#this post inspired by the dreaming the beatles reviews

[recallthename]

reading goodreads reviews of beatles books is just like

person a: this had way too much information on the beatles, i’m just a casual fan, i didn’t need to know all of this

person b: i’ve read hundreds of books about the beatles, this had absolutely no new information

[a7xbrazilianfans]

On its new year-end edition, Metal Hammer spoke to guitarist Synyster Gates about Avenged Sevenfold's eighth album, "Life Is But A Dream…" that combined hip hop, classic rock, EDM, thrash metal, classic soul and more, with some hailing it as a masterwork and others condemning it as career suicide.

It’s been six months since the release of Life is But a Dream… How do you feel about it now?

Synyster Gates: “I’m beyond proud of it. I don’t listen to it as much as I did, but I still listen to it a lot. I’m excited to get into some other songs to take on the road. It’s still fresh, we haven’t toured that much, we still have a few months off before we announce something…”

Did you have any fear before releasing the album?

Synyster Gates: “I say this knowing it’s not everybody’s cup of tea: you have to write what inspires you. I’m a big Beatles fan and a big Pantera fan. You want to touch people with eclectic taste in music. I have very eclectic tastes, and so I knew that if it touched me, it would touch other people. I knew we were on to something special. You know, The White Album by The Beatles is my favourite-ever album, and we tried to take our album to the next level… for us! I’m not saying this is comparable to The Beatles! Ha ha! We just wrote our greatest collection of songs.”

With an album like this, it’s probably too early to know how it’s going to be thought of in the long run, right?

Synyster Gates: “I think with an album like this, time is on its side. I’ve been using this analogy: both of my parents’ favourite band is The Beatles. My mom hates everything post-sgt. Pepper’s, my dad couldn’t care less about the early stuff. They both still respect the fuck out of it, but it’s not for them. So, for my mom, Sgt. Pepper’s was the death of The Beatles, and I think for a lot of people this is the death of Avenged Sevenfold. But for a lot of other people, it’s a birth. The birth of a different band.”

Have there been any comments you felt were way off the mark?

Synyster Gates: “Funnily enough, I thought it could go either way. We’ve actually had really amazing support from the press, so I don’t want to make people think that we feel like we aren’t supported by the press at all. I actually feel it’s good that it just hasn’t been ignored. Even the bad reviews, people have talked about it. People are still interested in us, so that’s all I could ask for, really. The negative comments, I feel they’re the minority. I think people have been really thoughtful in considering this album.”

Has anyone else from other bands reached out to you about the album?

Synyster Gates: “I can’t name-drop, unfortunately, I’m not that guy to use their names, but, yes, overwhelmingly so. The amount of positive criticisms or even the ‘What the fuck?’… that’s my favourite, people calling me up and going, ‘What the fuck did you do? What were you listening to? Where did this come from?’ I love that. We’ve definitely had more of that here than from any other record.” You’ve been touring the States.

How challenging has it been to integrate the new material?

Synyster Gates: “Well, there’s a lot of programming, because the new album is essentially a hip hop album in regard to the tracks and different things. The guitars have to change on a dime. It took six months to program the show, it took six months to create the visuals. We just have to get our setlist in order and see whatever bells and whistles we can add.”

Was it hard to choose the setlist, knowing what to take out and add in, and make it flow cohesively?

Synyster Gates: “Actually, no. We were all on the same page. We wanted to do a lot of new material, we don’t want to be a novelty, legacy act. We see the vision. If the album had flopped and fans had completely hated it then we wouldn’t have buttfucked them. But we can see the passion and I feel like we’re on the same page.”

Which young bands remind you of Avenged?

Synyster Gates: “Kim Dracula, they’re fearless. Their ability to just be themselves and their confidence, it’s mind-blowing. I’m sure you’re going to see a really unique career there. A personal favourite of mine is 100 gecs – Jesus, they’ve just turned music upside down. I was toast after this record – no more new music, maybe I could think about a new song in five years. Then their album came out just before we released our record and I was like, ‘Hey Matt, wanna go write some crazy shit?’ They completely re-energised me. We’re not planning anything new, but it gets you excited.”

[tears-for-fears-daily]

The Tipping Point!! (Review)

Excuse my absence lately. While I may have been MIA I have of course been following everything leading up to this day! Thought I would give my brief review of each track, and the album as a whole!

The album starts with No Small Thing, which I loved when I first heard it and I think I loved it even more hearing it start off The Tipping Point! From the first time I heard it, I thought this song could belong on Raoul and the Kings of Spain. From the music and even Roland’s voice you wouldn’t notice the difference of which album it was on! I was definitely singing along to this!

Next is the title track, The Tipping Point! Again, I loved this song listening to it for the first time and I almost got goosebumps this time, being the title track and the anticipation and I must admit I am a nerd when it comes to bands saying the name of their album in a song lol! I LOVE the backing vocals as they are very reminiscent of 80s TFF for me. And I love the “Life is cruel” reference as I was an avid follower of Roland on Twitter and anyone else who was knows he frequently tweeted that in regard to old pictures of himself :’)

Next is Long, Long, Long Time! Now something about this song was so nostalgic to me, which made me love it, because I am such a sucker for 80s TFF! What I really enjoyed about this song was the piano mixed with the more ‘modern’ sound. I personally do not care for modern music, but Curt and Roland have managed to make it modern, without it actually sounding like it. The piano playing is so refreshing to me!

After is Break the Man, which is such an interesting song to me because I almost feel like it wouldn’t be a song TFF would write. I am not sure why I think that, but just the feeling I get whenever I listen to it! The music is quite 80s-esque to me and at some points even reminded me of Talk Talk! Curt’s voice sounds SO good in this song, not that is doesn’t on the entire album, but this one stood out.

Next song is My Demons, which had an AMAZING INTRO. I was instantly pulled into this song right until the end, although I just wish it was longer! Roland’s vocals are superb on this one and by far my favourite on the album (although that was a hard decision to make!) Now, stay with me on this, this song had a “dirty” sound to it, and by that I mean, it sounds like it could be played in an underground club and it would fit in perfectly. Roland’s vocals perfectly matched the tone of the song and I have never quite felt almost shall I say...”dirty” listening to a TFF song, but this one gave me that and I must say it’s awesome! It actually almost reminded me a bit of Depeche Mode!

On the next side is Rivers of Mercy! I really felt like they took us on a journey with this one, as it starts quite ‘chaotic’ with the sound effects but takes a total right turn on us and ends up being quite a soft sounding song. You almost don’t know what to expect when it starts but are pleasantly surprised throughout! I got another twinge of nostalgia from the music in this song that instantly reminded me of Woman in Chains.

After that is Please Be Happy, and you ought to have tissues around when listening to this one! I initially heard this several years back when Roland posted it on his Twitter account and I loved it back then and wondered the fate of it. I am so happy it is on the album. After hearing Roland open up about his beloved Caroline’s passing and listening to this once more years later after finding out everything, this song is so heartbreaking and emotional. The saddest song on the album for me, personally. On a lighter note, the sax is SOOO sexy on this song.

Master Plan is next and it is the dream song for anyone who loves TFF’s Beatles inspired songs, which I do! This really reminded me of Closest Thing to Heaven and could even be like an ‘alternate’ or ‘second’ version of it. It also reminded me of Sowing the Seeds of Love, for obvious reasons. I also heard a similar drum beat to both Closest Thing to Heaven and STSOL in this one which I absolutely love! 

Next is End of Night, which is such a great and upbeat sounding song, that it is kind of like the “happy ending” for me on this album. The album is filled with very deep emotions and this song is almost like the light at the end of the tunnel. Like the rest of the album is the ‘dark’ or ‘night’ and this song is the end of that darkness. I don’t know if they intended this song to be the salvation of the others by its placement on the album but either way this song has become a feel good song for me. The only thing I wish is that it was the final song on the album!

Lastly is Stay, which I was obviously familiar with from its release on Rule the World. I still like it as much as I did the first time I heard it and this song for me is like a TFF transition song, as it was one of the first they had released between the time Everybody Loves a Happy Ending has been out and the announcement that they were working on another album. This, and I Love You But I’m Lost gave us a sneak peek of what the new album was eventually going to be and now we have it!

As a whole album, it is just superb and I do believe it was all worth the wait! Everything is so cohesive, the writing is still as eloquent as it always has been and that is why I love Tears for Fears, they always manage to please. They still have that sound that is recognizable as TFF while they evolve their sound that resonates more with themselves today, all while making it work so well! I am so happy to be a Tears for Fears fan today (and everyday) to see how much love they have received and for all the hard work Roland and Curt have put into this album. I recommend anyone who has not listened to it yet to listen to it as soon as possible!

Lastly, while you listen to this today, make sure to listen to Songs From the Big Chair afterward in honour of its 37th anniversary!

[sxgarxhxney]

Ok so someone on Instagram (cough cough tfp_memes_ cough cough go follow them cough cough) made a post on what type of music they think the TFP Autobots would listen to and I got inspired so imma put down what I think the TFP Autobots would listen to

Optimus:

Ok so I feel like a lot of people think that Optimus would listen to old 1940s music such as the Andrew sisters but I think he would be more into 1960s-1980s things, like the Beatles and Billy Joel I could total see Miko trying to him into get Jimi Hendrix (it worked). He would like songs that wouldn’t remind of the aesthetic of Cybertron but the memories he had on Cybertron. Songs that I think he’ll like would be Harvest Moon, Piano man, Uptown Girl, Power of love, and Out of touch.

Ratchet:

Let’s be honest, Ratchet wouldn’t even care about human music in general cause he’s to busy working, BUT he would totally listen to Lofi music. Like something to play in the background while he’s working or something to listen to while trying to fall into recharge. Some artist would be BØJET, Mounkia, Peachy! and lofi and og versions of old 40s songs. In all honesty though Ratchet will just hops on a youtube lofi stream and just vibes

Also if you’re lucky and you look REALLY closely you could see ratchet bobbin his head to the music 👀👀

Arcee:

Arcee would definitely ABSOLUTELY listen to empowering music. Like you know the music that makes you feel like after one listen to it you’re ready to take down a whole dragon? Yea that type of music. Artist and bands she would like would be Little mix, Ariana Grande, Janis Joplin, and maybe just a smudged of girl in red butyoudidnthearthatfromme-. Hey, in this house, queens only listen to queen music 😌✨. Songs she would be would be: beg for it, in my head, piece of my heart, somebody to love, and midnight love (she’s soft let her be-)

Bumblebee:

Bee’s young, he’s bby, and he gives me MAJOR summer vibes. Bee likes some that are soft but also have a nice beat to dance to and he would totally be sucker for any song that had a ukelele in it. Some artist would be Khai dreams, Jack Stauber, Post Malone, Twenty One Pilots, and maybe when he’s alone Joji. I know Bee is young and would probably listen to something more...loud but honestly he just seems like someone who wants to go the beach and hang out with his friends and family. Songs he would like are: Sunflower, Lost in you, Ripetide, Would you be so kind, and you’re my world.

Bulkhead:

We already know bulkhead likes some hard rock so this gave me a good set of ideas. Some artist I think he would like would be KISS, Guns and roses, AC/DC, and Black Sabberh. He basically listens to what your parents listen to. He just likes to listen to whatever Miko likes and it’s not unusually to hear the both of them (and sometimes Jackie as well) singing Welcome to the jungle. Some songs I think he would like would be: Thunderstruck, N.I.B, Rock and roll all nite, and Sweet child of mine

Wheeljack:

This was kinda hard because Wheeljack and Bulkhead would have similar, if not the exact same taste and so it was hard for not to put down the same thing for him. While he would like some of the same artist as Bulkhead he would also like Red Hot Chilli Peppers, Neil Diamond, and Johnny Cash. Of course Jackie would absolutely love to vibe out to AC/DC I believe he would also like somethin more cowboy ish (Hey he gives me major Cowboy Bebop vibes) songs i think he would like would be: Solitary man, Ring of fire, killer queen, tank!, and you’re gonna go far, kid.

