the shining feathers of his namesake; or his elegant hands, undoubtedly calloused from so many years of handling his weapon so skillfully…. He swallows hard and feels his face flare up anew as he realizes what train of thought he’d been taking. 

Looking up, he catches Elm smirking at him again. Marrow and Harriet have near-matching expressions of distaste. Vine is merely studying him with even more interest than before.

He opens his mouth to retaliate, only for Vine to cut him off, clasping his hands behind his back in a move so prim that it leaves Clover completely unprepared for what he says next: “I believe our captain was just lost in thought about Huntsman Branwen’s posterior again.” 

Clover coughs hard, choking on his own spit. Vaguely, he registers the sound of Elm exploding into further laughter at his expense. 

“Oh, ew, ew, ew!” Marrow covers his ears, baring his teeth at Vine and Elm and probably also Clover. 

Harriet simply glowers at all of them, “I did not need to know that.”

After a moment, Clover pulls himself together. He glares at his attackers, “Elm,” he snarls, “Vine.” 

Vine takes an even step back, cocking his head inquisitively, “I apologize, did I say something incorrect?”

Elm loops her bicep around her partner’s neck in a pseudo-chokehold that he makes no attempt to remove himself from. “No, Vine, but I believe that’s our cue to leave!” She extricates herself from him and once again brings her hand down hard on Clover’s shoulder, having apparently never learned that it isn’t wise to poke an angry bear. “Don’t worry, boss, I’ll make sure to keep an extra eye out for your little bird!” She winks and pats him a few times with enough force to jolt his entire upper torso. “Though I’m sure you’ll already have that handled!” 

Then, in a blink, she has removed herself from the room, Vine following behind her at a more sedate pace. 

They are going to be facing so much disciplinary action, Clover thinks furiously. They will be scrubbing the floors for months. He turns to face Harriet and Marrow, who are somehow still in the room, staring at him. He crosses his arms firmly over his chest, “Do either of you have something to add?”

Marrow merely shakes his head and turns tail to leave. 

Harriet looks him over for a moment longer, then makes a sharp tsk’ing sound with her tongue. “Gross.”

She spins on her heel and walks down the hallway that leads to each of their personal rooms.

Clover sighs heavily and plops back down on the couch. It is going to be a long however-many-months with Huntsman Branwen and his students here. 

Still, he can certainly make it easier on himself by avoiding working with the other man. Even if he is incredibly attractive….

(No! Bad Clover!)

Everything will go over much more smoothly if he just isn’t seen staring at or talking to or even vaguely thinking about Huntsman Branwen from here on out.

---

More Notes: So, that was the first chapter! I hope you liked it and that it made your day a little brighter :)

The first installment is already completely finished minus some light editing. Stuff from here on out will probably be formatted as oneshots rather than chaptered fics, but I wanted this first part to be a bit longer and explore the very beginnings of our boys' relationship, with particular emphasis on Clover being a Secret Gay Disaster. Is that actually my headcanon for the show? Nah. Is that what this fic turned into? Absolutely.

Anyway, I'm currently deciding whether I want to post one chapter everyday for the next four days to finish this story up or if I want to post every other day. If anyone has any opinions on that, I'd be glad to hear them.

[girl4music]

The 6th studio album from Demi Lovato is here and it’s ‘Tell Me You Love Me’. I made sure to give this a good listen a couple of times through so I could get all the details down of what I wanted to say about it in my review. I heard it on a rushed initial listen and I disliked near to every song on it because of the musical production. I didn’t like how dead and dull the beats sounded. But later I found out that the production did not actually sound that bad, I was just listening to it through earphones that had a broken right ear and I did not realize it. Musical and vocal production is most important to me when it comes to the music. If you have not got that right, then you haven’t got anything right. If the musical production is bad, then it’s all going to sound bad. If the vocal production is bad, then the singer is going to sound bad, no matter how well they performed in the studio. Clarity is key when it comes to both kinds of production. I need to be able to hear everything that’s going on in that track. All the detailed nuances and dynamics in instrumentation. Of course how it’s mixed and mastered plays a huge role into how it sounds on the final cut but it’s mainly the producer that has the job of making sure the track sounds clear so that everything is equalized. These days though the producer also mixes and masters the tracks, so they are pivitol to the finished release. When it comes to the vocal production, that is also extremely important. Especially how the vocalist phonates the lyrics. How they convey their thoughts, feelings and emotions to the listener so you can better understand the story or concept behind the music. Demi is very good at that in general, and on ‘Tell Me You Love Me’, it’s truly what sells it.

