#the song has a deceptive simplicity

[flanaganfilm]

hi mike! since finishing bly "i shall believe" by sheryl crow has been on heavy rotation in my music and it always brings me right back to seeing that breathtaking closing frame for the first time. i was wondering if you could share any reasoning, if any, there was for that being the closing music for the show? thanks!

I first heard "I Shall Believe" in a movie called The Pallbearer in 1996. I became low-key obsessed with the song that whole year. It was a song that hid fathoms under its deceptive simplicity, and it always cast a mournful, romantic spell on me. For a long time, I knew I wanted to use it in something, but didn't have the right kind of story - I needed a story that ached a certain way. I started thinking of it for Bly while I was writing the pilot. We didn't have much of a budget for needle drops, so I was initially encouraged to leave my options open. With Hill House I'd insisted on using "Heavenly Day" and "If I Go I'm Goin'" before the scripts for those episodes were even finished, but in this case the producers wanted to wait and see how the show developed. Bly was a love story, and a love story walks a razor's edge when it comes to tone. The first cut of the finale used a different song, something much more generic, and I knew it was going in the wrong direction. I put "I Shall Believe" in, and recut the sequence to the structure of the song, and suddenly everything worked. I told them that we absolutely had to that song, and everyone agreed when they saw the cut.

I love that song.

[thesinglesjukebox]

NEWJEANS - "HOW SWEET"

Breaking up: it's like sugar sometimes...

[6.69]

Rachel Saywitz: NewJeans has found a comfortable home in the production of DJ and electro-trot producer 250, whose musical style has become so singular that I'd start putting him up there with some of the other K-pop producing greats like Brave Brothers, the late Shinsadong Tiger, or Sweetune. His method continues to work well on "How Sweet": adding a little shimmering twist to American club genres (Miami bass in this case), seamless transitions from section to section, and the light vocal touch of every girl's vocals. But, as with the greats, I sense a slight loss of luster with the constant repetition. How many underground genres is 250 going to fish out of the Western world's murky waters to can up and ship out with a shiny new label? The catches are going to dry up eventually. [7]

Kayla Beardslee: NewJeans’ early singles smashed, bringing them ridiculous and unprecedented success for a first-year K-pop rookie group, because they delivered masterfully crafted pop songs in deceptively simple packaging. "Hype Boy" plows through enough memorable hooks for an entire album in a minute and a half, yet sounds so breezy and youthfully optimistic that the music doesn’t feel like work at all. Beneath the soft swells and whispers of "Ditto" is an instrumental that has a beautifully subtle touch with intimacy and a topline that stays in constant motion even as it tantalizingly holds itself back. In comparison, “How Sweet” is more of an underachieving graduate of the Tortured Poets school of songwriting. In each section of the song, they pick one melody with a limited dynamic range, hammer it into the ground, then tick the box and move on. For a Coca-Cola ad, it’s pretty flat.  [5]

Mark Sinker: Chirpy song about how breaking up with u is great and also v easy bcz u suck and I never liked u! Happily the real-world backdrop (MASSIVE INDUSTRY DRAMA pitting label against manager) cannot possibly ground this as a metaphor. The delivery turns the tale of the change from oops non-allegory into smilingly blank-faced stonewall. [7]

Iain Mew: They stretch simplicity as a virtue further than ever, relying almost entirely on immaculate floaty vibes. The almost is crucial, though; the "...now that I'm without you" kicker adds just enough bitterness to keep this from  feeling completely blank. [8]

Joshua Minsoo Kim: "How Sweet" is one of the most powerful kiss-offs we've had in years because it treats the end of a relationship as something so effortless, so natural, "like biting an apple." Even when lines are acerbic ("toxic lover, you're no better"), they are delivered with the exact amount of lift needed to signal both disgust and nonchalance. NewJeans do not care about this ex anymore, and they wield their restraint with grace; this is living well as the best revenge, and the song is potent because it feels like mist on a hot summer day. Producer 250 has always known how to excavate the potential of a minimalist pop song, and he's found an especially strong avenue here with the skeleton of an Atlanta bass track. The regional style (and specifically the Ghost Town DJ's track "My Boo") has had a large impact on K-pop since "Body Party" got big, but 250 makes it a more congenial affair: the hi-hats are low in the mix, the handclaps have more pop than the kick, and it all feels muted so the bubbly synth melodies and percussion—the latter approximating the "Triggerman" sample used in bounce classics—can flutter about. "How Sweet" is the most everyday that NewJeans has sounded, and it's all the more biting for it. [7]

Ian Mathers: It's devastating enough to get a "I'm doing better without you" message delivered with such nonchalant cool, but to make it a bop too? Really drives the implied "I probably didn't care that much in the first place" home, ouch. [8]

Jacob Sujin Kuppermann: A very NewJeansian take on the break up-come down song; it's a harder feeling to make sound giddy, but they pull it off here. The fragments jutting out from the sing-talk ("like biting an apple"; "no drama, it's good karma"; "little demon in my storyline" most of all) are thrilling and deranged, the kind of phrases that become involuntary mantras and mutterings when you make your way out of something all-consuming and are faced with the shock of the new. Most of the writing about NewJeans centers on their musical trappings, but the Miami bass riffs here are more perfunctory than their prior dalliances with drum-n-bass and Jersey club. That's not to say that it's a bad song — that bassline itself, rubbery and grooving, is gorgeous — but that it shares less with the perfect grooves that "OMG" and "Ditto" than first appears. [9]

Oliver Maier: Unusual for NewJeans both in that it is kind of a retread (think "OMG" 2: Not As Good) and that the performances are really quite listless. The thing about girl groups from anywhere in the world is that their songs tend to implode the moment it sounds like they aren't having fun. [5]

Jonathan Bradley: There's not the great shock of the new provided by genre experiments like "Super Shy" or "Ditto," but the R&B-lite of "How Sweet" gets some extra mileage from burbling percussion runs and photon-light electro textures. Switching between English and Korean lines in the hook is smart songwriting as well as smart globalization; it adds variation to a melody that threatens to run out of ideas after a mere three-and-a-half minutes.  [6]

Michael Hong: Initially put off by how weary the vocals sound -- NewJeans have always been low-key, but they've never sounded so spent. But it starts making sense when you consider that NewJeans are just as much about the experience of sharing these milestones as they are living them. Backed by a laser show of synths, "How Sweet" is about convincing yourself that you're okay after a heartbreak and proving it to your friends. This exhaustion makes the sharper moments more effective: the wistfulness of "it's like biting an apple" longs harder, and the snarky "I'll see you out" that closes the track is a truly satisfying line read. With every chorus, the bitter tartness lessens and the the sweetness pops brighter. [7]

Alfred Soto: The relaxed sensuality is what I wanted from this week's Tinashe track. The melodies are sticky and sweet. [7]

Nortey Dowuona: The drum programming is a bouncy, yet flimsy kick snare pattern full of glittery lasers and clinking closed hi-hats. At first, it overwhelms you, with the rising hit arriving every four bars and doubling during the post chorus, but once you pay attention to the looping, ghostly synth melody, you feel toward a handhold in the wind. [6]

Isabel Cole: I get so excited by the aliens-attacking space-laser sounds at the beginning, and then it all mellows out to make room for an uninspiring vocal line delivered uninspiringly. Things perk up a little in the chorus (I remain a sucker for handclaps!), but unfortunately the actual melody continues to be the worst part of the song, to the extent that I think I'd prefer an instrumental version. [5]

Katherine St. Asaph: The melody on the verses sounds like something off PinkPantheress's Heaven Knows, which is some real influencer-becomes-influenced ouroboros shit. But "How Sweet" settles into a chorus that's undeniably itself, frenetic but small: kind of like "Let the Music Play" recreated by one of those miniscule Helmacron ships from Animorphs in tiny zaps and little plinks. And I do mean "settles": there's less fizz in the pop than there could have been, and NewJeans' vocals range from effortless to affectless, unbothered to unengaging. [6]