Smokescreen:

Smokescreen has to be one of the easiest ones for me since I feel like he would share the same music taste as yours truly (me ✨). Smokey screams rambunctious teen to me so of course some of his taste in music is rubbed off of Miko, but he only gets the rock part of it. Artist he would like would be Neon Trees, Panic! At the Disco, Hot Chelle Rae, and Fall out boy. Smokey likes the teen spirt of the early 2010s. Some songs he would like would be Troublemaker, This love, Tongue tide, American Idiot, and Since you been gone. (Yes I am not joking)

Ultra Magnus:

This is the hardest one periodt. Not only is Magnus not interested in Human culture in general but all he’s focused on is his work and status as second in command. But just because it was hard doesn’t mean it was impossible. That being said, I believe Magnus just picks up the scraps of whatever the other Autobots listen to. An example would be that one day he heard let’s say...Wheeljack talking about Johnny Cash and so Ultra Magnus on his nonexistent free time looks up and listens to Johnny Cash, and he goes hey that’s pretty legit and the next day same happens with Optimus, ya see what I mean? So I think some artist Magnus would be more familiar would be Johnny cash as I stated, Elvis Presley, and the Beatles. Songs be would be familiar with would be: Am I Blue, Heart of gold, hear comes the sun, Yellow Submarine, and Darlin’.

———————————

Hear are some bonus headcanons I had while making this!:

Bumblebee and Smokescreen both absolutely love dayglow and vibe and cry to hot rod and can I call you tonight

Sweet child of mine reminds Bulkhead and Wheeljack of Miko

Arcee got some of her taste in music from June

Since Ultra Magnus doesn’t really go out himself to find new types of music or human entertainment Optimus takes it apon himself to tell and show Magnus some

Wheeljack sometimes does the same but more subtle

Smokescreen also gets some of his taste from Jack

Bumblebee and Raf have times where they just sit somewhere out in Nevada far from human eyes and just listen to music while vibing, just talking about their days, showing eachother memes, and sometimes venting

Raf also showed Ratchet lofi music

Ratchet once hopped on to a lofi streams (ya know the ones for studying with the girl in it) and was doing his work when he saw the live stream chat and just saw all the comments about these humans were staying up with no sleep studying exams as if it was a normal thing and were asking for help on questions on reviews and homework and Ratchet, being the mom he doesn’t know he is, answered them and so other people started asking him questions about their homework and so he continued to help them understand their question. It then led to him completely forgetting his work to helping these high school and college aged humans with their homework and reviews. It also led to him remind them to eat and “GET SOME FRAGGIN SLEEP” which led everyone in the stream calling him dad and long story short he might’ve adopted 100 or so humans-

[brokenbuttonsmusic]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From a spotlight CNN Business did on Cantrell in 2004:

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

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

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

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

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

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

From Blurt Magazine: 

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

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

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

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

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

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

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

From the Washington Post:

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

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

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

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

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

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

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

References and other stuff to check out:

Laura’s Indiegogo campaign for her digital singles series

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

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

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

John Peel wiki entry about Laura

TMBG wiki entry about Laura

A Wall Street journal feature on Laura

An NPR feature on Laura

A CNN Business Week feature on Laura

Stereogum archive of the Quit Your Day Job feature

[brokehorrorfan]

Blu-ray Review: The Craft

The Craft is perhaps the last great horror movie before Scream changed the genre landscape mere months later. (Interestingly, the films share two main cast members.) Had it been produced after 1996, a rewrite no doubt would have been forced on The Craft to make it more hip and self-aware. While that approach worked masterfully for Scream, the same cannot be said about the vast majority of its dated imitators.

The Craft, on the other hand, has aged like a fine wine; it continues to resonate with many, particularly teen girls. Beyond its flashy genre exterior, the core of the film concerns outsiders, addressing such topical issues as self harm, racism, body dysmorphia, sexual abuse, and slut shaming. While the quality of representation of these issues could be debated, the fact that they’re all touched upon without ever coming off as sanctimonious is commendable in and of itself.

Director Andrew Fleming (Nancy Drew, Bad Dreams) immediately sets the tone with a brief spell casting sequence, immersing the viewer in occult imagery from the first frame. Troubled teen Sarah Bailey (Robin Tunney, The Mentalist) is then introduced, as her family moves from San Francisco to Los Angeles - which, aside from a couple of scenes showing the seedy inner city, is depicted as an idyllic suburb.

Sarah attends a parochial high school, where she befriends a group of girls - Nancy (Fairuza Balk, American History X), Bonnie (Neve Campbell, Scream), and Rochelle (Rachel True, Half Baked) - who are rumored to be witches. Sarah gravitates toward the social outcasts, and they accept her not because they are affable, but because they have an ulterior motive: they need a fourth witch to complete their circle, giving them the power to cast spells. Lucky for them - or is it? - Sarah is a natural witch.

The Craft is unjustly rated R. As Fleming explains in the special features, the MPAA slapped the tame film with the rating for the sole reason that it involved teens practicing witchcraft. The script, written by Fleming and Peter Filardi (Flatliners), may be a tad heavy-handed at times, but the characters feel genuine. So too does the grounded approach to witchcraft, depicted with accurate Wiccan spells and rituals. As the girls draw power from the natural elements, Fleming, working with his frequent cinematographer, Alexander Gruszynski (Tremors), allows wind, rain, foliage, and fire to infiltrate the frame.

The four young women have fantastic chemistry. Although Tunney initially auditioned for Bonnie, the filmmakers smartly persuaded her to tackle the lead role. (She had to wear a wig, as she had shaved her head for Empire Records.) She embraces the innocence of the new kid, but the nuanced character avoids succumbing to the final girl tropes. Balk stumbles slightly with some of more serious moments, but she positively nails the unhinged, power-hungry witch. Adding to the realism, she is a practicing Wiccan.

The supporting cast is also wonderful. Skeet Ulrich (Scream) co-stars as Sarah's love interest, with Breckin Meyer (Freddy's Dead: The Final Nightmare) as his lackey. Christine Taylor (Zoolander) effectively plays against type as a racist who bullies Rochelle for the color of her skin. Cliff De Young (Flight of the Navigator) serves as Sarah's well-meaning father, while Helen Shaver (The Amityville Horror) plays Nancy's alcoholic mother. Tony Genaro (Tremors) pops up as the bus driver in the film's most iconic moment.

Soundtracks are important for teen movies, and The Craft has a great one that plants it firmly in the mid-'90s, including Love Spit Love covering The Smiths (which would later become the Charmed theme), Letters to Cleo covering the Cars, and Our Lady Peace covering The Beatles, plus Jewel, Sponge, Portishead, Juliana Hatfield, and Siouxsie and the Banshees, among others. It supplements a score by Graeme Revell (The Crow, Freddy vs. Jason), who captures the film's spirit - no pun intended.

The Craft has received a Collector's Edition Blu-ray release from Scream Factory. The presentation appears to be the same high-definition master used on the previous Blu-ray - which looks great, but don't expect an upgrade in picture quality. Joel Robinson's new cover art - depicting hands and props rather than the stars - was likely the result of not having the actors' likeness rights, but the restriction yielded a striking design. The theatrical poster is on the reverse side.

The cast members unfortunately either declined or were unable to participate in the new extras, but the crew members thankfully pick up the slack with great interviews. In his 15-minute conversation, Fleming explains how he was initially only going to rewrite the script, interested in making more comedy movies instead, but ended up connecting with the material and accepted the offer to direct. He also discusses the respectful, pagan approach to witchcraft, including working with a witch on set as a technical consultant.

Producer Doug Wick's interview serves as a good supplement to Fleming’s, offering an alternative perspective on several of the same topics. Filardi talks about his inspiration, including how each of the main characters was based on one of the elements, as well as his original version of the script befor Fleming's rewrite (which, he admits, was an improvement). Makeup effects supervisor Tony Gardner (Cult of Chucky, Hocus Pocus) touches on virtually every practical effect in the movie (including the deleted "elder witch" old age makeup, which is seemingly lost), in addition to revealing that it's one of Katy Perry's favorite movies.

Tunney and True gave new interviews back in 2000 for Conjuring The Craft, a fairly in-depth, 25-minute featurette that is ported over. Other archival extras include an informative audio commentary by Fleming, a 6-minute making-of piece featuring all four girls, three deleted scenes with optional commentary by Fleming, and the trailer.

Aside from some dated styles (and many of those are making a comeback) and adept-for-the-time visual effects, The Craft holds up astonishingly well. In fact, with its topics more openly discussed in today's post-#MeToo world, the film is perhaps even more relevant and relatable than ever. Prime for the female-directed reboot that's currently in development, The Craft is a progressive, empowering film in which the genre elements come second to character struggles.

The Craft will be released on Collector’s Edition Blu-ray on March 12 via Scream Factory.

[jomalley-ferrisbueller-final]

A Closer Look at Ferris Bueller’s Day Off (John Hughes, 1986)

The 1980s was the time of the teen film, with a number of iconic teen films coming out during that decade. One that has become a staple of the classic teen film is Ferris Bueller’s Day Off (John Hughes, 1986). Ferris’ legendary day off has become a dream for teens then and now still being quoted today within the halls of high schools around the country.

Bueller didn’t hit the big screen in the summer of 1986 without its fair share of long and tedious production issues. Director John Hughes took a lot of his inspiration from his own life growing up. Raised in Chicago, this city becomes the setting for a majority of his films. In fact, there are even websites that pinpoint exact locations all throughout Illinois where Hughes shot classic movies such as Bueller, The Breakfast Club (John Hughes, 1985), and Home Alone (John Hughes, 1990). Looking at Buller specifically, a lot of aspects of the film reflect John Hughes. Ferris’s bedroom is created to look very similar to how Hughes’ room looked when he was a teenager, scenes for the film were shot in the hallways of his former high school, Glenbrook North and the character Ferris Bueller is actually based one of Hughes’ friends from his childhood with the same name. Edward McNally, a childhood friend of Hughes wrote an article for The Washington Post honoring the late director. As far as being named “the inspiration” for Bueller he is quoted as saying:

“…for years I was relentlessly pursued by a remarkably humorless Glenbrook dean about attendance, pranks and off-campus excursions -- and because my best friend was in fact named Buehler -- I've spent an inordinate amount of my life being unfairly accused of serving among the inspirations for Ferris Bueller.”

Looking at the production of the film, there were many different things that went into its creation. It only took three months to shoot the film between September 9, 1985, and November 22, 1985 which might not seem like a lot compared to how long shows or movies take to shoot today, but since a lot of their filming locations existed within miles of each other it was pretty easy to get everything shot in a short time. During the filming, John Hughes took some inspiration from Ferris on his impressive way to get the impossible done. The parade scene was shot during Chicago’s annual Von Steuben Day Parade. The float that Ferris is on was actually created for the film and was put in the parade route without the parade officials being aware of what was going on. With there being a real parade Hughes was able to get genuine footage of thousands of people enjoying a beautiful day in Chicago. When they needed to shoot more of the parade scene a week later, around 10,000 people showed up for the filming answering the call made on radio stations for extras to appear in a John Hughes film. In this scene, Ferris is featured lip-syncing the famous Beatles song “Twist and Shout” which came with its own set of issues. Paul McCarthy did not like the fact that Hughes had added the brass element to the song to make it seem as though the band was playing it at the parade. When John Hughes insisted on the Beatles song be used in the film, they ended up having to pay EMI $100,000 for the rights and allowance to change the song. While Hughes was adamant about some of the production decisions, they all proved successful in skyrocketing the film to one of the most fondly remembered films today.