This is a track by track review where I talk about the specifics of what I personally picked up both negatively and positively about each track and how I rate it based on those opinions. I’m not your average reviewer. Those of you who read my reviews already know that I am a subjective one. I only draw from my own perception. Everything I see, hear, feel and know about the music is what I talk about. I do not talk about sales, charts and awards. I don’t talk about numbers at all. So if that’s what you’re expecting, you should move along because I never do that. I do not consider it a necessary thing to talk about. But what I do consider necessary to talk about is the music itself and how the artist/band has grown from their previous efforts. What has improved and what has decreased. This shows their development as an artist and that has more benefit to them than me just praising them for the success they’ve already achieved. I attempt to give them critical acclaim through constructive and unbiased criticism. So I will do the very same with this review. Here we go…

1. Sorry Not Sorry

The debut single to ‘Tell Me You Love Me’. This song is a great summer song. She released it at the right time and makes her market. In several interviews Demi talks about how she was the only one that wanted this track to be the first single and that nobody else on her team agreed with her and would of much rather chosen the title track ‘Tell Me You Love Me’ instead. Until she went to seek out the advice of Jay Z at Roc Nation and he told her that she was right. That it should be the debut single. That was what made the debate settle and they went with ‘Sorry Not Sorry’ as the first single of a whole new era for Demi’s music.

I think they made the right decision. It’s a great song. It has it’s pop vibe for radio to latch on to but it also showcases the soulful side the album is offering. It features a choir as many tracks on this album do. It’s sort of an intentional set theme Demi wanted to go for with it’s soulful/gospel style. It’s got a very catchy chorus, something you will sing along to, if you can. Demi’s songs are always difficult for even a classically trained singer like myself to sing to, let alone just anyone. I want to point out how interesting I find the techno bass vocal effect that’s in the track. She uses this effect quite a bit in this album and it’s interesting to me because usually I don’t like this kind of thing in music. Modulated/pitch-shifted vocals usually puts me off. But I actually quite like it in this album. It gives it edge and attitude and it contrasts well with the gospel choir, making it compliment the track overall rather than destroy it. There is too many songs out there where even small things like that can make or break the song. It was a risky decision and it payed off for Demi.

9/10

2. Tell Me You Love Me

‘Tell Me You Love Me’ is the title track of the album and as previously mentioned earlier, was supposed to be the debut single for it. It’s a great song that really shows just how soulful Demi wanted to go with this album and I think that’s why her marketing team were fighting for it so hard against Demi. But she argued that people know her too much for this kinda thing when it comes to her music, so she wanted to prove to the public that she can also be a party girl. She’s versatile and I absolutely LOVE that about her. It’s a big reason why I am a fan.

This track brings in a Jazz band. Horns and brass instruments are heard sounding out in the intro and they have a prominent existence all throughout the entire song. It makes it sound sophisticated and mature musically and sonically and that’s something Demi definetly wants to have if she’s trying to get The Grammy’s attention. The drums that make their way into the track at the chorus are real drums. Big deal for me. I’m tired of hearing drum machine beats. I love the sound of a real drum kit. Demi’s vocals go for the goals with hitting those high upper-belts that she’s known so well for. Upper-belts are her trademark. You know it’s Demi when she’s hit about 5 F#5′s consecutively in the same breath without even so much as a stagger in vocal control. Yeah, to say I’m jealous is an understatement. She said she’d give us an album that showcases other sides to her massive vocal capacity, and she does, but you just come to expect the powerhousing alongside it and think nothing of it. It’s just what she does and she does it very well. For musical production and vocal production as well as vocal performance this makes it one of the best songs on the entire album for me. It scores as high as her voice.

10/10

3. Sexy Dirty Love

Initially I did not like this song but it’s grown on me with every listen to it. It’s a grower track. It’s an infectious disco tune. Like something you’d get from Donna Summer back in the 70′s but with more modernized musical and vocal production. Using the techno bass vocal effect gives it that updated pop production as well as the electronic bass and drum beats. Demi’s proved she can do fast-tempo music with her cover of Gloria Gaynor’s ‘I Will Survive’ for the soundtrack to The Angry Birds Movie. She’s never really done disco for her own music though. It’s very different for her, but as usual, she smashes it because she’s just that vocally versatile. Although, not a favourite from this album or really anywhere close, it gets respect and praise from me for her experimenting and trying something new which furthers her development as an artist.

4/10

4. You Don’t Do It For Me Anymore

Now we get on to our big power ballad. ‘You Don’t Do It For Me Anymore’ is gorgeous vocally. Demi finally uses her falsetto register to a degree where it’s clear and consistent and her voice is not wavering around. She has good control of it, proving that she is fully capable of singing in head voice whether recording in the studio or live in performance. She just needs more practice with it. The tonal quality and brightness of her head notes are stunning. A beautiful and light timbre that’s perfect for singing R&B/soul music. Because in soul more than just the modal/belting registers are needed. R&B is about the vocals being used as an instrument. Everything is about vocal capability. It requires flexibility and dexterity. It requires a mixing technique where you can go from head to chest voice easily and fluidly. If you haven’t got that or you can’t execute your vocals to do that consistently, then R&B is not right for you. This is the only reason I was skeptical of Demi going R&B. Not that I doubted that she could do it. I had all the faith in her. I just wanted her to prove to me that she was ready to. This track is what cemented it for me that she can and she will succeed as an R&B/soul artist. I 100% believe that all she needs is more vocal training. I want to see her perform this one live without changing her voice to chest when she has to do the falsetto parts or avoiding the notes completely. Whatever weakness she believes she has is all in her mind. She is capable of it physically, she’s just doubting herself and hesitating when it comes to actually executing it in performance. If she can do it in the studio, she can do it live. No excuses.