TA Inskeep: I'm absolutely here for NewJeans giving us a little bit of ecstasy. If this kicks off a revival of second-wave freestyle, I'll be very happy. (Someone call Sabrina Carpenter to the white courtesy phone, stat!) [8]

Wayne Weizhen Zhang: “How Sweet” is the most subdued and pedestrian newjeans have sounded. The beeps and blorps and percussion taste sweet, but the vocals are bitter and dull. But when the production has so many dynamic flourishes, and the meta-narrative around the group is so interesting, the score floor is high.  [6]

[Read, comment and vote on The Singles Jukebox]

[cogentranting]

I think Taylor has a certain style of writing that she uses sometimes that is deceptively simple or mundane in its details. That style, at a cursory glance, looks easy to do but it's not. But when someone who is looking to tear her down gets there hands on a piece of one of these songs and cuts it out of its context, they can convince themselves (and others) that it's bad writing. But they're not seeing the way she creates contrasts between flourishes and simplicity, or the way that making simple words and phrases flow seamlessly requires expert control, or the way that she breathes life into mundane elements to create a vivid picture.

Anyway here's some deceptively simple art.

[dustedmagazine]

Bonnie “Prince” Billy — Keeping Secrets Will Destroy You (Drag City)

Photo by Urban Wyatt

Will Oldham’s latest album as Bonnie “Prince” Billy has a deceptive simplicity. It is mostly framed in casual, campfire strumming and homespun stringed accents. Its lyrics scan in a predictable, folk-infused manner, following steady rhythms in waltz-time and four-four; they are delivered with wry, unflappable confidentiality, however surreal or fanciful they turn. Keeping Secrets feels like, itself, a bit of a hidden gem, murmured at you rather than shouted, a quiet one but a grower. You might imagine a family gathering, after dinner, playing for the joy of it, a vibe that Oldham captures in his understated single, “Crazy Blue Bells,” when he croons, “Someday when there’s time to sing, a few of us will gather, and raise a voice to anything because everything matters.”

This is not to say that there is anything austere about Keeping Secrets Will Destroy You. On the contrary, these songs bloom like an old-fashioned garden, outwardly modest but wafting heady perfume and color in your direction. “Bananas” is a gentle knock-out, as it buzzes with glorious, dizzying harmonies (Dane Waters sings back-up) and ends with an operatic high note, hushed but also astonishing. “Blood of the Wine” drapes lush folds of string sound over its minor key jitter, skittering jewel-like mandolin trills over Appalachian lament. Oldham benefits from some real skill in his backing band, which includes Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on mandolin, Drew Miller on saxophone and Dane Waters singing.

Of course, Bonnie “Prince” Billy’s casual music get together is better than yours will ever be, because of who he is, a master of whimsy and existential dread and a consummate constructor of metaphor. That’s on the verbal side; he is also quite good at melody. His songs curve and flower in pleasing ways that are not quite unexpected, but not a cliché either. They sound familiar when you hear them first and burn in slowly over multiple hearings.

On the verbal side, I’d give the nod to “Willow, Pine, and Oak,” a gently coruscating examination of human failure, cast in the form of an extended meditation on trees. Here are willows, sucking up all the water, and pines, showy but prickly and oozing resin, and oaks, the best by far, on the basis of strength and constancy. It’s the sort of extended metaphor that is simultaneously exact about its subject and its larger poetical applications, and instead of quoting the words, I urge you to just listen to it once or twice and here how well it does what it does. The melody of this song is lovely, too, with swooning lashes of string sound and the most subliminal kind of harmonies. It is sort of perfect despite the degree of difficulty. If I were a diving judge I’d give it a 10.

For sheer sonic beauty, however, the prize is harder to award, so let’s split it between haunting “Bananas” and more ebullient “Behold! Beheld!,” both quiet and unassuming but full of grace. It’s a gift to be simple. Keeping Secrets is that sort of present.

Jennifer Kelly

[strongmalakai]

Discussion Presentation: Race and Representation

“Beautiful Liar” by Beyoncé ft. Shakira

“Beautiful Liar”, sung by Beyoncé and Shakira, was released in 2007, but has been in development since 2006. Mikkel S. Eriksen, one of the people behind the songwriting and song production process of the Stargate music company, wrote the instrumentals to this song a year before its release. Eriksen was especially proud of its simplicity and ability to carry such strong emotions. When played in front of Tyran Smith, a manager of the company, Smith became the driving force behind the song’s production. He enlisted the work of several other artists to help complete the song; Amanada Ghost and Ian Dench wrote the lyrics and Beyoncé added slight modifications to fit her style of singing. After releasing the song and breaking the Billboard Hot 100’s record of biggest leap in April 7th, 2007, jumping from 94th to 3rd biggest hit, Beyoncé shared her interpretation of the lyrics as a symbol of female empowerment. The women discover that the man they are seeing is courting both of them at the same time, and rather than fight each other for that man, they decide to drop him and ignore his request for a relationship. The subversion from an expected “cat-fight” to a comradery refusal of the male’s acceptance aids the song in shifting the gaze from men to women. “Beautiful Liar” and its powerful message easily allowed it to top the charts internationally, which included the UK, France, Germany, Italy, and New Zealand, and win the MTV Video Music Award for Most Earth Shattering Collaboration in 2007.

“What is the “Black” Black Popular Culture?” by Stuart Hall

Stuart Hall discusses his analysis of the Black community and how their race is constructed and represented. He explains how popular culture, specifically Black popular culture, is identified by their local hopes, aspirations, tragedies, and everyday activities. Beyoncé, a Black woman, and Shakira, a Latina woman, come from two different ethnic cultures that uphold different beliefs on these values, but they are united over their shared experiences as women. They are familiar with how the male gaze views them as sexual objects to be obtained and the tragedies that come from its subjugation. Through their understanding how men treat their community, they are able to place the fault in the man deceiving them. 

Can’t we laugh about it? (oh)

It’s not worth our time (oh)

We can live without him

Just a beautiful lie

Each woman believed that she was his “one and only”, cherishing the hopes and aspirations of having a future with him, until the other woman was made known to them, revealing his deception. Instead of fighting with each other for the gaze of a “beautiful liar”, they decide to not dwell on their individual relationship with him and completely abandon pursuing a future with him. They take in the truth of their experience to work through the tragedy of his betrayal and continue living without him in their lives. 

“The Blackness of Blackness: A Critique of the Sign and the Signifying Monkey” by Henry Louis Gates

In his quest to understand the identity of the Black community and the origins of their representation, Henry Louis Gates unravels the mystery of an African mythology, the Signifying Monkey. The Signifying Monkey is described as the trickster character in many of their stories. In the Monkey, Lion, and Elephant myth, the Lion misinterprets what the Monkey says to him and challenges the Elephant, who promptly sends him back to the Monkey. The nuances hidden behind the signifiers describing the significance instead of analyzing the significance of the signified causes this misunderstanding between the two parties. Beyonce and Shakira experience similar misunderstandings when they confront each other as the secret “mistress” their lover is seeing behind their backs. Both have been signified as the only one for our beautiful liar, and after realizing the signifier of the deception came from him, both Beyonce and Shakira understood the significance of his betrayal.  

(He) kissed me, his one and only (yes), beautiful liar

Initially, this line was used to vindicate the hostility between Beyonce and Shakira, as the man is in a committed relationship to one of them. They, individually, were his one and only, and the “beautiful liar”, was the other woman for suggesting that her man would be unfaithful. However, after learning the truth, this line’s meaning is revealed to us, signifying the lie of him being faithful and the “beautiful liar” referring to himself for deceiving the women. Understanding the situation, the two women reconcile with each other and leave the man to suffer the consequences of his tricks.