The marketing for the film was very straight forward. There were a couple of articles written about the film in both the Daily News and well as The New York Times talking about the movie, giving an unbiased explanation of the film to promote it. There were also several 30-second commercials giving hints at Ferris’ crazy day off. Appealing to the teen audiences that Hughes is trying to relate to, the announcer narrates over scenes of the film saying, “it’s about life, it’s about liberty, it’s about the pursuit of recreation”. This phrasing attracts teenagers to the film because that is what they are looking for – freedom from the norm. 

Looking at the posters for the film it features many different slogans such as “One man’s struggle to take it easy”, “Because life is too beautiful a thing to waste”, “Leisure rules”, “While the rest of us were just thinking about it…Ferris borrowed a Ferrari and did it…all in a day”. Similar to the commercials, these phrases draw the teenager in because that type of thinking is really appealing to them. 

A teenager stuck in the rut of high school wants nothing more than to skip school and live out an amazing day with their best friends. This mentality is what brought teens to the theaters to live through Ferris.

The summer of 1986 saw a lot of hit films. Buller had some tough competition seeing films such as Top Gun (Tony Scott, 1986), Aliens (James Cameron, 1986), Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), and The Karate Kid Part II (John Avildsen, 1986) all hitting theaters in 1986. In the United States and Worldwide Box offices, Bueller placed in the top 10 of both lists sitting in the number 10 spot for all 1986 films. The budget for the film was an estimated $6,000,000 and not only broke even but made money-generating $6,275,647 during their opening weekend of June 15, 1986. Bueller, made nearly all of its money from domestic box offices bringing it $70,136,369 and only $1,469 in international box offices. Looking at the reception of the film it is easy to see how it was in the top 10 films of 1986.

Roger Ebert was one of the top movie reviewers of his time up until his death in 2013 after losing an eleven-year battle with cancer. Writing reviews for The Chicago Sun-Times for over 40 years, he became the first film critic to receive a Pulitzer Prize in Criticism. In 1986 he gave a review of Bueller and is quoted as saying “Here is one of the most innocent movies in a long time, a sweet, warm-hearted comedy about a teenager who skips school so he can help his best friend win some self-respect.” He talks about the plot of the film and ends his review by saying “…the film's heart is in the right place, and "Ferris Bueller" is slight, whimsical and sweet.” With Ebert’s review coming out on June 11, 1986, it’s easy to see that Bueller won over the hearts of teens and adults alike wishing that they were able to have a day off like Ferris did.

The non-critical reviews of this film are all pretty similar, it is regarded as a film of the generation that holds against the test of time. On Rotten Tomatoes, of the 728,405 user ratings, the average audience score is a high 92%. One “super reviewer”, Brendan N. is quoted as saying

“Classic cult film and a must-see for all generations. John Hughes created a lot of the teenage angst or coming of age films in the 80s and Ferris was quite possibly his greatest creation. Watching this on the big screen last night was a dream come true but having a film like this remaining so timeless does not hurt. The film is full of heart and the charm of Matthew Broderick is what elevates this from becoming just your average teenage comedy. I wish they would make more fun and creative films like this; no one tackles such a fun concept without falling into clichés and crude jokes. John Hughes created something truly special here. 12/11/2018.”

Since its release in 1986, Bueller, has remained a pivotal teen film for multiple generations. In 2016, Bueller turned 30 years old and Chicago celebrated the only way they knew how to: with a Ferris Fest. People were able to visit his heavily decorated bedroom, recreate the scene where Ferris pretends to be Sloan’s father picking her up from school, and of course a recreation of the famous parade scene featuring Twist and Shout. While this is more of a high scale remembrance of the 1986 film, you can see other companies paying homage to Bueller. During the 2017 Superbowl, Dominos aired a commercial where they recreated the infamous scene of Ferris racing home to get there before his parents find out he skipped school. Stranger Things (Matt Duffer, Ross Duffer, 2016—) actor Joe Keery plays Ferris but this time he is racing home because his Domino’s pizza tracker just sent a notification to his smartwatch informing him that his pizza is about to arrive. When asked about the commercial the executive vice president of creative direction at CP&B said "This being an iconic movie we knew we had to pay homage to it and not deviate, not change it and put our own kind of spin on it outside of using Joe Keery and maybe making it a modern adaptation,".

Below you can see the original scene and then Joe Keery version. 

It can be agreed that this film has been relevant way past its release date. But why is that? Frances Smith looks to understand teen films as a whole and why they become so iconic. In her book Rethinking the Hollywood Teen Movie: Gender, Genre, and Identity, she explores this question and more. In Easy A (Will Gluck, 2010), the main character Olivia (Emma Stone) struggles to identify with the “hook up culture” happening around her within the high school hallways. She looks to the eighties to fantasize about a better life. 

Whatever happened to chivalry? Did it only exist in Eighties movies? I want John Cusack holding a boom-box outside my window. I want to ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist in the air because he knows he got me just once. I want my life to be like an eighties movie.” (138-139) 

To this Smith says:

This voiceover and the corresponding images reference Say Anything (Cameron Crowe, 1989), Can’t Buy Me Love (Steve Rash, 1987), Sixteen Candles, The Breakfast Club and Ferris Bueller’s Day Off, which is presented for its musical number. With the exception of Sixteen Candles, all of these films center on male characters who, though cheeky, are portrayed as sexually innocent. The gestures to which Olive refers are particularly telling. Having her life ‘directed by John Hughes’ appears to involve her engaging in ostentatious courtship rituals in which the female partner is the grateful recipient of male affection, however dubious the circumstances in which it is bestowed.

Olivia dreams of having the production that teen heartthrobs would perform for their love interests. This is one reason that Bueller has remained so relevant today. No matter how the culture changes, everyone wants someone who would be willing to show the world how much they love them.

Another reason that this film has remained so relevant today is because of the underlying theme within the film is something that will never go away. The drive to find yourself and get out of your small town to explore is something that will always be a shared feeling among teenagers. In Kimberly M. Miller’s Clueless Times at the Ferris Bueller Club: A Critical Analysis of the Directional Works of Amy Heckerling and John Hughes she says 

A fine example can be found in the response to the film Ferris Bueller’s Day Off, which received criticism for being too similar to Risky Business (Paul Brickman, 1983), as well as “lacking in irony,”10 and yet Ferris has become ingrained in the popular culture—even being ranked number ten on Entertainment Weekly’s “Fifty Best High School Movies” list (2012),11 in addition to being quoted by teens who see Ferris as a role model of “cool” despite the nearly thirty years that have passed since he took his day off.

Teens idolize him for doing what they have always wanted to do so they are able to live through him and his amazing day off.

Overall, Hughes has delivered a number of teen films that lasted well past their release date and will continue to be relatable in the future. Bueller is the perfect example of this because its underlying themes will never go out of style. Everyone wants to be a “righteous dude” and live their lives with the carefree regard for the rules that Ferris showed us back in 1986.

[boobdolan]

a review of melodrama (2017) by lorde

hey what’s up it’s your boy b-dawg. the b is for boobs as in breasts. this post is a track-by-track review of melodrama, the grammy-nominated sophomore studio album by ella yelich-o’ connor (aka lorde), a new zealand singer-songwriter who likes to dance funny and eat onions. her first album was pure heroine which was pretty big bc i think people (angsty teens) related to her songs about being an angsty teen.

i’m gonna keep it real with you chief. when i first heard green light (the lead single from the album) i thought it was pretty ass. but you know what. i’m an ass man despite my username. so eventually by some karmic circumstance i was reintroduced to the album and i realised: “hey! this is pretty dope! 😎” and then i ended up writing a 4000-word extended essay on it for the IB. but that’s another story.

green light is also the first track on the album, and it’s a hella effective one. with its intro bringing listeners acapella ella™️ over sparse piano chords, it kicks open the door to the sound of melodrama and immediately subverts any expectations for a pure heroine 2.0. as the song progresses we get additional elements of new and old - the boom-bap drums recall the hip-hop influences that permeated pure heroine, while her high-pitched backing vocals in the chorus introduce listeners to new vocal stylings from a singer who was previously known for being a Cool Bean who was Too Cool for all that stuff.

as the maximalist bop green light ends, listeners are thrown even further away from the sound of pure heroine with sober. personal note: sober was the song i most liked on the album upon first listen. and I can see why. it’s because i’ve got good taste! from the spacey uber-processed backing vocals to the bongo beat to the horns in the chorus, the song’s really unlike much else in the pop scene today. i especially like the “night, midnight, lose my mind” intro because when i first heard it i was like “wtf???? cool 🤠” anyway, point is, ella and her bf did well on this track.

at this point one might think, “this girl has a thing for acapella intros to her songs”. and she does! homemade dynamite starts, like an action movie, in situ, with its musings about top gun and the house party that the album is conceptually based around. one thing i love about the song is its synths. the 80s inspiration is obvious, with the synth pad emulating the iconic Fairlight sound on kate bush’s running up that hill. however, the moodiness of the synth pad is contrasted with a sprightly riff that comes in every now and then, emphasising that Potent Teenage Mix of Emotions™️ that the album is focused around. lorde also uses contrast in her lyrics, pairing wordy, literary, stream-of-consciousness style verses with almost childish phrases like “know I think you’re awesome, right???” it’s things like this that really encapsulate the state of being teenaged to me - that uncertain transitional period between adolescence and adulthood.

the following song starts with a very indie-sounding guitar, which is an unconventional sound for a lorde song. but the louvre is so typically lordey in that it shows off one of her greatest skills - the ability to create memorable, quotable lines with unique phrasing. who else would think of stammering the line “i overthink your punctuation use”?? who else would think of using a spoken “broadcast the boom boom boom boom and make ‘em all dance to it” as a hook??? another thing of note in this song is its extended U2-esque instrumental outro, courtesy of jack antonoff. sometimes when i listen to it, i understand why ella is banging him.

jack then mumbles the intro to the next song and starts playing the piano. after a few bars, ella joins him and her voice basically has sex with his tinkling on the ivories. liability is objectively great. lyrically, she reaches mind-bending extremes that many of her contemporaries can only dream of achieving. there’s a verse where she goes “home, into the arms of the girl that [she] loves” which is very interestingly constructed - it hits listeners with the initial shock of “oh wait is ella coming out” and just Leaves It for a few lines. and theN BOOM!!!! she’s actually talking about herself. that’s pretty cool. one other thing is her rhyme scheme in the line “the truth is, i am a toy that people enjoy ‘til all of their tricks don’t work anymore” which has a devastating effect that always gets me, even though it greatly takes advantage of her bananies voice.

now the listener is halfway through the album, and at this point they’re likely as hard as the feelings in the title of the next song. hard feelings/loveless brings us back into the world of electronic drums and synths after the minimalism of liability, and it does so excellently, providing an ambient atmosphere with its muffled beat and echoey distorted guitar. this song used to be one of my least favourites on the album because I thought the L O V E L E S S chant in the second part sounded kinda dumb and edgy. but then i watched lorde’s performance of the song for VEVO and ?????? WtF????? it really shines with a small choir and a boombox. fantastic. i also appreciate the little paul simon sample that bridges the two parts together - it’s a rare example of lorde wearing her influences on her sleeve for this album. also paul simon is one cool mf. i pop my pussy to graceland 24/7. 😎👌

taking a note from jack antonoff’s albums, the next song is a reprise, which have been used by many artists after the beatles to say “hey look my album is cohesive!” even though the only reason why it’s cohesive is because it’s cohesively shit. that’s not the case with sober II (melodrama), which functions as a response to the first sober. the parent song’s repeated calls of “can you feel it?” are immediately countered in sober II’s first line: “you asked if i was feeling it, i’m psycho high”. that’s cool because it reinforces the house party concept of the album. however, while i think the strings and trap drums combo sounds cool on paper, this production choice is the album’s first misstep because it sounds like jack put together 2 apple loops on garageband that didn’t quite fit.