As for the musical production, it’s old-school style instrumentation. Lots of violin and cello. It’s got big strong kick drum beats that give it a really dramatic feel. It’s very reminiscent of ‘Stone Cold’ from her last album ‘Confident’. The lyrics, and I don’t often talk about lyrics, are very interesting. Demi has confirmed that while the song sounds like it’s about a breakup song with a lover, personally for her, it is not. It’s about her breaking up with her old self and saying that the alcohol and the drugs don’t do it for her anymore. Of course you can interpret it any way you like, but I think this is a very interesting take on the song. Self-reflective lyrics are something I would resonate with or relate to more than if it was just about a relationship going down in flames, which Demi leads you to believe it is about when she refers to what she’s singing about as a “who” instead of an it. Clever multi-perspective lyrics. I am very impressed with her songwriting on this. The fact it is so brillaint musically, vocally and lyrically make this song the epitome of the album. The highlight of the entire body of work that she’s created and put together.

10/10

5. Daddy Issues

This is my least favourite track on ‘Tell Me You Love Me’ because of it’s messy electronic production. Her vocals sound great but the electronics are so punchy, in your face and distorted that nothing sounds clear at all apart from her vocals. But even they sometimes at some points in the track get lost in the mix of the mess it is. It all just kind of clumps together and isn’t very well arranged. The distorted electronic drum and bass beats, the weird video game-like sound effects, the techno rhythms and melodies don’t make it a very appealing song to listen to. You might feel differently, but it just doesn’t work for me. The only part of the song I like is the dance break bit and with her singing “daddy issues, huh”. Otherwise this song is just disappointing to say the least. I wish she would stay away from DJ’s and EDM-style so-called producers because they cannot provide for her the musical quality her voice needs to be surrounded by to really just exemplify how fantastic of a vocalist she is. I want for her material to be just as strong as her voice is so that she’s taken seriously as a vocalist and an artist. This electro-pop stuff just isn’t right for her at all.

Also, does anyone know why they censored out the word ‘fuck’ in the first verse? If you do, let me know. I thought I had downloaded the clean version until I realized it’s like that on the explicit version too.

1/10

6. Ruin The Friendship

This bluesy little number captured me eventually. I skipped passed it on the initial listen because my earphones were just making it sound just as bad as everything else sounded. Dull and dead. But no, the track doesn’t actually sound like that. I just need better listening gear. I love the drum beat and bassline on this track as well as the sensual Jazzy instrumentation. Those trumpets sound so sexy. I feel like it was missing a saxophone solo, but you can’t have everything. I’m just such a big fan of real and orchestral instrumentation. Demi’s vocals here are also very sensual and sexy. Using a softer and lower vocalization in the main vocal track but also doing the backing vocals in a high and light falsetto. Gives it a confident and yet vulnerable contrast. She’s almost whispering when she gets to the bridge. It’s really arousing. She gets louder and more forceful towards the end of the song. That gets your attention and pulls you out of that foggy haze her sensual vocals have put on you. So very emotive.

I am not gonna go into the lyrics. We all know who it’s about as she doesn’t exactly keep it illusive. I think it’s a really good track. Not as good as some of the others though so it’s not a personal favourite. You might feel differently and that’s perfectly fine.

7/10

7. Only Forever

Another ballad. A much needed departure from the faster tempo we’ve had for the passed few tracks. Demi has mentioned that this song is sort of like a part two from the last track ‘Ruin The Friendship’, so clearly it’s about the same thing and the same person. I won’t get into that. Although, I am very intrigued, I’m keeping it strictly about the music.

So the track opens with the sound of out-of-tune piano notes. Like they’re being played on an old, dusty, hasn’t been touched for years piano that’s so out of tune it just doesn’t function properly anymore and sounds awful. I’m sure there is an artistic reasoning behind this so I’m not gonna point it out as a fault. It’s probably got something to do with the story of the song. Connecting the musical production and the lyrics together to tell the story. I love songs that do that. The techno bass vocal effect makes it’s way into the album once again. She seems to really like that effect. It must provide or mean something specific for her. Not sure what that could be but it’s interesting enough to make me peruse my thoughts about it. And I love thought-provoking music and art of any kind. I love interpretating and coming up with theories and headcanons on that art. I always say we never look for the meaning in a piece of art. We create it for ourselves. It’s very synthy. Got lots of atmospheric synthesizers. Could almost pass for a dream-pop song. I find it a bit boring to be honest. However, it does make it more entertaining when she picks up power and tempo in vocals.