“I Am Not My Hair” by India Arie ft Akon

“I Am Not My Hair” was written by India Arie, a Neo-Soul and R&B artist, and was released on November 15, 2005.  Often recognized as one of the most influential female artists of the 21st century, Arie’s work often blurs the line between song and poetry, utilizing her work to promote the beauty of one’s soul. This song reached the top 20 on the Billboard Hot 100 and Grammy nominations for Best R&B Song and Best Female R&B Vocal Performance in 2007. Arie was originally inspired to write this song for female cancer patients who lost their hair due to treatment, but during its development process, her message began morphing into one that challenged society’s idealistic view and standard of female beauty. Symbolized through her hair, the expectations of her as a woman are never enough; your hair is too curly, too straight, too nappy, too braided. These beauty expectations have prevented women from controlling the expression of themselves, denying them the ability to express their souls. Arie cut off her own air in a bold declaration of her worth as a person, demonstrating her own identity, individuality, and self love. Her message of self acceptance and empowerment inspired discriminated and marginalized communities to take pride in their appearance, rebelling against the norm being imposed on them and sticking to their cultures. India Arie’s song paved the way for social change and empowerment to strengthen one’s soul.

“What is the “Black” Black Popular Culture?” by Stuart Hall

In analyzing the history of the Black popular culture, Stuart Hall discusses the challenges brought to marginalized communities because of cultural hegemony. He echoes the grievances made by American culture critics that the hegemony always shifting and changing also changes the power dynamics between cultures, meaning that it is always an issue of power. “Nothing ever changes, the system always wins,”. Hall condemns this attitude towards the situation, declaring that it prevents them from developing strategies that can make a difference in these climates. India Arie adapts this oppositional mindset to empower the loss of self females experienced because of the Western beauty standard. Arie is tired of the male gaze defining the representation of who she is as a black woman and the women around her. She reclaims her identity and power by cutting her hair, defying the beauty standards that were imposed on her by the dominant culture. Her bold actions against the hypocritical beauty standards encouraged other women to stand up for themselves and seek the beauty of themselves.

I am not my hair

I am not this skin

I am not your expectations, no (hey)

I am the soul that lives within

No longer shackled by the chains of societal expectations of beauty and race, she does not let the color of her skin, the style of her hair, and the thoughts of others detract from her self worth. She accepts the way that she is, and works towards the dismantlement of the beauty standard and empowerment of women.  

“The Blackness of Blackness: A Critique of the Sign and the Signifying Monkey” by Henry Louis Gates

When trying to identify how the Black community is represented, Henry Louis Gates analyzed other pieces of media that demonstrated the idea of the Signifying Monkey. Their Eyes Were Watching God was one of those films, and it revealed the confusing relationship between the literal and figurative meaning of the signifying. “The apparent significance of the message differs from its real significance. India Arie utilizes this relationship to convey her message through her song. Hair in the song literally refers to the way the Black community had to maintain their hair in order to be accepted in the cultural hegemony. Akon reminisces about the treatment he received with his different hairstyles; nappy hair failed to land him the ladies and dreadlocks failed to land him jobs. It was only when he cut off all his hair, one of the aspects that made him “Black”, that he started seeing success. Following this note, hair refers to Akon’s Black identity figuratively. The unique, distinct style of the Black community’s hair is one of the traits from the Black popular cultures, which easily distinguishes members of the community. It ties them to the other stereotypes that follow the Black community that prevent them from obtaining jobs and turning towards crime to support themselves. Exploring both the literal and figurative meanings of what “hair” allows Arie to tackle the various grievances the Black community experiences.

Discussion Questions

In the analysis of Beyoncé's music video, “Beautiful Liar”, Beyonce and Shakira are able to reconcile their grievances because of their shared experiences interacting with the “beautiful liar”, even though they come from different cultures. How are the various communities that an individual identifies with allow them to be more empathetic towards cultures that completely differ from their own? How can these perspectives be utilized to insight social change like Arie?

Stuart Hall explains the differences between cultures are dependent on their values. “The important point is the ordering of different aesthetic morals, social aesthetics, the orderings of culture that open up culture to the play of power, not an inventory of what is high versus what is low at any particular moment.” How has this discrepancy between the values of different cultures incited conflicts or misunderstandings? Can these discrepancies be used positively? Could you reconcile these discrepancies without compromising the cultural hegemony power dynamic?

India Arie originally wrote her song in order to support female cancer patients as they battle to maintain a positive self image through the loss of their hair. However, the message has evolved to encompass the general empowerment of women and self acceptance. Does the broadened message of Arie’s song dampen the effectiveness of its reception? How does the concept of “signifying” play into the spreading of her message?

[musicrunsthroughmysoul]

I love how punk this song sounds. I mean, it's definitely still a rock song - especially considering now, it's probably best described as being of the classic rock persuasion - but the quick-paced simplicity of the main riff (the simplicity can be deceptive! Bruce Watson is certainly a better guitarist than typical punk guitarists, even though I don't at all mean to discredit punk rock guitarists because HOW WELL CAN YOU IMAGINE PUNK MUSIC WITHOUT THEM? Actually I can already kind of argue that, actually, not all punk music has guitar/guitarists, but anyway...for the general idea of punk...) and the lyrical critique of western imperialism (and its inherent connection to capitalism) is so punk that I can't help but love it all the more. :')

[btsandfriends]

A Lyrical Dive into select Jimin's Solo Songs in Preparation for FACE

As a nerdy liberal arts major who loves lyrics way too much, I wanted to shine a spotlight on Jimin's creative talents in songs ahead of the release of FACE in a week.

Jimin talked a lot about feeling nervous about producing or writing solo tracks, and it's true that compared to the rapline he's got less experience. But I do think he and the fandom can undersell his talents there.

For me, Jimin has two calling cards: the first is super duper catchy melodies with a strong hook. The second is deceptively simple lyrics that unfurl if you look more closely at them.

People look at the simplicity of his lyrics and don't realize it's a deliberate choice to 1) make them honest and universal; 2) protect Jimin's very-cherished sense of privacy (many of his songs are about personal moments); 3) make critical use of poetic word choices and lyrical progression.

I'm a lyrics-driven person so I'll look most closely there, but I'll add anything additional that I observe.

Also, a deep dive into his solo songs show that they actually touch on many of the themes FACE will purportedly touch on: mainly "fronting his true self" and negotiating between his various artistic selves. So read this if you want to prep for the album! xD

He's got quite a few solo songs so I will be focusing in only on the songs that Jimin creatively contributed too, just because I find those most interesting. That term's a bit clunky, but I use it because to cover songs where he is credited as writer (eg Lie) or producer (eg Friends) or we've been told he came up with concepts for (eg Filter).

[For that reason, VIBE, Serendipity, With You. which are his solo songs but which he just sang, are not included. BTS songs where he did contribute but I have nothing particularly interesting to say like the bridge of Di-sease or a segment of Blood Sweat and Tears, I also did not include. But they're great!! Please listen to them!]

tldr on each song discussed below if you don't want to read the full thing with all the evidence lol:

Lie

about hiding your true self, however, he's vague about what the lie is about

simple lyrics but with key evocative imagery, like the snake to first represent temptation than the lie itself

performance-driven - best understand with the accompanying dance, particularly his plodding steps and the blindfold, like he's been captured and dragged down by the lie

Promise

first flash of Jimin's talent for catchy pop melodies in a solo song

about being kind to yourself, shedding perfectionism and 'facing' who you are and want to be, but from a compassionate rather than confrontational place

lyrical assist from Namjoon, who takes his simple evocative lyrics and pushes them further by inverting/progressing their meaning over the length of the song (notice the light->night shift and how it deepens the song's meaning). We can expect the same in FACE!