luckily, before lorde turns into one of the migos, we’re treated with another piano song - writer in the dark. a word about lorde’s vocal performance in this song: WOW!!!!!!!!!! 😃😃😃 good stuff! in the verses, her raspy, imperfect voice highlights the intimacy and personal nature of the lyrics. in the chorus, she double tracks her voice and sings with a more round tone, which gives the eerie effect of sounding a bit like kate bush. it’s ok. i’m a bush man too. jack does a little production trick in the outro where ella sings the hook progressively louder as he fades out her vocal and lets the song be overtaken by strings. while it’s cool, i feel like he quite obviously snagged it from the outro of david bowie’s “heroes”, where a similar trick was achieved by the production god brian eno. jack then did it again on the song slow disco by st. vincent later in the year. side note: i’m still kinda pissed about what he did to st. vincent’s masseduction. more on that another time.

the next song, which should’ve been a single, features the metaphor of a supercut. i’m not sure how i feel about that because, on one hand, the term feels very millennial, like a better-written version of katy perry’s save as draft. you know what i mean? like those songs that aged fast - crazy in love with its pager reference, and payphone with its..... payphone reference. on the other hand, a supercut is pretty timeless, as montages have been used in cinema since the french first figured out how to make moving pictures. and the word sounds cool, so it’s ok i guess. but that’s beside the point. the song’s really nice, with some very interesting moments. one notable instance is lorde’s phrasing and the instrumentation in the prechorus - “in your car, the radio on”. the instrumentation just stops for a beat after ella sings the line, in a genius move that makes the song Even More Boppable!!. another moment is how the beat changes during the final choruses - from mellow, with her voice sounding like it’s coming out of a cassette player, to full, regaining all the instrumentation of the original choruses. then the song ends with a weird echoey vocal outro that’s a fantastic moment for me, especially after the intensity of the final choruses. boner time!!!!! 😃 one last cool thing about the song is that i feel the line “so I fall into continents and cars” is an Excessively paul simon thing to say. it’s one of those abstract things that just sounds GREAT, like “fat charlie the archangel sloped into the room” from his song crazy love, part II.

speaking of part twos, the end of supercut transitions into the bassy, atmospheric synths of liability (reprise). unfortunately, i still haven’t gotten round to fully appreciating this song. to me, it’s the biggest misstep on melodrama. don’t get me wrong - it’s a nice enough song, it’s really chill, but it feels slight because of its association to the majestic, melodic liability. apart from their lyrics, there’s not much that links the two. i feel that liability needed no reprise; it’s a work that stands on its own. i felt the same way about yandhi when kanye west announced it. yeezus doesn’t need another album associated to it! it’s perfection by itself. also, someone pointed out that the drums on liability (reprise) are the same as those on taylor swift’s call it what you want, and the last time taylor and jack screwed up a great indie artist’s work was fast slow disco, which we don’t talk about in this house.

finally, we come to the end of lorde’s house party with perfect places. and what a brilliant ending it is. there’s something so stirring about the drum beat, with its crunchy, decisive snare. there’s something equally moving about the synths and chord progression in the chorus, which give me chills like loud organs echoing in a church. when put together, they sound industrial, menacing, as if they move into your soul and alienate you from your own body. but at the same time, they’re an emotional release, a source of comfort like bruce springsteen’s cathartic 70s and 80s albums. another cathartic element - the use of the word “fuck” in the chorus. i could write a whole essay on it tbh. to me, it represents an intensely freeing release of the bad vibes and negativity in one’s life - for lorde, perhaps, her failed relationship and the state of the world in 2016. you know how studies have shown that when you shout “FUCK!!!!😡😡” after hitting your toe on furniture, it helps ease the pain? it’s like that. so while saying something taboo on the record is such an edgy angsty teenage thing to do, but also reflects lorde’s release from her pain. or maybe i’m reading too much into it.

the album ends as it begins, with ella’s bare vocals, reminding us that she is once again the Queen of Indie Pop. overall, melodrama gets a

9/10

for being really cool. peace out bitches. 🤠

[purkkaklubi-blog]

Shoegaze

a Bit background to one of the most underappreciated genres of the 90s, how the revival of the scene has brought a whole new generation of youth to redefine the genre and what impact the woozy, spinning, swirling, distorted guitar sounds has on me.  

I heard about shoegazing first time in 2015. I was listening to quite a lot of Sonic Youth at the time which I guess was the reason on how I found My Bloody Valentine through Spotify algorithm. First thoughts were okay this is nice but doesn’t really evoke any special feelings in me. I just thought it was less poppy and more ’indie’ spin on the 90s alternative rock and grunge scene. Surely now I know I will always go through a small fact and background check on artists, genres, labels and albums before I make any further assumptions on how artistically remarkable something is. Back then I was a bit ignorant on popular-cultures music history. I knew the basics, Elvis and The Beatles, how white men made Disco cool for the white audience, Punk Rock scene breaking out in UK and across the sea beginning of the Rap and DJ scene, synth sounds in your every favorite 80’s aerobic videos, Kurt Cobain’s sudden death shaking the whole rock world, shiny pop stars rising and falling.

I thought back then that good music is good music. Music being boxed into a certain genre didn’t bring any new artistic meaning into it and putting on labels was only limiting and blurring our minds from the actual sounds. Now it seems like the only way I know how to wrap my head around new music is to put labels on them. Maybe i’m not a free soul anymore finding only pleasures in sounds that elaborate with my every unspoken thought and emotion in the comfort of my own bedroom and in the warmness of my bed. Maybe i’ve become and seem to some of you like a boring music square who is ready to start battling you with my non-existing musical knowledge while being blissfully drunk at the que outside the entrance of a club. Maybe I’m overthinking and actually me taking interests in the backgrounds of different music scenes show that i’m passionate and appreciative towards this beautiful art form that has been given to us. In this world where I can’t see sense and find reason behind anything I find it calming that I can analyze and make clear distinctions between different musical styles. That sounds more like this and this sounds more like that. i’m not an absolutist but obviously through history people have always tried to find answers to their questions. We feel anxiety and nervousness when we’re on a mind puzzle we cannot solve. It being possible that music can be pinned down and defined brings me tranquility.

Well, Shoegaze is a bit different for me. I can’t completely pin down what it is cause it feels and sounds that it has gotten influence from so many genres and the origins of where it all began is very blurry.

Shoegaze began to rise somewhere middle of the 80s. In my last post I mentioned about this Scottish ethereal gothic band called Cocteau Twins. Robin Guthrie the guitarist of this certain band began to use the effect pedals in his guitar work. Back in the day he stated that the idea of using pedals came from the lack of sound and texture in electric guitars but later on admitted that it was actually the lack of his own technical skills that made him start to use the effect pedals. Whatever the reason behind it was I’m grateful that he began to use them. Pedals enabled the possibility to create guitar sounds that were atmospheric and otherworldly. Using effects like delay, reverb, distortion, fuzz etc created these layered textures called wall of sounds that combined many genres at the same time. Noise, Drone, Psychedelic, Progressive, Lo-fi even Ambient. Maybe that’s why I’m so fascinated about it. It’s one specific genre but same time you also hear the inspiration coming from the 60s psychedelic bands, Gothic Rock, Noise Rock etc. You get lost because you think it’s a genre on its own balance but then you start to put the pieces together and find out that it has combined all these things together to make it as one. Then again you know it has its own definite style and not just any kind of music made with pedals can be defined as Shoegaze. You need that woozy, head spinning, swirling guitar that takes you on a musical trip. I feel like shoegazers are the ultimate music fans and their process of making something new was looking back at the bands and the music that they loved.

But besides Cocteau Twins or Jesus and the Mary Chain and their noise pop sound it was the defining moment of 1988 debut album Isn’t Anything by My Bloody Valentine and the single You Made Me Realise that a genre was born. From My Bloody Valentine bands like Slowdive, Ride, Chapterhouse, Swervedriver etc got inspiration for their work that on.

So, why is it called Shoegaze? The term was invented by music media, actually specifically by one NME journalist who referred the artists as shoegazers because of their way of performing on stage. They lacked of presence and connection with the audience due the heavy use of guitar effect pedals which led them to stare at their feet all the time so they could switch their pedals right. Often times they were kind of like step dancing through the sets because of the amount of effect shifting. Shoegazer was a slur word in that time and was only used in an offensive way. There wasn't really a lot of appreciation and understanding shown towards the scene. Grunge and Brit pop scenes were hitting hard on that time and music media was praising enormously acts like Nirvana and Oasis. Anything that was considered Shoegaze or related to it was doomed to get bad reviews when it was released. In the end supporters and gigs got smaller and smaller and labels like Creation had to let their Shoegaze artists go. 

The history with how Shoegaze was perceived saddens me. To me the music sounds and feels that it was a way ahead of it’s time. Electronica and the so called ’indie pop’ music we have now wouldn’t be if it wasn’t for Shoegaze. Music medias harshness made it hard to be taken seriously and made the scene look like wimpy angsty teens mocking rock music with their amateurish noise playing. Luckily the change of that has come.

Through the whole 00s Shoegaze and Dream pop stayed as an underground scene but in 2010s it began to come back on surface. In 2013 My Bloody Valentine released their 3rd album called MBV, 20 years later when Loveless the 2nd album was released. I think the most significant moment of how Shoegaze is being known again pin points to the digital era we’re living now and social media. Internet and the possibility to access information nowadays is easier and travels faster. You don’t have to go into a record store anymore and spend 8 hours of searching and listening to different albums you have probably picked because of the cover or the name of the artist or band or on what ever genre section it’s in. There is of course nice and authentic feeling into it but all i’m saying is that it takes time and what we have now you can be minutes away from your favorite music. Problem in the 90s was that they didn't have enough promotion and a proper platform to be shown on. Now people can make more decisions based on their own mind and not on what the industry and critics are promoting us. Of course you have to be willing to go searching different informative platforms because the music is not handed to you. Music that is handed has the most radio playing and pop on your recommended page on Youtube, Spotify etc. That music has the most skilled promotion and advertising which means the industry is placing more of their finances in them. It’s strictly business. On Spotify I’m not talking about the recommended artist page which can appear if I listen to a certain artist. That’s based on the algorithm of what other listeners who listen to that specific artist also listen to. I’m talking about the browse page where the first playlists you see are probably something like ”Hits right now!” or ”Top 50 Viral” which are promoted playlists including promoted artists.

Thanks to the internet as a platform Shoegaze has started spreading again without the help of the industry and critique reviews. New bands have come who are inspired of Shoegaze and are making music influenced by that genre. The musical form of the 90s movement has moved on to being Nu-gaze. Nu-gaze is a term to describe a new wave form of Shoegaze. New bands like Wild Nothing and Deerhunter are infusing the old characteristics with other genres and new producing techniques. Also the original form of the genre is very tied to the period it existed in and is a 90s youth scene more than an actual genre so there’s a reason it’s impossible to be a traditionalist in that sense.

Things are looking up. Literally. Because the media can’t crush these new up-comers with their name-calling or ridiculous criticism of being the ”scene that celebrates itself”.

They’re not consistently gazing at their shoes, they’re gazing at something new.