6/10

8. Lonely (feat. Lil Wayne)

Demi’s one and only collaboration for the album. There was supposed to be two but one fell through apparently. A midtempo borderline ballad I would call ‘Lonely’. It’s just basic percussion and bass. I think I hear an organ but I’m not sure. Any instrumentation in it isn’t very prominent. What makes it worth listening to at all is Demi’s emotive vocals. They sell the song. Like no question about it. Those creaky, raspy, husky vocals, emoting all the pain and grief and conveying them to the listener’s ears. You can hear everything she does without all the distracting instrumentation and you feel it. You feel how upset and pained she is. You literally feel how lonely she is. Or maybe it’s just me because I have the ability to feel what she feels anyway. Long story…

Her emotive vocals communicate everything there is to care about in the song because Lil Wayne’s feature is terrible. I mean, it’s really bad. 1. It’s covered in autotune. 2. Because it’s covered in autotune, you cannot make out a damn thing he is saying. 3. It just sounds like he is underwater for the whole thing. Maybe it’s a conscious artistic choice though, I don’t know. I thought he would be a good collaboration but nah… he might as well not even be there for all the good his rapping contributes to this track. It just doesn’t. It’s all Demi. Absolutely from start to finish, it’s all Demi. ‘Lonely’ would actually be a better track with just Demi solo. Lil Wayne is just that useless and pointless to it that you could edit him out and have Demi doing the rap and the song would actually be better. Maybe something to think about when she performs it on tour. If she performs it on tour…

5/10

9. Cry Baby

“I’m no crybaby, but you make me cry lately. I’m no crybaby, but you make me cry baby. Crybaby”.

This song if you can’t tell from the lyrics alone is just an absolute masterpiece. The musical and vocal production, the vocal performance, the rhythm of the verses, the guitar solo, the lyrics. Everything. Absolutely everything about this track is incredible. The chorus hits hard. The chorus is so fucking good! Let’s just talk about the intro to start with though before I get ahead of myself. When I heard the lone electric guitar echoing through my ears like it was being played in an empty arena, I immediately thought of ‘Bang Bang (My Baby Shot Me Down)’. But not Cher’s version. The Nancy Sinatra version from the Quentin Tarantino film Kill Bill: Volume 1. It’s actually one of my favourite films in history. Obviously not the same melody because that would be copyright. But I mean just the aesthetic of it. I fell for this track straight away. Hopelessly and helplessly fell in love with it. I’ve repeated it God knows how many times since it came out.

The musical production reminds me a lot of ‘Mistake’ from ‘Unbroken’ album. A very underrated track. But hopefully this won’t recieve the same treatment. Tayla Parx wrote this song along with another song called ‘The Beauty’ that unfortunately didn’t make it on the album. I’m dying to hear that one if ‘Cry Baby’ is this damn good! No guesses which song is my favourite song on the album.

10/10!

10. Games

This one has weird electronic sounds and effects like ‘Daddy Issues’ but I find them more tolerable than in that track. Again, it’s just an electro-pop track. Doesn’t sound very R&B or soulful at all. But maybe that’s just me. I don’t have much more to say about it than that. It’s not the worst on the album but it’s not much better than that. Not for me. It could have easily been replaced with a much more worthy track such as ‘Smoke And Mirrors’ from the exclusive Target version of the album.

2/10

11. Concentrate

‘Concentrate’ starts off as an acoustic/stripped down ballad at first. Snaps, claps and acoustic guitar. A little bit of reverb on Demi’s voice as she sings the lyrics in the verses. Then an electric guitar melody, her gospel choir and a drum beat comes in at the chorus and there’s definetly an organ that joins in too. It’s a very laidback track but it builds up to a climax, so it’s quite progressive and Demi sounds really great on it. Emotive vocals full of soul and attitude really lift the song into the stratosphere. When the heavier instrumentation comes in, it does not overtake her vocals. The vocal production remains clear and it’s easy to make out how she sounds and what she’s saying. It’s a good song but not a standout.

4/10

12. Hitchhiker

Bassline sounds off in the intro and brings us into another bluesy little number from the album. I especially love the backing vocals in this song. The gospel choir was a great addition to this era and this album. This song will sound amazing live with them. This is another song I’m really looking forward to hearing live. I love the musical production too. The driving guitars sound awesome. I wish there could of been a blues guitar solo. It would of really added the cherry on the cake to end off the standard version of the album.

8/10

This is my most favourite to least favourite tracks:

Cry Baby

Tell Me You Love Me

You Don’t Do It For Me Anymore

Sorry Not Sorry

Hitchhiker

Ruin The Friendship

Only Forever

Lonely

Concentrate

Sexy Dirty Love

Games

Daddy Issues

This is my track by track review of the standard version of Demi’s 6th studio album ‘Tell Me You Love Me’. I would of done the deluxe tracks but I don’t like ‘Instruction’ at all and there’s nothing really much to say. The ‘Sorry Not Sorry’ acoustic version with the choir sounds great though. You should definetly check that out if you haven’t heard it yet. She’ll probably post the video of them performing it eventually. There is an exclusive Target version with 2 tracks on it called ‘Smoke And Mirrors’ and ‘Ready For Ya’ but since I don’t class them as part of the album itself, I’m not gonna review them either. But I do think ‘Smoke And Mirrors’ should of replaced either ‘Daddy Issues’ or ‘Games’ as I don’t like those tracks much but I do love that one. Thanks for reading. Give feedback.