Friends

another super catchy pop melody! This time with a dramatic bridge and back choir, which I'm sure will come back around in FACE

linear narrative storytelling in the lyrics, which I adore adore adore

freaking cute as all get-out with the specifics of his friendship with Tae - we might not see this in FAC, because I assume he'll lintend for those songs to be more abstract and universal, whereas this is basically a dedication to their specific friendship. But I hope we do get some specifics, because he picked some really fun images/anecdotes (dumpling? driving? drinking?).

Christmas Love

Another pop melody with a super catchy hook! This song makes me so happy

Simple lyrics with some nice turns-of-phrases (sobok sobok, personification of snow), as I expect from Jimin

This song makes me happy

Filter

'Sexy' sound but dark lyrics about his relationship to fans and his public image. This is like Pied Piper or Louder than Bombs, where you're like, did you have to hit that hard? Now I'm sad

Lyrical progression - from a Jimin helplessly trying to meet audience demands to a Jimin and audience frenzily running through a kaleidoscope of filters to Jimin being empowered enough to just be like 'you'll take what I give you and like it' xD (and also audience and artist collaborating to create something new). It's really really cool

Performance-driven - I'm sure you've seen the Filter performance from the MOTS One concert. It adds a lot of meaning to this song

Boiling down all that? Here are the Jimin calling cards that I would expect to see from FACE:

Musically: Addictive, catchy melodies, with strong hooks and dramatic bridges

Lyrically: Deceptively simple lyrics with imagery and word choices that evolve over the course of a song; narrative progression and/or storytelling from verse 1 to outro

Meaning/Content: ruminations on whether a true self exists and how it is suppressed evolved or liberated through time, fame and the relationship between the artist and their fans. Some of this meaning will be expressed through dance and performance. The songs will be good by themselves, but will not be fully understood until viewed within the performance

Before we start:

Please do make sure to read the lyrics as you listen to each song!

I'm going to link to my translation from my preferred translator doolset but feel free to use anybody, or turn on English subtitles in the video! But to me it's really important to read them because I think you're missing half the song if you don't. And it'll be easier to actually understand and feel my point, especially the parts about lyrical progression, if you experience the lyrics with the song and backing instrumentation. So sync them up, okay?

Seriously, just press play and read the lyrics alongside the videos.

In roughly order of release

Lie (Performance with lyrics) (Translation by doolset)

This song is all about being trapped and desiring freedom... which is quite similar to what we've been told about FACE and Set Me Free Pt. 2, isn't it? (wink). I expect Lie to serve almost as the "prequel" to FACE, in the sense that in Lie he's still trapped and there he's successfully freed. RM said in Wings Behind its about his perfectionistic tendencies, but at other times Jimin's dodged what the "lies" specifically are (Q: "What is lies about?" A: "Lying" *bright smile*, I kid you not lol). So I think there's a probably more personal struggles here not discussed.

The song itself doesn't tell us either, in-line with Jimin's preference for simple but evocative lyrics. But there is imagery of temptation ("Smooth like a like a snake" - my favorite lyric in the song due to syncopated delivery and alliteration actually bringing to mind a snake); putting on a front that you must now commit to ("I'm here the same me as before / but the overgrown lie is trying to swallow me"); and fear of the truth being discovered ("Caught in a lie" - by whom? By the audience or oneself?). We might get more clarity on what Lies was referring to with FACE.

I'm not like, a musics major but I understand that the instrumentation does some interesting things to highlight the song's meaning too, specifically when it shifts from a major key to a minor key to showcase discordancy, that the speaker is lying.

Anyway, all signs point to you need to listen to Lie to properly prepare for the EP's themes!

Promise (song) (Translation by doolset)

Ugh, I loveeeeee this song and always have. This was the song that first crystallized for me Jimin's talent for melodies—it was an unofficial release, so the production is relatively simple, but that hook!! So good.

What do we get when we look at Promise's lyrics?

Jimin has actually spoken quite extensively about what the song is about. Put simply, it's about loving yourself—about being kinder to yourself and letting go of an unhealthy perfectionism that actually move you farther from the person you want to be. The "you" and "I" in the song are the same person, the speaker is talking to themselves. And if you're thinking "Huh, that sounds like it's about facing himself, but compassionately?"—EXACTLY. Yes this was in 2017 and Jimin was clearly feeling the theme hard that year, but I suspect he's still thinking about it (especially since Promise is being released officially). We know FACE is exploring similar themes of facing who you want to be, but my prediction is that it won't be from just a confrontational lens, but a compassionate one like we see in Promise.

Promise is also interesting because Namjoon helped Jimin write the lyrics while in tour, and we know from the FACE tracklist that Namjoon is credited songwriter on three tracks out of six. So, looking at a Jimin song Namjoon assisted on can help us figure out what to expect creatively from FACE there. And Namjoon keeps Jimin's short and simple but romantic lyrics (in the genre sense, not the platonic/romantic sense), but pushes their poeticism a bit by developing or inverting the central imagery so there's a sense of movement to the lyrics. Jimin calls this out specifically himself, noting that he was so happy with Namjoon's suggestion to change the last repetition of this lyric:

I want you to be your light, baby you should be your light ---> I want you to be your night, baby You could be your night

Basically, Namjoon thought you can't always just shine, it's important to also give yourself "the night"—to rest. You yourself should also be your own refuge. And of course it rhymes too.

It's just so so lovely I love that Namjoon understood what Jimin wanted to say and enhanced it while keeping true to it. I feel so at peace knowing that Jimin collaborated with Namjoon on this album, I trust Namjoon with Jimin completely.

Friends (song) (translation by doolset)

I freaking love this song!! (I know I've said this with every song, but like Jimin songs are just like, fully my jam)

He produced this one himself so we can look at the backing track and think about what elements we might see on FACE. Catchy pop melody? Check. A slowdown, dramatic bridge? Check. Also, he makes quite liberal use of a choir in this song, which we didn't see in other songs but really goes with the drama, so my darkhorse prediction is that we might see one of FACE's song use a choir as well.

The lyrics itself are what I've come to expect from Jimin - simple but evocative. What I find most interesting about this one is that it's actually a narrative story told in linear fashion, since Jimin is talking about his and Tae's relationship. It starts from the beginning of their relationship and ends at their seven year anniversary looking into the future (staying forever even after the cheers die down ;_; ) . BTS actually does this in a fair number of their songs (for example, Young Forever), but amongst Jimin songs I think only Friends is like this. But I love love it.

It's also very specific - in a way I hope I've shown you most of Jimin's other songs aren't. Like, he talks specifically about the dumpling fight, about the moment of meeting and thinking Tae's a weird alien (fondly), about driving together and drinking together. Super specific imagery. But of course the song content is different. It's not about his personal mental growth, which he probably wants to both obscure and make universal. This is a celebration of Jimin and Tae's relationship, and so they talked about a lot of stuff we as fans know about them.

[That said, I do want to note I think he probably didn't put everything important about his friendship in here (in fact, we know he didn't - he told us in a vlive he couldn't get into specifics about the dumpling fight and their make-up because it's private). The mentions probably still leave a lot of things out]

Anyway. I'm probably biased because I'm a writer and I love stories but I think storytelling is what really sets BTS apart. It would also work quite well with the concept of FACE I think, a song that traces who Jimin is through his various evolutions - from that bboy look near debut to his softer image starting in 2016 to his more "mature" self now in 2022.

So: I suspect one of Jimin's FACE songs will tell a linear narrative in its lyrics. But I think those lyrics will be less specific than what we got with Friends. Which is fine by me. Manifesting.