I’ve made a list of 4 essential albums which includes the so called Holy Trinity of Shoegaze. Imagine of having this family tree where these three bands are the founders and when you go up, the branches are separating into other sections of noisier -, dreamier - and ’indie rockier’  Shoegaze. Then there’s a 6 album list recommended by me which contains traditional Shoegaze and Nu-Gaze. The 4 essentials are a must-know if you want to engage with this scene and understand the stylistic features of the music.  

4 essential albums

1. Jesus and the Mary Chain - Psychocandy

Psychocandy isn’t actually a Shoegaze album more like Noise Pop and avantgardist Proto-Punk but I listed it here as an essential because of the impact this album did have on this genre that was about to come. The guitar lead blurred by noisiness in the whole album was one of the main

inspirations for Kevin Shields of My Bloody Valentine. Distorted Guitar leads are defining sound of Shoegaze and this album gives a wide spectrum of static sounds like the pixel rain in your old tv.

This 1985 debut album by band lead by two brothers Jim and William Reid is a wonder work of teenage I don’t give a fuck how I play, I just play. They didn’t care about the looks and actually about anything. Their style of playing and making music was messy, sloppy and lazy as they wanted it to be, it showed the rebelliousness they had against falling into the same patterns and roles as other musicians, not wanting to be molded as the rockstars with all the booze and women (even though they did get heavily drunk while performing). It doesn’t really contain the real social statements of punk rock but still has that familiar adolescent rebellion. Psychocandy found inspiration from 60s girl groups and was filled with easy poppy 3-chord progressions which were masterfully hid with all the noise.

Favorite tracks: Just Like Honey, Taste of Cindy, My Little Underground, Never Understand

2. My Bloody Valentine - Loveless  (Holy Trinity, part of the noisy side)

The 2nd studio album they released in 1991 after the Shoegaze pioneering album Isn’t Anything, My Bloody Valentine’s Loveless makes you think of the bright vibrant intensive colors and hues burning out, melting and mixing together. It has a tense feeling of abstraction. it’s expressed in a way of mind you can’t express it, not with words at least. Kevin Shields work seems to come from some what sub-conscious mind that is trying to tell you emotions he has. Not with words but with sounds. The whole album is strongly based only on guitar leads and in the engineering of them. Which is probably why Kevin was obsessed with getting the effects and mixing into perfection. In one of Kevin’s interviews he stated that the problem was in the recording sessions, it was nearly impossible the get even the smallest frequencies heard. This album approximately cost 250 000 pounds, it took 2 years to record and the band visited 9 studios in total. After it’s release Creation Records went bankrupt and there has been a bit pointing fingers between both parties on who’s to blame for the downfall. What ever side your on Loveless is a well-deserved masterpiece and all the trouble that went along with it had a meaning into it. I’ll always imagine though if hypothetically financial problems wouldn’t be the issue would’ve there been even more different sound layers and textures? Would’ve it taken even more time to be released? 2 years or maybe even 5? Well we can tell that MBV the 3rd album took 20 years to be released so maybe we can count from that.

Favorite tracks: Only Shallow, When you Sleep, Sometimes

3. Slowdive - Souvlaki (Holy Trinity, part of the dreamy side)

Souvlaki is personally my favorite Shoegaze album. Brian Eno the godfather of ambient worked on three songs here and you can hear the ambient touch he gave into it. This 1993 released 2nd studio album by Slowdive is beautifully made timeless classic that stands out with it’s capability to unite heart-breaking melancholy with the optimistic hopefulness of the future. This kind of music can only come out from a teenagers or young adults mind. It brings that authenticity of emotionality that carries through the younger years when you haven’t build a thick skin yet. The way how the dreamy and hazy sounds and vocals have been tied together with Neil Halstead’s sensitive song-writing builds up into this climax of a cry baby music, in a good way. Souvlaki is a breakup album between the two band members Rachel Goswell, the guitarist and vocalist and Neil Halstead, the second guitarist, vocalist, producer and song-writer. It’s like reading their open diary posts. Their love of writing, playing and producing music was bigger than the personal issues they had so they decided to push them aside and stay professional. All that was kept unsaid transformed into poetic song-writing. Both of them showed truly artistic behavior while noticing the circumstances they were working on. Unfortunately media hated it and called it a soulless and outdated piece of work. After the 3rd album Pygmalion they were signed off and left to pay the rest of the US tour on its halfway. At least they’re getting now the credit they deserved and are back on touring. 2017 they released a new Self-titled comeback album Slowdive which is highly recommendable also.

Favorite tracks: Alison, Machine Gun, When the Sun Hits, Dagger (I could pick them all though)

4. Ride - Nowhere (Holy Trinity, part of the 90s more typical alternative side)

Ride’s 1990 released debut album is a dynamic work of guitar distortion that creates a crashing wall of sound. Like the waves moving upwards and downwards while growing into spirally holes which speed up and eventually shatter when they hit the seashore. And in that same scenery the sounds of the rumbling wind that pierce your eardrums. That is the main feeling that Nowhere contains. It’s an album focused on high energy. It has more melodic and rhythmic patterning and simple song-crafting compared to the other Shoegaze essentials. Ride was signed to Creation Records in 1989 when Alan McGee found interest in them after one of their demos Jesus and Mary Chain’s Jim Reid had a hold on. They were the few Shoegazing bands that had the opportunity of experiencing commercial success and Nowhere hit 11. place in the UK charts. Andy Bell and Mark Gardener had artistic differences between what style direction the band should move on. Their childish arguments and battling with it eventually broke the band in 1996 and the members Bell, Gardener, Laurence Colbert and Steve Queralt moved on to different projects. Bell for example became the bassist of the Brit-Pop band Oasis. In 2015 they reunited on touring and released a new Album Weather Diaries in 2017. Like many other Shoegaze bands Ride wasn’t and still isn’t a fan of being categorized as a Shoegaze band stating that it’s a boring tag. They still have a place on being one of the most influencing and essential bands in shoegazing history.

Favorite tracks: In a Different Place, Vapour trail, Dreams Burn Down

6 albums i recommend:

1. Asobi Seksu - Citrus (Nu-Gaze)

This 2nd studio album released 2006 by the Brooklyn based band is lyrically a smooth mix of english and Japanese language together with poppy candy-colored tunes flourished with happiness. Citrus is a refreshing take on Shoegaze. Yuki Chikudate’s adorably pitched and pretty vocals are a candy topping on a pile of upbeat guitar leads that are washed out with loads of effects and drums which are equally noticeable. In total it’s a catchy album with some jingly-jangle Nu-Gaze pop-tunes.

Favorite Tracks: Red Seas, Exotic Animal Paradise, Thursday

  2.  Loveliescrushing - Bloweyelashwish (Shoegaze)

Recorded with a simple four-track recorder, 1993 released debut album Bloweyelashwish by Loveliescrushing is an innovative work of otherworldly and precisely structured fuzzy sounds with some interesting choices of additional instruments. Often mistaken of using keyboards Scott Cortes the guitarist and second vocalist used forks, knives, vibrators, paint scrapers and so on to find new creative ways to make his guitar work even more stretched out. His extremely reverbed and lushed guitar leads, thanks to the technical additions, builds up a gothic atmosphere into the sound landscape. The noisy sounds are hectic, evolving and moving towards to this chaotic drone that feels like it’s eating up all the space and becoming a massive blackhole of squeaky static sounds that create a sonic boom. Paired up with softly haunting and beautifully ethereal vocals of Melissa Arpin the duo has made an impressive first album that’s an escape to other world where soothing hypnotizing sounds are waves where you can float on and sink into the bottom of deep ambience.

Favorite Tracks: Moinaexquisitewallflower, Sugaredglowing, Crushing, Darkglassdolleyes

3. Pinkshinyultrablast - Everything Else Matters (Nu-Gaze)

St. Petersburg based band called Pinkshinyultrablast which is named after one of Astrobrite’s albums is a band thats inspiration runs deep in the waters of Shoegaze. 2013 released debut album Everything Else Matters is a strong mix of electronica with extremely delayed vocals of the singer Lyubov Soloveva that bounces between the walls until the ever-growing guitar lead comes in-front of it all with adrenaline pumped kiddy sort of energy. Playful melody and thunderous pop styling of the album makes it one of the many Nu-gaze albums that give a solid ground to it’s genre.

Favorite tracks: Wish We Were, Holy Forest, Umi

4.  Medicine - Shot Forth Self Living (Shoegaze)

The noise bottom of shoegazing, Shot Forth Self Living the 1992 debut album by American band Medicine is definitely not suitable for everyone but which has such an intensive and massive static explosion that it has to be noted. The screeching textures of guitar feedback seem to claw their way through your skin until it’s scratched into burning and flaming red rash caused by the noise extremeness. Medicine was the first American band that got a record deal from the British independent label Creation Records. It has been praised of being one of the closest american acts to My Bloody Valentine but I like to think that they brought their own unique touch to the noisy shoegazing scene and weren’t just a follow-ups. They dig deeper into the distorted, fuzzed almost intolerable noise sounds. I shall warn you: do not listen to this album with maximum level of volume. Especially with headphones, i’m pretty sure your hearing would get a bit damaged.  

Favorite Tracks: Love You Anywhere, To Your Friends, The Powder

5. Lilys - In the Presence of Nothing (Shoegaze)

Lilys is an interesting band considering the stylistic changes it has gone through the years. First album starting of with the My Bloody Valentine inspired Shoegaze where it took its next direction to another spaces of dream pop, then sudden not-expected obscure change to Mod Revival and the latest releases go back to the bands early roots of more psychedelic rock and shoegazing style. Also it consists only one permanent band member Kurt Heasley and ever-changing visiting members. 1992 first studio album In the Presence of Nothing is characteristically clear Shoegaze album. It has that up-front woozy and distorted guitar with vocals hid underneath that are the main basic shoegazing style My Bloody Valentine’s Loveless defined. It might be a wave rider but it has that alternative rock’s charm that stands on it’s own.    

Favorite Tracks: There Is No Such Things As Black Orchids, Elizabeth Colour Wheel, Tone Bender

6. M83 - Dead Cities, Red Seas & Lost Ghosts (Nu-Gaze)

Unlike the other Nu-gaze or Shoegaze picks I’ve selected in here 2003 released 2nd studio album Dead Cities, Red Seas & Lost Ghosts by M83 focuses on heavy robotic synthesizer sounds instead of more organic and analogically produced guitar effects. French Electronic Group assembled together by producers Anthony Gonzales, Nicolas Fromageau, Nicolas Barlet and Morgan Daguenet have concentrated producing more of instrumental tracks than ones backed up with vocals. The small amount of vocals this album has are filtered with effects that create an artificial human sound. Signature move of creating heavily breath-taking and majestic chord-progressions which overflow into softly tuned harmonic static until peacefully vanishing away Dead Cities, Red Seas & Lost Ghosts is a standout piece of electronic noise producing. Last song of the album Beauties Can Die floats gently into this complete silence near middle of the song and rises back up from the dark void with evolving synth strings. Something that I haven’t heard more in music producing. Don’t know if it’s just the cheap quality of my speakers that can’t capture all the frequencies of the sound waves or is it just meant to be that way, it brings a fascinating structure to the song anyways.  