- Girl4Music

[jeffsalbumoftheweek]

The Bitter Roots Waning Days Interview

As it happens, my would be band, The Bitter Roots will be releasing our 5th Album, Waning Days, on October 27th.  Whenever I put out a new album I like to blog a few words for those lucky few that may have the time or inclination to read more about what went into making the album.  Despite what some folks may believe, it does not take 3 minutes to record and produce a 3 minute song.  An album usually takes me a few years to write and record.  Art is the labor of love.  So if you might indulge me...

This time around, instead of aimlessly ambling on of my own account, I thought it would be fun to do an interview.  With all the fake news floating around out there, who better to trust, who better to conduct this important interview, than my old friend Yale Kaul.   All star drummer, fellow Missoulian, Go Griz, former moderator of the most excellent pre-social media blog Yalestar, and also a frequent contributor to the former Missoula music scene, fanzine, Shat Upon.  So take it away it Yale, give me your best shot.  Order Up.

Y: Congratulations on the new album. What is this, your fourth or fifth one with this band?

J: Thank you.  Yes, this is the 5th full length TBRs record in 10 years now.  I really like to stay busy writing new songs.  I love to make and record new music, and so does Ben.

Y: Where's that on the cover? It looks like Central Washington perhaps? 

J: You have a keen eye.  That photo was taken looking due north off the I-90 overpass at the Templins exit just east of Ritzville.  I took it through the windshield with a cell phone.  I was driving back to Seattle by myself shortly after the death of my Mother in Law as it so happened.  I think the image captures the state of our crumbling and adrift former American Empire rather nicely.

Y: Is our crumbling empire a theme of the album overall?

J: You know, at first it was, because the album started to come together around the tracks Informed Consent, I am Nobody and Cuddly cats.  We had been jamming those out live quite a bit before they went to tape.  They are all pretty dark on subject matter lyrically, heavy rock sounds, and you have to remember this album was recorded in the 1st 6 months after the disastrous election.  But as we added more tunes to the album I think it went more from the Dark to the Light. 

Y: About that baritone guitar: is this the first time you've used one on an album?

J: It is.  For the uninitiated a regular guitar has a 25 1/2" long neck and is generally in standard tuning of EADGBE. The Baritone has a considerably longer neck, mine is 28 5/8" and is tuned to CFA#D#GC.  The main driver for it is to create more space in the mix for my vocal range, which tends to have more contention with standard tuning.  Also tuning down 2 full steps from E to C allows me to appear to have a larger upper vocal range, it is easier to hit the high notes when you tune down.  Led Zep did that for that last big reunion show to make it easier for Robert Plant to sing some of their tunes.  As you age, there is no escape for it, your vocal register tunes lower.

Y: Yeah, your voice definitely sounds lower, especially on the first song. So do you guys play live as a two-piece, i.e. bassless? If so, I'd imagine the baritone guitar can fill in a lot of the lower frequencies?

J: We have played out as a duo quite a bit, but not in 6 years, because we had bass players.  I have played the baritone out as a trio and it sounds rad.  For the Duo live, the best rig we came up with is an Acoustic brand 100 watt head, a mesa 4x12 slant cab, using just my acoustic guitars which are a '78 Guild F50 and a '87 Guild JF-55. Those are big concert grand guitars, it can be hard to manage the feedback live, but we dialed it in a few times to good crowd effect.  Neither us much prefer the duo live, there is something about needing that separate low end to really lock with the drum kit, we prefer it with 3 pieces and 2 voices.  I also have a lot of harmonies I need someone to sing with me for the full intended effect in the live setting.

Y: The recording itself sounds very pro! You guys did the whole thing in your home studio right?

J: Thank you.  We do the tracking in my studio which is 24 track tape, it is a good sized studio, it takes up the entire basement of my house.  It has separate rooms for guitars and drums as well as a control room.  Then we take the tape and the machine to Studio Litho where we dump it to pro tools and mix it down from 24 tracks to stereo 2 track using Litho's gorgeous vintage API console.  We do no digital editing or correcting, nor do we use any auto tuning.  We master the mix as well at a separate room that is now called Resonant here in Seattle, where final volume level and EQ adjustments are made on the stereo mix down.  The advantage to tracking at my place is that we can do it as many times as we like because we are not on the clock, under pressure, spending money to use another room.

Y: So when we were younger men, back in the Burnin' 80s™, I knew you were big into Hendrix, Bad Brains, Soundgarden. Obviously your music palate has developed over the years. What's turning your crank these days?