Christmas Love (song) (translation by doolset)

Oh hey, it's another pop melody with the catchiest hook! Who would've guessed we'd see one of Jimin's calling cards! xD

[I will note this is an unofficial release though, so the instrumentation is relatively simple, I expect the official releases will have fancier instrumentation - Jimin did say he basically did all of it in 48 hrs]

This is a short, sweet song so I'll also keep my analysis short and sweet. You can look at the lyrics and also see it shows Jimin's other calling card - simple, straight-to-the-point lyrics but with an interesting poetic turn of phrase embedded somewhere. In this case, it's the use sobok sobok (an onomatopoeia slash mimetic word unique to Korean to express the sound of snow gently collating) and his personification of snow (he's welcoming it like a person).

Filter (song) (translation by doolset)

Jimin didn't write this one but I definitely remember while binging all the MOTS7 Behind content that Jimin came up with the song's concept and discussed extensively with the songwriters about what we wanted to express and then they wrote the lyrics (in a similar process to what Jimin and Tae did with Friends' lyrics, where they wrote out all these long stories to a songwriter and then she turned them into lyrics, sounds like). That involvement means that while he's not a credited songwriter I'm still looking at it to see what we can expect.

This is a very performance-driven song, so I highly recommend you look at the performance (Consider that he looks at both a male and a female mannequin, then changes into a vibrantly colored suit that combines elements traditionally male and female tailoring).

But here's what I find interesting about it from, a lyrics perspective:

It sounds sexy and slinky, but it's actually a rather dark song about living up to expectations of fans - Jimin is talking about becoming whatever the audience wants just so he can receive their love, in a rather plaintive way ("Please look at me now")

This song also shows lyrical progression - moving from sort-of passive transformation driven by the needs of the audience ("Let me know your type", and the lyric I quoted above) to a sort of frenzy in the middle where who he is and what the audience wants is up for grabs and it seems insatiable ("What do you think, are you getting the idea?" "Is it not enough yet?" "Look at me who turned into a child all of a sudden") to the very end where he knows the audience so well that he is now able to take active control of his image to create something transcendent ("I'm a brand new filter that you have never seen before" "try entrusting yourself to me")—partially in collaboration with the audience ("We will become a new us")

The lyrics are actually quite... private? Like, he never goes into any particular details about what sort of "filters" he feels like he's offering, or what's underneath it. Is it about his behavior? His styling? His personality? Who knows. We get the gist, but we don't know the details. Some lyrics put you in a specific time, place, and experience. These don't. They float as a universal struggle and mindset. This isn't a criticism, just an observation. I think it serves two purposes, to make it easier for others to connect with and to keep his privacy about his specific struggles here.

Jimin has actually said he wants to show a more "mature" side of himself through FACE—and I think the closest approximation that we have to that, amongst the songs he's creatively contributed to, is probably Filter. Where yeah, it's sexy, so mature in that sense, but also dark, so mature in that sense too.

And the concept of a "filter" is quite similar to the concept of a "face" right? What face do you show the world? How much control do you have over it? How do you "face" the various versions of yourself, in a career where you do need to deploy various "faces/filters" to keep an audience entertained? ARMY joke a lot about Jimin's duality, but I do think it can create pressure and an identity crisis like Jimin sort of expresses here. But the song actually ends on a rather empowered, positive note. So anyway!

Christmas Love actually came out after Filter but I'm ending with Filter because I'm expecting Jimin to pick up almost exactly where Filter dropped off in FACE, in lyrics, sound, and concept.

[And seriously, I hope like with Friends we see him play with lyrical progression again, I love it so much ;_;]

So. Boiling all that down. Here's what you can look forward to on FACE. If I was a gambling person, I'd put a bet on it xD

Musically: Addictive, catchy melodies, with strong hooks and dramatic bridges

Lyrically: Deceptively simple lyrics with imagery and word choices that evolve over the course of a song; narrative progression and/or storytelling from verse 1 to outro

Meaning/Content: ruminations on whether a true self exists and how it is suppressed evolved or liberated through time, fame and the relationship between the artist and their fans. Some of this meaning will be expressed through dance and performance. The songs will be good by themselves, but will not be fully understood until viewed within the performance

I hope this helped you understand Jimin as a creative writer better and please look forward to his album! I can't wait to see where he is now, the very latest stage of his development. From everything so far, it's going to be great.

-Q

[article1111]

Quack Up Your Day: Exploring the Quirky Charm of the Duck Song

In the vast ocean of internet memes and viral sensations, one peculiar tune has managed to quack its way into the hearts of millions. Aptly named the "Duck Song," this catchy ditty has become a cultural phenomenon, captivating audiences with its humor, simplicity, and undeniable charm.

The Tale of the Quacking Melody

The Duck Song, born in the early 2000s, is the brainchild of songwriter Bryant Oden. Its origins trace back to a simple melody paired with whimsical lyrics centered around a duck's persistent quest for grapes. The song's protagonist, a persistent duck, waddles into a lemonade stand and repeatedly asks the vendor if he has any grapes, much to the latter's bewilderment.

The Recipe for Viral Success

What sets the Duck Song apart from its counterparts is its infectious melody and deceptively simple lyrics. The repetition of the duck's inquiry, coupled with the vendor's increasingly exasperated responses, creates a comedic rhythm that's hard to resist. It's a testament to the song's appeal that it has transcended age barriers, captivating both children and adults alike.

Memetic Evolution

Like many internet phenomena, the Duck Song has undergone numerous adaptations and iterations over the years. From animated videos to remixes and parodies, fans have embraced the song's quirky premise and spun it into countless creative endeavors. Its enduring popularity is a testament to the song's adaptability and the enduring appeal of its central narrative.

The Duck Song's Cultural Impact

Beyond its entertainment value, the Duck Song has left a lasting imprint on popular culture. Its iconic catchphrases, such as "Got any grapes?" and "Waddle waddle," have become ingrained in the lexicon of internet memes, spawning countless references and inside jokes. The song's influence extends beyond the digital realm, with merchandise, fan art, and even theatrical adaptations paying homage to its quirky charm.

The Power of Simple Pleasures

At its core, the Duck Song resonates with audiences because of its simplicity and innocence. In a world filled with complexities and uncertainties, there's something comforting about a whimsical tale of a duck's unyielding quest for grapes. It serves as a reminder to embrace life's simple pleasures and find joy in the absurdities of everyday existence.

Conclusion: Quack on, Duck Song!

In an ever-changing landscape of viral sensations and internet fads, the Duck Song stands out as a timeless classic. Its catchy melody, humorous lyrics, and endearing characters have secured its place in the annals of internet history, ensuring that generations to come will continue to quack along to its irresistible tune. So the next time you find yourself in need of a pick-me-up, just remember the wise words of the persistent duck: "Got any grapes?"

In a world where trends come and go, the Duck Song remains a steadfast reminder of the enduring power of simple pleasures and the universal language of laughter. So let's raise a glass (of lemonade, perhaps?) to the duck who stole our hearts and quacked his way into internet immortality.

[nickjoyhn]

Matka 420: A Fascinating World of Chance and Strategy

In the world of gambling, there are numerous games that have captured the imagination of enthusiasts. One such game that stands out due to its intriguing combination of luck and strategy is "Matka 420." This article delves into the history, rules, strategies, and the unique charm of Matka 420, while also highlighting its place in popular culture.

The History of Matka 420

Matka 420, also known simply as "Matka," has its origins in India. It emerged as a popular form of gambling in the mid-20th century, gaining widespread popularity in Mumbai and other parts of the country. The term "Matka" refers to an earthen pot used to draw numbers, and "420" denotes cheating or deception.

Over the years, Matka 420 has undergone various changes, evolving from a localized gambling activity to a global phenomenon. It has adapted to the digital age, with online platforms making it accessible to players worldwide.

Matka 420: A Game of Chance

Matka 420 is primarily a game of chance. Players select numbers and place their bets, hoping to match the numbers drawn in the Matka. While luck plays a significant role, participants often develop strategies to improve their chances of winning. The game's unpredictability and the blend of luck and strategy make it both exciting and challenging.