Favorite Tracks: Run Into Flowers, Be Wild, On a White Lake Near a Green Mountain

Last Words:

In this album listing I tried to focus on recommending albums where you can clearly hear the layered guitars. Especially with the Nu-gaze picks where you can tell it’s definitely influenced by shoegazing. This time there was more experimental albums than albums that could reach a pop success. The focus mainly still was on guitar textures and producing. There’s a bit mixed opinions between what is and what can not be considered Shoegaze. I switched up the albums back and forth from the list cause I wasn’t satisfied with the guitar textures and felt like they were too distant from shoegazing after all which is the reason this post took time to come out. Also back a while ago I found this Tumblr post that was a take on one of Kevin Shields interviews where there is revealed that the actual inspiration for shoegazing was drawn from the american grunge scene. I tried to search how legit it was but couldn’t find a source proper enough in my opinion so I decided to stick with the story that media and all the music enthusiasts support. Went through podcasts, interviews with the artists and old concert footage to find more information. I’m obviously not a skillful writer but I focus on giving accurate information and I hope I managed to get to the bottom of this genre in the most simplest way.

Rey

[theresas-sound-world-blog]

Theresa’s Sound World Interview

Person: Rosie Varela

Bands: EEP/ The Rosie Varela Project

Genre/s: Dreampop/Shoegaze/Indie

In my interview, I talk to Rosie Varela of US Dreampop Shoegaze band EEP and The Rosie Varela Project about music, inspirations, her music projects, the modern music industry and...Star Trek! ⭐️

❓When did you first feel the impulse to create music and why?

🅰️I wrote my first song around 1975, when I was 8 years old. I was inspired after watching “My Fair Lady.” I was the youngest child of five and a latchkey kid, so I was alone after school every day. I turned to singing and writing little songs to amuse and comfort myself. I had a little tape recorder I used to record little tunes with my vocals or on my flute.

Picking up guitar at 30 was an epiphany - I suddenly had a way to really write fully formed songs. And once I started, it felt like a flood of songs came pouring out. It still feels that way.

❓Can you name the top ten inspirations for your music? It can be anything, bands, songs, albums, books, poems, art, films, people...

🅰️1. AM/FM radio and shows like American Bandstand, Soul Train, and The Midnight Special.

2. My older brothers’ huge record collection that covered jazz, blues, oldies, rock, and latin music.

3. When I was a kid, I was inspired by The Beatles, Steely Dan, ELO, Fleetwood Mac, Tower of Power, Tom Petty, Motown, and Blondie.

4. Movies that have a focus on music - Woodstock, Blues Brothers, A Hard Day’s Night.

5. My first concert - Carlos Santana at the Greek Theatre in Berkeley. A powerful and spiritual experience.

6. Raymond Carver’s short stories. Minimal and intense slices of life.

7. Movies that put characters in morally challenging situations like Pulp Fiction, The Shawshank Redemption, The Big Lebowski, and Goodfellas.

8. In my late teens and 20s, I was inspired by the recordings of bands and artists like REM, Bowie, Talking Heads, and Peter Gabriel.

9. The Verve awakened me to what I call Proto Shoegaze. The textures and layers of “A Storm In Heaven.” And first wave Shoegaze bands like Slowdive, MBV, Ride, Catherine Wheel, and Lush.

10. The art and lives of Frida Kahlo and Georgia O’Keefe. Their independent and unapologetic dedication to their art has inspired me to do the same.

❓You’re known for your band EEP and more recently, your solo material in the form of the Rosie Varela Project, but can you say what you were doing before musically?

🅰️I think I spent from age 18-51 in a bit of a haze - working, raising my son, writing music in my spare moments, playing in cover bands here and there, and trying to find my voice as a songwriter. So I played every night in my living room and wrote a lot of songs that didn’t sound like me. It seems like I only recently found my voice.

So I’m a very late bloomer!

❓ Can you tell me a bit about how EEP got together?

🅰️I had been helping some musicians in El Paso to record their music, and through that met Ross and Sebastian of Brainville Studio. Because we worked so well together, we formed an experimental synth-based project called Something Something Sound System.

One day I wrote a shoegaze song for my husband that just came out of nowhere (in Spanish to boot!) and I recorded the whole demo at home in 2 hours.

“Hogar” was the first song I had ever written in Spanish. It felt really easy, fluid, natural, and everything just clicked into place organically. My husband Justin really loved it and encouraged me to talk to Ross about recording it as a one-off single. Ross, Seb and I started writing more songs and eventually I asked Serge and Lawrence to join us. The combination of our influences and ages made for a really great band dynamic.

❓How different is it working on a solo project without your bandmates?

🅰️The RVP is basically me taking songs I’ve written that don’t make it into the EEP catalog, in varied genres, and having fun producing them through a gazey lens alongside some of my friends in music. The big difference is I am learning how to produce my own music for the first time. My goal is to release 4 singles this year while I work on my 2022 solo album and so far it’s going well!

❓Have you found that Lockdown/ The Pandemic has impacted on you positively or negatively in a creative sense? Why do think this is?

🅰️For me, the pandemic has affected me positively. It forced me to adapt, modify, and accept a whole new model in making music. Songwriting and remote recording collaborations have had to become a bigger priority than rehearsing and playing live shows. I think EEP and I have pivoted pretty well in that aspect.

❓ I sometimes feel that although financially a lot of bands are struggling owing to miserly streaming platform revenue and (at the moment) no tours, getting music to an audience is easier than it was say, in the 1990s. It seems that social media is key. Have you any tips for bands/artists starting out in the modern music industry ?

🅰️I think figuring out your musical WHY is super important at the start. And every band member’s answer to that will build the collective creative effort and also the band’s calling card, so to speak.

Decide on your short-term and long-term goals and figure what you need to achieve each one.

Assess how each band member can contribute to them and make sure everyone buys in on those goals. If not financially, then with their creativity and skills.

Don’t be in a hurry and don’t be desperate about your music. If it takes a year to save up the budget you need to record your album, save and focus on getting your music ready. Be patient and actually have a solid release plan. I see some bands who release music quickly and often without any marketing plan and it’s sad to see these releases come and go with very little coverage or sales.

Don’t expect to make any profit from your music. Breaking even financially is a great goal to shoot for instead.

It’s important for DIY bands to set realistic benchmarks of success and remain humble about them. The myth of an album “blowing up” to huge financial gain is just that. A myth. It is extremely rare. Instead, think about different kinds of specific goals - how many Bandcamp followers, how many pre-order sales, etc. Make those goals achievable.

Our goal for EEP was to simply have 30 fans who would buy our music and to know our fans by name and cultivate real friendships. I’m happy to say we surpassed that number by a bit.

Use your social platforms to engage, inform, and have fun. Ask for help if you need it from people who you feel have figured it out. We use our social platform to geek out about Shoegaze bands we love, share our stories, and share the behind the scenes of our making music. We love to showcase our peers, and ask our followers about what they like so that we get to know them better.

And always, support those sho support you whenever you can.

❓What are your plans from a musical point of view next? Have you any pipe-dreams for post-lockdown?

🅰️For The RVP, I want to challenge myself musically by interpreting non-Shoegaze songs I’ve written through a Dream Pop and Shoegaze lens. Because I have so many different kinds of songs, it will either be really good or incredibly bad!! I’m willing to take that risk.

For EEP, the pipe dream is to tour the US and the UK when things stabilize and travel is possible. For now, our short-term dream is just to be able to record and rehearse together.

Next, just for fun...

❓Who is your favourite Beatle and why? For example, I like Ringo Star the best, because of his laid back man-of-the-people attitude, his sense of humour and ability not to take himself seriously, namely voicing Thomas the Tank Engine. Musically, in terms of personality, or both, which member of the Fab Four do you sway to the most?

🅰️I think lyrically John Lennon is definitely my favorite. There is a spirit of rebellion, humor, and absurdity in how he played with words and song structure, especially towards the end.

As a person, I identify with George Harrison the most. His curiosity and reverence for Indian music, philosophy, and using music to process the larger questions of life was a refreshing contrast to his bandmates’ style.

❓ I know, like me, you’re a Star Trek fan, so I couldn’t resist this one; Spock or Data and why?

🅰️I identify so much with Data for his quest to understand the different aspects and fullness of being human. I think that has driven a lot of my past and present interactions and relationships. He’s probably the most noble of characters in The Next Generation in his unflinching willingness to sacrifice himself for the needs of the many⭐️

🎼Below are links to Rosie’s latest single, ‘Low’ in her incarnation as The Rosie Varela Project, plus links to two Theresa’s Sound World reviews of music by Rosie’s band, EEP from last year ⭐️

🎧Listen to the single ‘Low’ by The Rosie Varela project: https://thervp.bandcamp.com/track/low

📚🎧: Read my 2020 review of the single ‘Hogar’ by EEP, including listening platform links to the track: https://www.facebook.com/116279076583978/posts/180288703516348/?d=n

📚🎧Read my 2020 review of the album, ‘Death of a Very Good Machine’ by EEP including listening platform links to the album: https://www.facebook.com/116279076583978/posts/198924518319433/?d=n

#MusicBlogger #MusicBlogs

#MusicWriter #MusicBlog #TSW #MusicReviews #TheresasSoundWorld #MusicReviewer #Shoegaze #Dreampop #Indie #AlternativeMusic #Writer #EEP #AlternativeMusicBlog #UK #IndieBlogger #TheRosieVarelaProject #UnderGroundMusic

[deadcactuswalking]

REVIEWING THE CHARTS: 26/12/2020 (LadBaby, Boris Johnson, Ed Sheeran)

It’s Boxing Day in the UK as I write this and I’m pretty tired but we still have to review those charts regardless, especially this chart as this is the Christmas chart – at least it’s being paraded around as such – and hence we have a Christmas #1. For the third year in a row, family vlogger, pseudo-comedian and amateur musician, not to be confused with DaBaby, Mark Ian Hoyle – more commonly known as “LadBaby”, has bagged the #1 for the holiday season. Every time I’ve covered the Christmas #1 it has been this guy and, yeah, I’m tired of it. At least this year he felt some stiff competition, and hey, the songs’ proceeds do go to charity. Oh, yeah, and this guy is the third act to have three Christmas #1s in a row, putting this nobody from Nottingham with a barebones Wikipedia page and a couple million YouTube subscribers on the level of the Beatles and Spice Girls. God, the UK Singles Chart never fails to amaze me. Anyway, that’s arguably not even the biggest story here so let’s start REVIEWING THE CHARTS.