J: Excellent Punk Rock Talk question right there.  I try to check out newer stuff as much as I can.  There is a rock band from Scotland, Biffy Clyro, they sell out arenas in Europe in minutes, they are very very talented, and fun to see live too.  There is a band from Bend OR called Larry and his Flask.  They are the craziest punk bluegrass rag time rockabilly thing.  The Rev Horton Heat are big fans of those guys too, we saw Larry open for both The Rev and Fishbone, so that is saying something right there, they do fish style durges too, its super cool.  But with streaming, I have been able to delve deeply into catalogs of one artist or another.  We could not dream of such access as kids when records were 7 bucks, that was a lot of money back then.  Renting at Rudy's was what 2 bucks?  With streaming I can listen to for instance lately in chronological order as I prefer, the entire back catalogs of Steely Dan, Tom Petty, David Bowie, B-52s, REM.  All the Fat Wreck chords bands Strung out and Lagwagon, those are great bands.  Stiff little Fingers, Smiths, System of A Down, Audioslave, Rage and others.

Y: Also, Ben: he and I went to high school together, although I never knew him back then (he's 3 years ahead). Where's he coming from musically? Is his use of the traditional drum grip any indication? [I may have that wrong, but I thought I recalled him using that grip in early Silkworm shows... And is he involved much in the song smithing?

J: Ben has super eclectic tastes in music.  He loves the Rock, loves to play Rock, also a huge Soundgarden fan, Tool, Stone Temple Pilots etc... But he also listens to a lot of classical and plays a lot of classical music on the piano as well, J.S Bach is his favorite, he also follows all the session drummer dudes and he goes to the clinics and demos they do in music stores when they come around Seatown, guys like JoJo Mayer for instance.  He switches his grips depending on his mood or the song, he also switches at will, left and right handed orientation to the snare and hi hat, sometimes in mid tune, he is that good.  In albums past I have gotten some fine keyboard parts and bass parts from him as well, but for this record I did all the music and words and then as always we collaborate on the drum parts, the tempo and the final arrangements.

Y: So the album is called Waning Days, which immediately reminded me of the book "Dark Age Ahead," Jane Jacobs' last book before she died, where she goes deep on five areas where the west (but mostly the US) is pretty much clusterfucking itself into oblivion (culture-wise, financial, higher education, climate, etc). The book is just over 10 years old and it's looking more and more like she was spot-on. HOWEVER: it must be noted that aside from the album title and cover photo, there's not a real pessimistic outlook in the songs, or at least not that I could detect. So I ask you: am I missing some overarching theme of cultural and institutional decline among the songs?

J: Perhaps.  Track 1 Informed Consent is a song about sexual assault and in particular the demise of Bill Cosby, and Trump pussy grabbing, so there is that.  Track 2 I am nobody is about how as you age and your youthful self aggrandized importance in society wanes, as you just become another average Joe going to the mall and getting loaded too often, the lament of many as you grind into middle age and realize, yup, this is it, this is living, this is all there is.  Whatever you make it or can afford to make it.  Track 4 Cuddly Cats is a direct statement against the music business and the music business in the internet age, where music itself has become window dressing after thought for other commercial ventures, where kitties get more attention than actual artists trying to convey a meaningful message, where fake and sexy imagery is all that matters, trying to sell you stupid crap you don't need anyway.  Those messages are there in the lyrics, however subtle.  So there is some darkness but on the whole the message of the record is counter.  Yeah we are in some Waning Days, but there is hope and light, all is not lost.

Y: You've been at this a long time. Inasmuch as you're able to say, what are some of the lessons you've learned about navigating the music industry, especially now as a man in his 40s with a job and family and so forth? Obviously until about the 2000s people still made a living playing music, but now that number is vanishingly small, and those people make most of their money playing live shows and slinging merch. But at least nowadays it's easier than ever to at least get your stuff out there, right? So what's a person to do?

J: I have never had a record deal, never had a manager or an agent, and although I have played a ton of shows and used to promote out of town shows even in Missoula back in the day, recorded now 11 albums, I never felt like I was part of the music industry.  I have never made any real money from music. I think of myself the same way I am pretty sure most of my good friends think of me too as just an artist and a huge music fan, a recording artist. 

There is no budget in the music industry anymore.  Floyd, our Mix and Master friend of many years now, he is one of 2 guys left in Seattle makes a living just recording people as a hired engineer on a project.   There is no investment in new talent anymore.  Way way back for instance, Journey put out 3 records before they got Steve Perry and then became huge.  Today no record company would give you budget for 3 records in the hopes you hit on the 4th one, no way.  You would be surprised how little playing live pays these days as well, even for artists with hits in their back catalogs.  There are only a few corporations that control nearly every live venue of any size in the entire country who book pre-paid package tours at venue capacities of 250 all the way to 40,000 people.  These companies take a lions share of the revenue, especially in the smaller rooms.  It is corporate parasitic control of the medium and the media, fuck them all.