Matka 420: The Online Era

With the advent of online gaming, Matka 420 has made a seamless transition to the digital realm. Online Matka platforms have simplified the game, making it accessible to a wider audience. The convenience of playing from the comfort of one's home has contributed to the game's continued popularity.

Rules and Regulations

To maintain transparency and fairness, Matka 420 is governed by a set of rules and regulations. These rules are designed to prevent fraud and ensure that the game is conducted in a legitimate manner. Players are encouraged to familiarize themselves with these guidelines to have a safe and enjoyable experience.

Strategies to Play Matka 420

While Matka 420 is largely based on luck, there are strategies that players can employ to enhance their chances of winning. Experienced players often use mathematical calculations and historical data to make informed decisions. Learning these strategies can be crucial for anyone looking to try their luck in the game.

The Attraction of Matka 420

The enduring appeal of Matka 420 lies in its unique combination of suspense and potential reward. The excitement of waiting for the results, coupled with the possibility of a significant win, keeps players coming back for more. The game's simplicity and potential for substantial profits are undeniable attractions.

Risks and Responsible Gaming

Like any form of gambling, Matka 420 comes with risks. It's essential for players to be aware of these risks and to practice responsible gaming. Setting limits, managing finances, and knowing when to stop are critical aspects of enjoying the game without falling into unhealthy habits.

Famous Matka 420 Winners

Matka 420 has seen its share of famous winners who have struck it big with their predictions. Their stories serve as inspiration for aspiring players and shed light on the journey from ordinary individuals to Matka millionaires.

Matka 420 in Popular Culture

Matka 420 has left an indelible mark on popular culture. It has been featured in movies, songs, and various forms of entertainment. The game's unique appeal and the stories of its winners have made it a subject of fascination for filmmakers, musicians, and artists.

Challenges Faced by Matka 420

Despite its enduring popularity, Matka 420 has faced challenges, including legal issues and crackdowns on unauthorized gambling activities. The game's resilience and the efforts to adapt to changing regulations showcase its determination to survive.

Online Matka 420 Websites

Several online platforms offer the opportunity to play Matka 420. When choosing a website to play on, it's essential to consider factors like reputation, security, and user experience. Researching and selecting a reliable platform is crucial for an enjoyable gaming experience.

The Matka 420 Community

Part of what makes Matka 420 unique is the sense of community it fosters. Players often bond over shared experiences and engage in discussions about strategies and results. This sense of camaraderie adds to the game's appeal.

Future Prospects

The future of Matka 420 holds much promise. As it continues to adapt to the digital age and attract players from around the world, the game's popularity is likely to grow. Innovations in gameplay and technology may further shape its future.

Conclusion

In conclusion, Matka 420 is a game that has stood the test of time, offering a thrilling combination of chance and strategy. Its history, rules, strategies, and cultural impact make it a fascinating subject. Whether you're a seasoned player or a curious newcomer, Matka 420 offers an experience that is both exhilarating and thought-provoking.

Read More : https://indiansatta.co.in/

[infjtarot]

Knight of Cups. Songs for the Journey Home Tarot

Wave Awakening loves to dive deep into love, and lust! Falling in love with love is a wonderful drug. Falling in love with a real and fallible mortal gives you an unforgettable taste, which transforms your understanding of love forever. LWB. The knight holds out the cup in the palm of his hand as if presenting it in a romantic act of devotion. The modest clothes, the exposed natural curls, and the spare ornamentation on the horse emphasize a feeling of openness and simplicity. The cup is large and open, but also flat and lacking depth. The knight looks hesitant, and one may think that the cup isn’t really positioned on his hand. It could be floating in mid-air, and the knight may just be putting his palm underneath it. The knight supposedly gives what he has, and he may be sincere, but it isn’t certain that one can rely on the depth of his commitment. The direction to the left might signal giving up personal goals and ambitions. Interpretation: Devotion, emotional giving, openness, and sincerity. Giving up personal goals in order to serve something or somebody one cares for. The image of a romantic knight, which might be authentic but also may be a kind of self-delusion. Devotion without hidden motives. Open expression of emotions, but they may be only at a shallow level. A romantic and idealized view of reality motivates the querent, but perhaps not in a productive direction. Yoav Ben Dov. Aside from the Knight's possible identity as an actual person or the thoughts of the King or Queen, this card is also interpreted as indicative of an imminent arrival, approach or advance by someone. As in the case of the Knave, the appearance of the Knight of Cups in a spread may betoken a certain degree of risk, as the card can announce potential rivalry in love and deceit in matters of the heart. So beware of rivalry, and should the card show up reversed, if the querent is happily in love, he or she should beware of deception. Paul Huson

[audiofuzz]

PWNT releases new album 'Play What's Not There' this Friday 7/28

PWNT entered the indie music scene with his debut LP, “Days in the Summer” in 2021. Over the past two years he has been collecting credits with amazing acts like Hether, LP, Brijean, and more while making his best work yet as an artist. Notable Players/Collaborators Featured Musicians/Personnel - Will Fox, LaCore, Steven Frieder (Woodwinds), Jacob Peter (Guitar), David Davis Co-Producer/Mix Engineer (Credited on work with Miguel, Frank Ocean, War on Drugs) PWNT is marked first by its warmth. The name, an abbreviation of Miles Davis’ ideology “Play What’s Not There,” quickly gives away the loving expression of mastermind Kosta Galanopolous’ various influences that reveal themselves throughout 2021’s aptly-named Days In The Summer and 2022’s Don’t Look In The Mirror and Goodbye Forever. However, the warmth these works express prevails just as much through its quintessential southern California sound as it does through PWNT’s devotion to deftly syncopated percussion paired with a dedication to influence from all forms and eras of off-kilter pop music. With two years spent understanding himself as PWNT, Galanopolous returns with Play What’s Not There, released July 28th. With Play What’s Not There, PWNT created another statement of intention that feels less geared toward shows of drum and stylistic prowess, with which PWNT is clearly endowed, and more toward songwriting and texture. The drums are even more dry, and acoustic guitar as a layering instrument has taken the place of keyboard and synth. Thankfully though, PWNT’s love of horns remains. Resultantly, the songs sound older, both in terms of sonics and maturity. The respective descriptions of a “dreamy, hazy sound that feels perfectly aimed for…scorching summer afternoons” created for “transporting listeners onto an inflatable flamingo in a Californian pool” from ComplexUK and Dork Magazine certainly capture the peership that any listener could make between PWNT’s Days In The Summer and Toro y Moi’s June 2009 and What For? and Tame Impala’s Lonerism, but those comparisons simply don’t apply as readily for Play What’s Not There. With previous releases, there are a number of moments of deceptive minimalism laying in a mirage of simplicity created by a striking amount of layers and instrumentation. With Play What’s Not There, PWNT is less interested in that subtlety. Each song contains multitudes. Even a ballad like After Four (featuring LaCore), arguably the song on the album with the simplest arrangement, is still littered with scattered sounds, seasoning the baseline composition. It’s all the moving pieces that have been reigned in with help from David Davis (Miguel, Frank Ocean, War on Drugs) that bring a timelessness to songs like All Depends On You, featuring the honey-voiced Will Fox, Lonely, and Never So Bad. Before and during PWNT’s origins, Kosta Galanopolous, a New School trained jazz drummer turned songwriter, session player, and producer for artists like Hether, Luke Temple, Brijean, and Adam Lambert, found himself turning his 2020 quarantine isolation into motivation to create on his own terms. While Days In The Summer is a representation of Galanopolous’ longing to once more experience the outside world, Play What’s Not There is an expression of a more established creative self. It’s PWNT’s manifestation of a desire to step from behind the scenes with long-cultivated talents and knowledge. Play What’s Not There was written, composed, and recorded entirely from Galanopolous’ Long Beach home studio, and will be released on Nashville’s Acrophase Records.   Read the full article

[shadowoffandoms]

inhales, ok so I have never written Sanders Sides fanfics, but I've been reading so many I caved in when a song gave me an idea.