Rundown

As I said before, this is the “Christmas week” so throughout the UK Top 75 there are a lot of holiday songs re-peaking or reaching new peaks, before dropping off entirely the next week. Let’s start as we always do by listing the drop-outs from the chart, of which there are quite a few notable ones. Most of our top 40 debuts from last week are gone, like Taylor Swift’s “champagne problems” and “no body, no crime” featuring HAIM, as well as “Show Out” by Kid Cudi, the late Pop Smoke and Skepta. We can also say goodbye to “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee, finally after 54 weeks and a surprise return earlier this month, in addition to other top 10 hits like “you broke me first” by Tate McRae, “See Nobody” by Wes Nelson and Hardy Caprio and “What You Know Bout Love” also by Pop Smoke, as well as some more minor hits like “Wonder” by Shawn Mendes, “Lonely” by Justin Bieber and benny blanco, “Train Wreck” by James Arthur, “Golden” by Harry Styles and “Plugged in Freestyle” by A92 and Fumez the Engineer, but I can see almost all of these rebounding hard next week so I don’t think there’s much to worry about here. For fallers, since Christmas has really consumed everything about this chart this week, we have some big ones that’ll find themselves back in the top 10 or at least top 20 next week like “positions” by Ariana Grande at #19 (the first non-Christmas non-debut song to appear on the chart, by the way), “Sweet Melody” by Little Mix at #20, “Whoopty” by CJ at #22, “34+35” by Ariana Grande at #28, “WITHOUT YOU” by The Kid LAROI at #31, “Prisoner” by Miley Cyrus and Dua Lipa at #35 alongside “Midnight Sky” also by Miley at #36, “willow” by Taylor Swift off the debut to #37, “Get Out My Head” by Shane Codd at #38 and “Paradise” by MEDUZA and Dermot Kennedy. We also have “Therefore I Am” by Billie Eilish at #43, “Really Love” by KSI featuring Craig David and Digital Farm Animals at #45, even “HOLIDAY” by Lil Nas X at #49, “Mood” by 24kGoldn featuring iann dior at #54, “Loading” by Central Cee at #59, “Head & Heart” by Joel Corry and MNEK at #60, “Monster” by Shawn Mendes and Justin Bieber at #64, “Blinding Lights” by the Weeknd at #66, “Dynamite” by BTS at #67, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #72, “Levitating” by Dua Lipa with the biggest fall down to #73 and finally “No Time for Tears” by Nathan Dawe and Little Mix at #74. To put the dominance of holiday music on the charts in perspective, if we take the songs that are not either explicitly Christmas-related or a clear Christmas #1 campaign (i.e. LadBaby), the song at #38 would be at #10 and our #1 would be “positions” by Ariana Grande at #19. “Whoopty” by CJ, that entered the top 10 last week and dropped to #22 this week, would be at #3. There are 11 songs in the top 40 that never made an effort to take advantage of the holiday season. When we get into some of our debuts, it’ll be even clearer how big Christmas is in British pop music. Anyway, let’s skim through our gains and returning entries, most of which are Christmas or Christmas-related. For returning entries, we have the comically awful “Lonely this Christmas” by Mud at #71, last year’s scam attempt at a Christmas #1, “River” by Ellie Goulding at #69, “The Christmas Song (A Merry Christmas to You)” by Nat King Cole at #63 (which I’d appreciate more in the top 20 like it is in the US every year – this is a classic), “2000 Miles” by the Pretenders at #62 (again, incredible song that deserves a higher holiday peak each year), “Christmas (Baby Please Come Home)” by Darlene Love at #58, “Santa’s Coming for Us” by Sia at #55, “Have Yourself a Merry Little Christmas” by Sam Smith at #53 and for whatever reason, “Holy” by Justin Bieber featuring Chance the Rapper at #41. In terms of notable gains – and I stress notable, since a lot of higher-up Christmas songs had small gains but still good performance - we have “Santa Claus is Coming to Town” by the Jackson 5 at #57, “Let it Snow! Let it Snow! Let it Snow!” by Frank Sinatra at #56, “White Christmas” by Bing Crosby at #52, “Baby it’s Cold Outside” by Brett Eldredge and Meghan Trainor at #51, “Forever Young” by Becky Hill at #50 (both off of the debut), “Baby it’s Cold Outside” AGAIN by Michael Bublé and Idina Menzel at #47, “Love is a Compass” by Griff at #46, “Feliz Navidad” by Jose Feliciano at #44, “Cozy Little Christmas” by Katy Perry at #42, “Let it Snow! Let it Snow! Let it Snow!” AGAIN by Dean Martin at #39, “Sleigh Ride” by the Ronettes at #34, “Christmas Lights” by Coldplay at #33, “Santa Baby” by Kylie Minogue at #32, “Mistletoe” by Justin Bieber at #29, “Jingle Bell Rock” by Bobby Helms at #27, “Wonderful Christmastime” by Paul McCartney at #26, “Holly Jolly Christmas” by Michael Bublé at #25, “All You’re Dreaming Of” by Liam Gallagher at #24 (thanks to a Christmas #1 campaign that crashed and failed), “It’s the Most Wonderful Time of the Year” by Andy Williams at #23, “Happy Xmas (War is Over)” by John Lennon and Yoko Ono with the Plastic Ono Band featuring the Harlem Community Choir at #21, “One More Sleep” by Leona Lewis at #18, “Merry Xmas Everybody” by Slade at #17, “Underneath the Tree” by Kelly Clarkson at #15, and finally, “Rockin’ Around the Christmas Tree” by Justin Bieber illegitimately notching a spot in the top 10 at #8. Finally, we can get onto the new arrivals, although something about this next one tells me that we won’t be in line for anything all that good.

NEW ARRIVALS

#70 – “I’ll be Home” – Meghan Trainor

Produced by Meghan Trainor

...for Christmas. She’ll be home for Christmas. I guess she just can’t finish sentences, even though her cover art has the full title. Anyway, this is a 2014 original Christmas song that went nowhere except Sweden. It’s not anything like the Bing Crosby and wasn’t nearly as successful, mostly because it’s a jingly, inoffensive ballad tacked onto a silly Christmas EP that also features Fifth Harmony and Fiona Apple of all people – who probably should have charted her track instead – as well as the deluxe edition of that debut record Title that nobody liked. At least in this, she’s not going for a faux-retro style, or at least one that I can find the inspiration for, and is just singing over this oddly jaunty piano melody – which sounds pretty albeit bland – as well as some swells of strings and acoustic guitar that do work sonically. The content implies that Meghan Trainor is in contact with Santa Claus personally, and that he gave her the advice to be home with her lover this Christmas and... that’s why this charted, isn’t it? Well, it’s not her fault – it’s not a “stuck with u” moment, but it is dodgy that she decided to put this on her own Christmas record that was released in October of this year, which can’t seem unintentional. I’d be lying to say this isn’t a pretty little tune from Trainor and her voice does fit this instrumental, but a jazzy rendition from someone with a deeper, smoother voice, would work wonders with the content. Oh, and that Christmas record features guest appearances from both Earth, Wind & Fire and Seth MacFarlane, as well as her dad, because, you know, sure, 2020.

#65 – “Gnat” – Eminem

Produced by d.a. got that dope

I can’t tell if I’m underestimating Christmas or overestimating Eminem when I say I expected an album bomb – or whatever that equivalent would be in the UK and our land of silly chart rules – from the deluxe edition of his pretty damn terrible album, Music to be Murdered By. This 3/10 trainwreck consists of two hours I’ll never get back of either great beats wasted by Eminem’s corny, stiff flows and painfully unlikeable delivery or obnoxious, unlistenable beats that are dated enough for Eminem to start going on his Relapse “killing women in funny accents” shtick, which was awful then and even worse now when he tries to replicate it. Marshall, you’re 48, and I know that you’re just “messing around” but if you’re going to treat the album as a cinematic masterpiece within the album and its thematic Alfred Hitchcock interludes, you have to understand that the audience will see it as that way as well, so you having fun and being painfully unfunny in the process over cutting-room-floor trap instrumentals cannot slide. At least Kamikaze had some genuine anger and dare I say some actual balls in how it tackled controversy and dissed everyone he could think of off the top of his head. The last record was angry and bitter, this one’s just tired and lazy, and that’s before we get into some of the ugliest bars, instrumentals and cadences Slim Shady’s ever put on record, which is especially present on “Gnat”, a lightweight trap banger with some acoustic guitars not dissimilar to those that would appear on a Lil Baby mixtape, complete with questionable bass mixing and really bad hooks. On the verses, he sends a death threat to Mike Pence, but on the chorus, his bars are “like COVID” because “you get them right off the bat”. I don’t know about you, but in 2020, I don’t want to hear Eminem harmonising with producer tags, making topical and insensitive pandemic references, or spitting sex bars with coughing ad-libs. Before the beat switch, his flows are some of the sloppiest and drawn-out he’s ever used, and yes, I’ll admit, that second beat is a lot better and Em kills it over that instrumental – but only for a brief moment before we have a third beat, which Eminem is pretty great over, especially with that sax and sweet piano keys overlaid with hard 808s and Eminem’s rapid-pace, quick fire flow... and then he raps the chorus again and I want the song to end as quickly as it started – thankfully, it does end rather abruptly. Just wasted potential all throughout – if that beat switch and flow was a guest verse on damn near anyone else’s record (Em has made tracks with Don Toliver of all people, and he could work), this could be great. For now, Em, you know Kris Kristofferson? I think you should Piss Pissofferson. Forever. Look that up, by the way, that’s a lyric on the record because of course it is.

#61 – “In the Bleak Midwinter” – Jamie Cullum

Produced by ???

I had only briefly heard the name “Jamie Cullum” before this, but he is an English jazz-pop singer and pianist who’s basically useless and uninteresting but, hey, at least he has a radio show on BBC Radio 2. Sure, I mean that might have been the reason that Amazon Music picked him up for an exclusive project for which this is the biggest single. It’s not on Spotify, it’s not even on Genius, and it’s barely on YouTube but since it is, I should tell you that this is his first charting single since 2009 and it’s a remarkably uninteresting rendition of a Christmas carol done a lot better by Jacob Collier – and that one’s on Spotify – so yeah, your sleepy piano arrangement and tone that makes you sound like Robbie Williams half the time and Beck the other, doesn’t interest me. Goodbye.

#30 – “Afterglow” – Ed Sheeran

Produced by PARISI, Fred Again and Ed Sheeran

If we inexplicably remove everything Christmas-related on the chart, Eminem’s “Gnat” would have debuted at #20, and this new track from Ed Sheeran, already stunted from being released on an unconventional day, would have hit #5. Regardless of chart position, Ed Sheeran’s back with his first solo single since Divide. Yes, I’m purposefully ignoring that collaborative project he put out in 2019 because as far as I know, it doesn’t exist. At the end of the year, when things are looking as if he could start touring again, Sheeran predictably releases his lead-off single. This song in particular is a heartfelt ballad from Ed to his wife, who he wishes to be there forever and even if they aren’t together at any moment, whether he’s touring or they separate for whatever reason, he’ll “hold on to the afterglow”. I won’t lie, it’s a really sweet and convincingly sold love song from Ed, even if it’s not anything new, it does feel like a different approach since he’s a newly-wed man now. Although I’m not a fan of this somewhat muddy mixing that somehow messes up just a guy and his acoustic guitar, making what should be a really pretty, ethereal and mellow track sound almost ugly, which doesn’t flatter Ed and his limited delivery at all, especially when he starts getting multi-tracked in the second verse and whooshing sound effects of strings pop up in the mix, and, yeah, it just sounds cheap and gross at this point, which is really a waste of incredible content and a great performance from Ed, who sells everything as well as he can. I understand how this is supposed to be down to Earth, so a perfect mix wouldn’t make sense, but if you’re going to make him harmonise with his own background vocals and even show signs of belting, give him some more grandiosity and go full out instead of restraining him so that it just sounds jarring. With a different mix this could be one of Ed’s best tracks since the melodies are on point, the song feels really heart-warming and sincere, especially coming from Ed to his wife, but we won’t get a remaster anytime soon, I imagine, so for now this is just pretty damn good. I love the cover art as well, painted by Ed himself, and released alongside the single as a bit of a Christmas gift to fans, as well as the start of what I’m pretty sure will be a promo cycle. If this is a good peek into what that album will sound like, it’s safe to say I’m more than excited than ever to hear from Ed Sheeran.

#5 – “Boris Johnson is a Fricking Jerk” – Kool & the Gang

Produced by ???

Okay, so the song’s calling Boris Johnson something stronger than a “fricking jerk”, and the song is decidedly not by soul legends Kool & the Gang, although I’d love for that to happen sometime. This is a family show, of course, so we have to take some liberties. This track originates from a comedian from Basildon, Essex of all places, and whilst we don’t know his name, the songwriting credit on Spotify is given to contemporary British poet Wayne Clements so maybe he’s behind this, who knows? Whether he is or not, I can tell you the history behind this comedian’s music, as he has been making crude short singles about controversial topics in British society and politics for a while, including some about Nick Clegg that charted, although never higher than #63. He retired in 2016 but after writing an autobiography, the guy’s back and he released a compilation of punk rock tracks, all of which are small and profane, with a “band” of puppets that I also can’t name. State-controlled Russian television networks – because, sure, again, it’s 2020 – say that he will start touring in 2021, mostly because he’s finally reached that mainstream audience with this family-friendly tune about Boris Johnson. Here’s how Vick Hope and Katie Thistleton introduced it live on air during the mid-week chart reveal.