Despite the relative ease of self publishing these days, It may surprise you that It is not really easier to 'get your stuff out there' anymore because of the complete information overload now, music is just 1s and 0s just like all other commodified information, entertainment and or otherwise.  It is just not worth much anymore because there is just too damn much of it out there, new and back catalog alike. A small needle in a million haystacks.  You can have the #1 record in America buy selling a mere 50k copies in a week.  To contrast, when Nevermind came out in the weeks to follow they were selling 100K an hour, dig it.

So the thing to do is just to be your creative self and do it because you love to do it, because it is a part of you, and be glad you don't have the pressures of an industry telling you what you should sound like.  If you don't get famous in your 20s, chances are, you are not going to get famous playing rock music, so just don't worry about it, don't quit, keep playing, keep creating.  As Tolkein said in the beginning there was light, and there was music.  We are of light and music.  There will always be new songs to write and share.

Y: Well yeah, by  'get your stuff out there' I meant anyone can put their entire creative output somewhere where 3+ billion people could potentially get it, and with very little upfront capital outlay, but then of course it's effectively commodified. And whether anyone ends up giving a shit... that's another matter of course. It's a paradox of unforseen consequences.  

J: Totally.

Y: Well hell, I don't have any other specific questions other than the usual "what's next for the Bitter Roots?" So what's next for the Bitter Roots? Any other hard-fought wisdom you'd like to impart to other independent artists, or to the world in general?

J: What is next for us is more songs and more recording.  We have already started in on a new set, probably take a few years to put out.  No shows planned at this time, maybe in the future, who knows.  I don't have any profound words of wisdom other than, as an independent artist trust your own judgement and don't worry too much about external validation, cause these days the state of shit is as hollow as Facebook.  Stay positive, Trump's days are numbered and we the good, the meek, the thoughtful, the artistic and domestic alike will rise again and steer us all toward a more equitable future in the fashion of MLK and Obama.

[bessiesummerfiel-blog]

Ten Actions To Permission

A really good location to start is at the variety 17 when you compare Cindy Crawford's Meaningful Beauty to Victoria Principal's Reclaim. Yes, 17 given that Cindy Crawford is actually 43 years of ages, and also Victoria Leader is actually 60. That is actually a distinction of 17 years, as well as their items possess a whole lot to do along with the skin complications females closer to their age often experience. Significant brand names are actually transformational; they aim to transform our own selves, our lifestyles and also our cultures right; they deliver our company with the items, companies, resources, as well as stimulating experiences that can help individuals progress. They learn about notation, or the ways from illustrating individual actions through the use of composed icons and acronyms.

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[retracingpoliphilo]

Building In Time

Beloved Reader:

I first drafted this Oct. 27, 2012, revisited Oct.12, 2013, Oct. 30, 2015, Jan. 12, 2016.  Since drafting my thought has evolved on time and dimensionality quite a bit, much of it culminating recently. I did not revise any of the below to reflect that yet, as 1 - it hasn’t synthesized for me yet, 2 - My reason for posting this has more to do at the moment with the dynamics of living and working together as humans in our larger world, ideas and directions on where we perhaps should be moving towards in terms of resources, value, supporting one another in generative abundance, doing civilization, etc ... So, aside from enjoying, do me a solid and suspend on the time/dimensionality a bit - maybe turn it around in your head and let me know your perspectives? Temporality is a fascinating beast of startling beauty ... Also: I love you, what stories we weave together. Collectively Stewarding Abundance Enjoy, with love

<3Karja Cygnus -----

See, the thing you have to understand about the fourth dimension", she begins to explain, "is that its much more than just time - in fact, time is to the fourth dimension as movement is to the third - its simple the visible interaction within its fabric. The fourth is the dimension of cause and effect, action and reaction, push and pull, give and take. Time is the surface upon which this is visible to us. Therefore, time is manipulable, there is no such thing as a paradox in time travel - if you change something, it simply nudges the decision branch you're part of in a slightly different direction than the one you came from, as you move in time, you move along potentialities/probabiliies/realities - The question is not paradox, the question is - can you return to your own line of potentiality? …"

At some point her fascinating rambling begins to register less to me, as I register more of her smell, the movement of her hair, the way she uses her entire upper body in her conversational gesturing. I'm hooked. The girl is definitely out of her gourd, but its my type of squash. 

"Aaand I've lost you." She laughs. “Where? Please do interrupt - I really get going on some subjects." 

"No, its ok - thats why we're here, so you can tell me more about this. But, do you mind if we walk and talk? I'm getting a bit fidgety sitting still, and its so nice out." 

She grins. "Of course! Thats perfect actually, I was hoping you might have that inclination. There’s a storm front blowing in, so I need to go and check up on my building sites anyhow, and I can show you a more practical view of the fourth dimension that way." 