(Longish post!)

Alternate Universe- alright? Hear me out.

Thomas' parents (the character btw, not Thomas Sanders the guy himself) want to pitch a show that Thomas had come up with himself as a small child, an animated one at that. A shady but well-known animation company took the pitch and it became a sensation across the nation.

I KNOW THIS SOUNDS LIKE THE OPENING TO AN INDIE HORROR GAME SO LET ME SKIP TO THE JUICY PARTS THAT IT WILL EVENTUALLY PIPELINE TO

Thomas gets cloned and tested on, mind-wiped and his parents are wiped of the face of the Earth. Poor dude.

The facility works on these clones to hone in on each of the personalities that were made for the animated show, wanting to transfer to live action meet n greets and such, and a live action sit-com in general. It backfired obviously. The company got shut-down midway through the process, leaving mostly complete shells of Thomas' personality in tack.

now the notes I have taken for each of the characters

Roman - the side that went insane with burnout, the lead in the song, the favorite character from the shows airing. Extreme perfectionist and is cruel to those that are any less than perfection. Somewhat the main villain, believing himself to be the hero.

Virgil – the side that is in hiding, one of his strongest instincts being protecting. Protect who? He’s still figuring it out. He’s more an outcast to the “Light” and “Dark” sides, even if he used to be with the Dark Sides. He’s more of an ally in Thomas’ journey to take down whatever was happening in the abandoned factory.

Patton - the side that’s lost track of himself. His morals had gone askew, not knowing what was right or wrong anymore. This led to him doing stuff multiple times and suffering the amount of guilt that came with it. He wants to be accepting, but with the constant questioning at the back of his mind, he’s not sure what to believe anymore.

Logan - the side that uses logic to figure out everything. Roman takes a kind eye to him and keeps him around, asking for advice and all that jazz. Logan is very reserved, serious, and monotone. He can’t help it. It was the way he was --designed— created. The explainer, the less fun out of them all. But he was close to perfection in Roman’s eyes.

Remus - the side of intrusive and bad thoughts, the supposed opposite of Roman. He was a mistake, having not been made for the show at all, but came out as a fluke in the process. He’s the jester, has the most crude humor that is def not appropriate for children and loves to annoy everyone in his presence, even his partner in crime Deceit. 

Janus - nobody knows his true name, because names hold power. Deceptive, calculating and sharp, he is. The villain to Roman’s fantasy. He’s not always bad, but he likes to question Patton’s morality from time to time, especially at the beginning. He stopped later on when he saw how stressed out Patton would get. The “Light” sides were all teamed up, so he teamed up with Remus. For simplicity sake.

these are expected to change! The main song influencing this is The Details in the Devil by JT Music, with other songs helping. Two others rn are Smile Like You Mean It by PARANOiD DJ and You're the Answer by JT Music

i came up with this idea two hours ago and i will be making art anyways gn

[erinlbowe]

Please play this when I am lowered into the earth thank you

[dustedmagazine]

Jerry David DeCicca — New Shadows (Bwatue)

Jerry David DeCicca once fronted the dark folk Black Swans, alongside his friend Noel Sayre, a soulful foil on violin, who tragically died in a swimming pool accident in 2008. DeCicca kept going, first as Black Swans, later under his own name, building a catalogue of subtle, country flavored songs, some heartbreaking in their simplicity, others giddy and adorned with animal sounds. Along the way, he has shepherded a slew of long-lost country singers through their re-emergence, producing late career albums for Ed Askew, Chris Gantry, Augie Meyers and Will Beely. He seemed a lot like the icons he worked with, a master craftsman unfairly overlooked. Of his last album before this, I wrote, “This album distills the craft and struggle of music making into gorgeous, deceptively simple-sounding songs like it’s nothing, but it’s not nothing, far from it.”

Cut to this fifth solo album, and it is somewhat disorienting to find DeCicca’s mordant murmur enmeshed in a gothy web of synthesizers. His worn-in country sprech-song holds court in shimmery electric architectures. The keyboards glow in the dark. He follows programmed pulses that hurtle onward even as he pauses to consider. Even so, it still sounds like DeCicca, the lyrics are casually incisive, the humor a little goofy, the melodies rebel country at a very high level, but it also sounds like the inside of a disco.

The album reflects the disruptive events of the last few years, in lyrics that describe a video funeral (“Sing”) and in others that mark the listless passage of time (“I know life ain’t a free ride, wash up, dishes are piling high, lost days, lost days” from “Lost Days”). The use of electronics may also be an artifact of that pandemic period where live collaboration became difficult; this may have lasted longer for DeCicca than other people, given some recent health troubles.

But also the pandemic opened up collaboration for a lot of artists, in ways that ignored physical proximity. I don’t know if that’s the case for this group of players, but they are a remarkably diverse group—two old hands from Los Lobos (David Hidalgo and Steve Berlin), a brace of new jazz tyros (James Brandon Lewis, Jeff Parker and Aquiles Navarro of Irresistible Entanglements) and the wonderful Rosali Middleton. They bring depth and color and human roughness to these unusually pristine electronic tracks. Listen, for instance, to the two sax players, Steve Berlin with his guttural, low-end swagger in “97 Nights,” Lewis more refined and fluid but just as soulful on contemplative “Lost Days.” Or consider the burning blues guitar licks that David Hidalgo adds to “Sing,” all smoke and sinew amid the synths and keyboards. He reminds me of prime era Mark Knopfler in the way he bends the notes and coaxes them to moan.

Yet fundamentally this is DeCicca’s show, and its success rides on his songwriting ability. Not to worry. “Angelina” is one of his finest songs ever, a still one full of darkness and yearning, and the curlicues of trumpets that Navarro adds amplify, but don’t overwhelm its gorgeous simplicity. “Manzanita Bay” is another good one, a little mournful as presented here, but you could imagine it turning into a sing-along stomper in other, less ruminative hands.

New Shadows is a bit of a departure, and its New Order-style goth-dance framing takes some getting used to. But it’s still DeCicca, still one of the best songwriters going, just through a different lens.

Jennifer Kelly

[onesweetdreampodcast]

For fun, a micro episode! A reprise of RAM’s critical reception over time. Positive reviews referenced in the episode: Pitchfork “..Paul McCartney's Ram is a domestic-bliss album, one of the weirdest, earthiest, and most honest ever made. What 2012's ears can find is a rock icon inventing an approach to pop music that would eventually become someone else's indie pop.”

ALL MUSIC

“This made Ram an object of scorn and derision upon its release —and for years afterward in fact — but in retrospect it looks like nothing so much as the first indie pop album. Ram has a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paulholding the ram by the horns was taken. It's filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey.".All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, ... These songs may not be self-styled major statements, but they are endearing and enduring, as is RAM itself, which seems like a more unique, exquisite pleasure with each passing year.”

LOUDER THAN WAR

“Cool is the most overrated component of rock roll. It blinds the fools and sends the insecure up grubby back alleys of music taste.  ...Maybe it’s a measure of the times but what people ragged on about Paul at the time was the good bloke/family man/simple things in life/not very rock n roll personae that are now seen as assets and that brings us to Ram.At the time the album was buried by the media but now sounds forward thinking and full of that buoyant pop imagination that the supremely talented Macca seems to effortlessly ooze. With the luxury of history the album now sounds like a decades too early precursor to lo fi indie with all the post late sixties bombast stripped away.Of course this simplicity is deceptive. The precociously brilliant McCartney is playing many instruments and he’s great at anything he picks up, dealing out guitar licks, bass runs or pastoral acoustics with an ease for his perfect pop voice to fly over with those cascading and exquisite melodies.” 