So I clear and scrape the dishes and she settles up the bill. I'm setting the dishes onto the washrack when the chef taps me on the shoulder as he opens the cooler. "Learn well, she knows her stuff." and there he pauses, digging through the shelf looking for something that is not a carrot, leek or egg which are all that I can see him rummaging unsatisfiededly through. "But be careful - she's wild, breaks men more often than the other way around." 

"Oh, thanks, but I'm just here about time-engineering …" I begin, and then stop as he smirks at me. 

"uh-huh." He says disbelievingly. "Well, I've been her most common three-squares-and-coffee-a-day for some time now, so please excuse me if I feel I know the look on your face from experience. That may have been all you were after before, but not now. Just know, she's not very good at seeing it, or responding to it." 

"Well, thank you for that. I'll keep it in mind." I say, and then hastily depart the kitchen. She is just gathering up her clutter of things from the table, so I join her, grabbing my jacket and leading the way out onto the street. 

She stops for a moment, lost in thought, starts and glances around and then gestures me south. "We're going to visit my sites in order of progress. That way you can see the work progress along a trajectory. And, if we don't finish in the time we have, we can just start with the next house in order next time, and so on." 

The grange we had met at was on a pedestrian street, with its wooden decking and slight sway of the supporting water below. We turned the corner onto a common traffic street - brick paved, the occasional bike passing through those on feet. Many food carts - I stop briefly at one selling mango. 

"PreparadoVerdeSaltGracias." I strung my words together as I handed the coin to the old man and he handed back a small paper sack of green mango strips, dashing salt and giving a feeble squeeze to the half lime in is hand as he did. Walking away from the cart, we were both almost bowled over by three boys racing and chasing each other down the streets, worn canvas sacks of mangos bouncing against their hips. Looking back, I watched as my coin was mingled with others paid by the old man in exchange for the foraged mangos. Sacks emptied, the boys dashed off again to climb more trees with the inexhaustible energy of boyhood. 

"So, what do you think of Veniqueno?" she asks, using the longer of the slang terms for Little, or Pequeno, Venice. Once, this area had been known as Little Havana, and before that LIttle River (what?) and before that, and before that … but, here I was, in my head again - instead of responding to the brilliant gorgeous woman at my side. 

"It's impressive. I've visited so many of the historic American Cores - from those that failed to transition to those that transitioned fairly well - but ViQue, its thriving like only the better historic European Centers manage to." She gives me a surprisedly appreciative and assessing look. 

"Most people don't see that of ViQ, (male name). But I agree. What shapes that opinion for you?" 

"Oh, absolutely. Just … stop me if I get going. I have that same tendency with certain subjects as well." She smiles. Wonderful. 

"Most places in America, focus, still, after everything we’ve come through, on the aggregate. I can guess at the reasons for that, but will not for the moment. What that seems to lead to is an ongoing struggle with moving beyond to a thriving local scale functionality." (….. continue) --- 

Second day at post-wanderchat dinner she flirts casually and invites him up to her place. He begins to acquiesce and then thinks back to what the chef says, and stops. 

"Hey. So, I like you. I like you in a serious way it seems and I don't want to get caught up and hopeful in a casual fling, I'd rather just keep it friendly if thats all you're offering. You don't have to answer now, or ever, but I think I'll pass on that coffee for tonight either way." He finishes with what he hopes is a warm smile. 

She frowns momentarily and then looks at him with an appraising look on her face, one side of her mouth slightly scrunched up. "Okay." Her face relaxes back into its normal smile, and she tiptoes up to place a light kiss on his forehead before continuing with the half hug and a peck on each cheek which was custom here. 

"Meet me at the 14th St ferry terminal for sunrise," she says, as she lets herself into the front gate of her building. 

--- 

(Towards the end of the third visit) We're riding the ferry across the bay towards Miami proper, and she is seated next to me, face turned into the wind, watching the scene pass by. The sun is setting and the sky is glorious. Miami, from my short experience, has the most consistently beautiful skies Ive ever seen. Not necessarily the most spectacularly beautiful, that is saved for places above (pick an altitude) where the sky is more wide open and dominated by different cloud formations. But Miami, so far, has always delivered. Towering clouds which began their lives over the everglades are now marching stately out towards the ocean, lit from behind by the setting sun. The wind, which was pleasant in town, now carries with it a a damp chill which the ferry passengers are sluggishly responding to.

She pulls a light sweater out of her bag and over her head in one continuous action which I don't fully comprehend. Still staring out at the bay she edges into me, huddling against the growing wind. I can't help but heat slightly at her touch. It's been a good day, and I'm feeling hopeful for an answer that realistically may never come.   

The ferry slows as the engine sounds and vibrations intensify. The boat is swinging in sideways, and people are gathering along the railing to debark. The lights of the city are just twinkling on as the sun makes its way completely below the horizon.   

"I know a great place for fresh fish near here, you game?" she asks. Of course I am, and it has nothing to do with the fish. "Well, I've never really been a fish for fish' sake person - an occasional hankering for Sushi is usually the closest I come. But, if you help me order, I'm game." Is my best attempt at downplaying my willingness.