SUPER DELUXE EDITION

“Ram has McCartney’s DNA all over it. It is endlessly melodic … with a maze of musical ideas; vocal harmonies,...and, perhaps uncharacteristically, there is a steeliness of purpose evident.Ram works so well for many reasons. McCartney’s voice is at, or near, its peak – everything sounds completely effortless, including the performance on the throat-shredding ‘Monkberry Moon Delight’, and the whole thing just feels so real. Paul wasn’t struggling for things to write about, whether it be the seemingly constant backbiting with Lennon or his new-found love of family life and spending time with his new wife.” FAR OUT MAGAZINE

‘...You can trace everything from Britpop to pure jangle indie back to this record. What started as a piece of pure pop innovation would provide a sure footing for a host of other groups to spring from … there is no denying that Paul McCartney’s Ram is a seminal moment in musical history.’

50Thirdand3rd

“Paul McCartney has rarely sounded more exuberant than he does on Ram. With Linda’s emotional support, he found his way through the darkness occasioned by the collapse of The Beatles and shed all traces of depression and disorientation that marked his first solo effort. On Ram, he sounds positively thrilled to embark on a new, independent musical adventure, as is evident in the unbridled energy he displays throughout the record and the blessed return of his sense of humor. His melodic gifts remain intact, he sings as well as he ever did and he’s still one hell of a bass player.”

THE QUIETUS

It’s a record by a man and woman unburdened, enjoying the happiest days of their lives. It’s full of hope and honesty and goofing around. Unlike so much music from the era, it wasn’t trying to shift units or promote itself as ‘real’ music. In fact Paul McCartney probably doesn’t give a toss if you like it or not.”

SPECTRUM CULTURE

“...it’s clearer than ever that this is one of the great magical experiences in rock … The key to Ram’s power is the two equal and not-necessarily-distinct modes it toggles between. Domestic life between the album’s credited artists is portrayed with earthy whimsy; the instruments crack and splinter, content that the center will hold. Meanwhile, the material dealing with the meaning of the most coveted Beatle’s decision to settle down with the woman of his dreams is painted in the same grand, sweeping strokes as Sgt. Pepper, Magical Mystery Tour, and the Abbey Road medley: symphonic pop that pines for transcendence.”

RAM ALBUM CLUB:

“I listened properly the next morning, I sat in front of it and played it loud. My god, what a fool I’ve been, what a joy this record is. There’s hardly any of the 12 bar I was expecting and there isn’t a twee moment to be found. I adore the first bars of Too Many People, his beautiful tramp voice over those fab four chords into Pet Sounds snare hits. Honey to my bee. Lyrically he sounds like he’s kicking some demons around, eating apples, settling scores and having a ball doing it. Ram sounds like it was recorded at 9.12am amidst a sea of sunflowers under a hazy sun. It’s high as monkeys, full of itself and oh my, what a fool I’ve been. Ram On sounds like the whole of the Department of Eagles album In Ear Park (which I love) and Uncle Albert is fine as it is, all of it. I’m not that bothered about Eat At Home. The Back Seat Of My Car is like a track off the Beach Boys album Friends except better, much better. It’s one his best songs and I’ve never heard it. Third time, I take it downstairs. I light candles. I dress smart and bring gifts. I’m in love and o’ what a fool I’ve been. I’m uplifted, uploaded and upended. His singing is great, the musicians are right on the money and the sound is perfect (it is a truth that all records made in the early 1970s sound fantastic).”

[cristalconnors]

BEST ALBUMS OF 2020- #20-11

20. Rough and Rowdy Ways, BOB DYLAN

On the expansive, wordy Rough and Rowdy Ways, every last line is packed with layers upon layers of meaning. Dylan’s thrillingly dense poetry has a startling directness to it, floating atop delicate, meandering blues and old school rock and roll, the simplicity of which emphasizes the simple power of Dylan’s songwriting. Listening to “I’ve Made Up My Mind To Give Myself To You,” I’m the gentleman hunched over the jukebox, getting up close to the speaker and swaying softly, lost in the music.

19. RTJ4, RUN THE JEWELS

It’s only fitting that Run the Jewels would reemerge in the summer of 2020, a season of demonstrations against police brutality and institutional racism unprecedented in their scope. Killer Mike and El-P’s righteousness and urgency are invigorating and remarkably focused here. It makes you want to put your mask on, make a sign, and take to the streets.

18. SAWAYAMA, RINA SAWAYAMA

The strange, singular intersection that Rina Sawayama’s sound sits at- the girl who’d never miss TRL but looked forward to Ozzfest all year- calls on the disparate influences of her youth to unpack generational trauma and her sometimes tumultuous relationship with her family. Despite the prickly themes, SAWAYAMA maintains a determinedly cheery exterior, juxtaposing pop tropes with probing, often self-critical observations with an admirable frankness. 

17. Send them to Coventry, PA SALIEU

Pa Salieu’s wonderfully immersive vision of Coventry hypnotizes with its deceptively simple, lush beats paired with Salieu’s rather complex cadences. His flow has remarkable shape to it, showcasing his accent and asking his listener to pay as close attention to what he’s saying as to how he’s saying it. His voice is an instrument and he’s in full command of it here.

16. WHAT WE DREW 우리가 그려왔던 , YAEJI

Yaeji’s first full length doesn’t sound like what you might have expected from her if you first became aware of her back in 2017 with the infectious “raingurl.” This is more languorous and strange, in turns elegant and silly. It’s clear she’s vastly expanded her songwriting tool kit and the results are ravishingly distinct. No one else is making anything remotely like this.

15. The Passion Of, SPECIAL INTEREST

Electropunk at its most deliriously frenzied, gorgeously dissonant, and visceral. There’s not only urgency but also purpose, both of which are foundational to effective punk, which too many people forget. It’s relentless, but The Passion Of also happens to be beautiful. The textures Special Interest are able to conjure from the marriage of their synths and guitars are unexpectedly divine without costing the album its edge. 

14. Shabrang, SEVDALIZA

The songs on Shabrang are often parables, flowery in language and elliptical in meaning. By every metric, this is music that should sound esoteric and inaccessible, but the effortless blending of Persian sounds with aughts pop sensibilities is breathtakingly effective, allowing the intricate textures of the (impeccably produced!) music to roll out slowly and methodically, perfectly in concert with Sevdaliza’s heady, uncompromising songwriting. 

13. Phoenix: Flames Are Dew Upon My Skin, EARTHEATER

Folk is allowed to sound like this? Symphonic textures that suddenly give way to industrial, skittering, bubbling synth that’s rendered so intricately you feel like you’re listening to ASMR? Vocals that bend and crack and wail and whisper, sometimes all in the span of seconds? How often do you hear something that sounds this distinctly new?

12. Man Alive! KING KRULE

Not exactly breaking new ground for King Krule, but why wouldn’t he return to the well that bore the sublimely guttural, jazzy landscapes of The OOZ? If anything, Man Alive! is more clear headed and focused than that album was, buffing out the more tedious, experimental edges in favor of even more intricately nuanced textures and fascinating introspection. 

11. Microphones in 2020, THE MICROPHONES

That Phil Elverum would revive his The Microphones moniker in 2020 is surprising, but also kind of isn’t. In a year that has brought upheaval and unwelcome change to all of us, for Elverum it comes on the heels of a tumultuous half decade that included the death of his wife and the quick dissolution of another high-profile marriage. By now, he’s as much of a pro at taking the punches life throws at us as anyone. I guess it only makes sense that he’d look back to beginning of his artistic journey and try to figure out how he got to where he is now. It’s thrilling to listen to him try to make sense of it over the course of one 45-minute long song that is perhaps his most personal outing in a repertoire that was already remarkably intimate and diaristic.

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