Now at #19, we've got a track about Boris Johnson that has so many bad words in it, we can't play it on daytime Radio 1.

Ah, you cowards. Wait... Anyway, I’m pretty happy that the British public can stick it to Boris and the heartless Tories that follow him and currently rule the country, even if it is all a bloody stupid joke from an anonymous punk rocker. We can dig into Boris for his failures on Brexit, mishandling of the pandemic, disgraceful reality-star-esque personal life, that he wasn’t even born in the UK yet is basically a nationalist, his history of Islamophobic commentary, his crap excuses for journalism back in the 2000s or even his clown-nose, blonde bowl-cut “hair style” he adopts whilst addressing us on live television feeding us lies and misleading statements that turn into retcons the next time he has to address the nation, whether it be on Brexit or COVID-19 tiers and regulations, both of which are a confusing mess to both sides of Europe that exist to drift us away from where we should be going as a nation, and further into the realm of political party tribalism that we know absolutely does not work in the States and that we mock the Yanks for. We’re more than the sick man of Europe, we are the America of Europe. I guess you could say Ireland is our Canada, but we don’t even have a Mexico to make us look better, we just have other western, central and northern European countries that may be flawed but are far ahead of whatever the hell this shell of a union is in 2020, less than 80 years after the creation of our National Health Service. People will look to pundits and newsreaders like Piers Morgan, entertainers like Phillip Schofield, war veterans and charity-givers like Captain Tom Moore, and even politicians like Boris Johnson, as the “heroes” of Britain’s 2020 but it’s increasingly clear that absolutely no-one is a hero, and it’s the people’s right to be upset. Hence, nearly exactly a year after Boris Johnson cheated his way into power by smear campaigns and elitism, we have this song debuting at #5. Unfortunately, the song doesn’t go into any of that. It just repeats the title in an anthemic – and considerably agreeable – refrain that is an undeniable punk hook. The riffs and guitar work here isn’t of any interest, but the guy’s delivery is powerful and furious, so I’ll give the song credit: it’s not just correct but it’s really good, especially for a one minute runtime. He also released some satirical MIDI-level synth-pop remix with gross Christmas sleigh bells and hi-hat skitters, because, say it with me, it’s 2020. I wouldn’t recommend the album though, it overstays its welcome by the time you get to “Jesus Died of a Stranglewank”.

#1 – “Don’t Stop Me Eatin’” – LadBaby

Produced by who cares?

I can’t get mad at this lazy “parody” of Journey’s “Don’t Stop Believin’” about sausage rolls, or even its Ronan Keating remix, which is LadBaby doing a favour to Ronan Keating, if anything. Sure, my blood boils with the idea that this incompetent Internet personality from the East Midlands – which I think I’m sadly also able to describe myself as – got the #1 over Mariah Carey, or even that Boris Johnson diss track, but it’s going to the Trussell Trust and it’s ultimately an inoffensive, vaguely happy track that even gets the vegans involved. I, for one, prefer “Boris Johnson is a Sausage Roll”, a version of our #5 you can – and should – play on the radio even after Christmas. I don’t have anything more to say about this guy so piss off, LadBaby, you can’t even get the album cover right to the song you’re parodying, thrice in a row.

Conclusion

Best of the Week is definitely going to the Somethings for “Boris Johnson is a Something Something”, with an Honourable Mention to Ed Sheeran’s “Afterglow”. I can’t bring myself to give a charity single Worst of the Week so I’ll spare LadBaby the honour and grant it to Jamie Cullum for his greedy Amazon exclusive trite, with a Dishonourable Mention for “Gnat” by Eminem, for just being wasted potential all across the board. Next week, everything Christmas-related will be gone and we’ll get a bunch of returns and hopefully some new, interesting returning entries. We might even get the impact of Playboi Carti’s long-anticipated album – and I hope so because it’s fantastic – but that’s wishful thinking. Anyways, I hope everyone had a happy holiday season. Here’s our top 10:

Thank you for reading. You can follow me @cactusinthebank for more rambling about pop music and occasionally politics, and I’ll see you next year.

[this-is-for-the-record-blog]

Binaural - Pearl Jam - Album Review

Binaural is the sixth record from respected alternative rock band Pearl Jam. It was around the time, in 2000, that this record was released when many people had forgotten about Pearl Jam and many of the other 90s rock bands from Seattle. Ironically it was actually around the time I discovered Pearl Jam and many of the 90s rock bands. I didnt catch wind of this record till a year after it was released though. I remember buying Binaural from Virgin Records along with Live on Two Legs the bands compilation of live performances from the bands Yield tour. This record was very different from anything Pearl Jam released prior, Yield included. It had a much different energy and really utilized the space in the songs. This record like No Code took me some time to understand. This change in pacing and sound was in part because of the bands switch in producers. This would mark the first record for producer Tchad Blake, who was chosen as the replacement for long time producer for the band Brendan O’Brien and also marked the bands first record with new drummer Matt Cameron who was best known for his work with Soundgarden before their departure. Binaural refers to the recording technique used on the record and literally means to listen with both ears.

Binaural takes a pretty different approach in recording style, which is where the record gets its title. Tchad Blake was chosen to produce the record because he was known for this Binaural style recording. The album was recorded using a technique where two microphones were used to create a 3D stereophonic sound an effect that simulates being in the studio with the band. Regarding producer Tchad Blake guitarist Stone Gossard said “He was just there for us the whole time, wanting us to create different moods.” This record marked some difficulties for the band members, such as Eddie Vedder suffering from writers block, which inspired the hidden track consisting entirely of typewriter noises after the last track “Parting Ways” which features, for the first time, a string arrangement. This frustration of coming up with ideas led to Eddie picking up a ukulele for the first time to inspire him on “Soon Forget” but also it led to heavy influences on the record like on that same track which musically almost completely rips off the Who’s ukulele song “Red, Blue, and Grey” and the track “Breakerfall” sounds like “I Can See For Miles” also by The Who with its Townshend’s style windmill guitar strums while “Nothing As It Seems” guitarist Mike McCready performs a couple vicious solos on a track with a guitar tone, structure and mood similar to “Comfortably Numb” by Pink Floyd. At the time of recording Binaural, McCready had been struggling with Crohn’s disease, which led to an addiction to prescription drugs. McCready had again checked into a rehab center during the recording process.

Also like Yield Binaural included creative input from all member of the band including the newest addition drummer Matt Cameron collaboratively writing both the music and lyrics. Much of the structures here incorporate a lot of experimenting but not in the lo-fi, stripped back kind of way that was present prior to Yield but much more of a mature and professional experimenting with guitar effects like swirling choruses vibratos, phasers and delay. If Pearl Jams previous records were Young, Stones, Zeppelin and Beatles records Binaural is definitely Pearl Jam’s Floyd record. In “Nothing As It Seems”, one of my favorites, the band really creates a very atmospheric sound like on much of the record with the use of the Binaural recording technique but also with the song structures and instrumentation as well. A song written by bassists Jeff Ament who uses a moaning upright bass which contributes to much of the songs atmosphere as well. Mike McCready plays a very eerie, echoing, psychedelic David Gilmour-esque solo and guitar melody, and as I said earlier, similar to “Comfortably Numb” by Pink Floyd, with just a sight more edge in his tone. Other times McCreadys guitar tone also pulls influence from Mick Taylor and Eric Clapton on the bluesy, moody track “Of The Girl” a song similar to clapton’s “After Midnight”. Singer Eddie Vedder said this about the production, “It’s a type of recording that’s called binaural recording. There’s several ways to do it, whether there’s two microphones clipped here [motions to both temples by ear], to not just record the instruments, but record the air around the instruments. You can hear, there’s a song called ‘Of The Girl.’ You know you can hear Mike’s, Mike McCready’s guitar. You can really feel the space of the room. That is something that you kind of miss from modern recordings…” “Insignificance” and “Evacuation” are very rhythmic and drum driven tracks and are arguably the most complex songs up to this point with their layered build, complex, unpredictable timing and beats (thanks to new drummer Matt Cameron) echoing vocals and atmosphere. Many of the songs burn slower though than most of their back catalog.with texture and atmosphere being the focal point like the meditative and experimental “Sleight of Hand”, “Of The Girl”, “Thin Air” and “Parting Ways”. While a couple of the tracks are some of the bands heaviest like “Breakerfall”, “Evacuation” “Grievance” and ”Gods Dice”.

The album artwork features The Hourglass Nebula. The image is a Nasa photo of a planetary nebula, an “expanding, glowing shell of ejected ionized gas” some 8,000 light-years from Earth, apart of a binary system that was taken from the Hubble Space Telescope. Jeff Ament said, “The reason that we went with Tchad [Blake] is because he provides an amazing atmosphere to songs….So, I think we wanted the artwork to represent that….One of the themes that we’ve been exploring…is just realizing that in the big scheme of things, even the music that we make when we come together, no matter how powerful it is, it’s still pretty minuscule. I think for me the whole space theme has a lot to do with scale. You know, you look at some of those pictures, and there are thirteen light years in four inches in that picture.” Much like many planetary nebulae this record is also extremely complex and varies in its morphologies, incorporating my different genres, neopsychadelia, folk rock, garage rock, blues, indie rock and moody post punk undertones. The records title, atmosphere and themes as they are compared to the cover art are phenomenally accurate. About one-fifth of planetary nebulae are roughly spherical, but the majority are not spherically symmetric. The mechanisms that produce such a wide variety of shapes and features are not yet well understood, but binary central stars, stellar winds and magnetic fields may play a role. Each song a bit different from one another but created from the same energy.

Like the music on the record, the lyrics cover much darker and more somber subject matter like war, peace, violence, authority abuse, discomfort in life and love, especially when compared to the bright uplifting mood of their previous record Yield. One of the sadder but most beautiful tracks to ever be written by Pearl Jam is “Sleight of Hand” a song that brings to mind The Great Gatsby or  the character Willy Loman in “Death of a Salesman” where the character in the song realizes what he always believed adult life to be was not what he thought or hoped it to be and the dreams he’d had as a child would never be achievable, ultimately tricked by the so called “American Dream”. Some political and social issues regarding civil liberties are stated in songs like “Evacuation” a song about embracing change and “Insignificance” and “Grievance” songs questioning the significance behind the 1999 Seattle WTO protests and speaks of the dehuminization and detachment effects from technology beginning around the turn of the century and the adverse affects of political struggle. The song “Rival” reflects on the 1999 Columbine High School shooting. At the time the deadliest school shooting in American history. The shooting was influenced by their desire to rival the Oklahoma City bombing and other deadly incidents in the United States in the 1990s. Vedder had this to say regarding some of the sadder themes and social criticisms and political themes within the lyricism on Binaural, “I think what everyone’s looking for, y'know, is freedom…That’s part of being comfortable in your own skin. I know I had a problem with being told what to do, and had a problem with being mentally and physically constricted. All of humanity is searching for freedom and I think it’s important to know when you have it, too.”

The album covers some very personal feelings and topics like spiritual beliefs on the track “Gods’ Dice” which is a song that judges anyone with a belief system. “Nothing As It Seems” is about something that appears one way from an outside perspective but is viewed a whole other way when you’ve seen from inside. Other times Eddie is mourning the loss over someone who has past on to a place that is not of this world but might just possibly still be reachable within the cosmic universe somewhere on the Neil Young inspired “Light Years”. Vedder not only suffered from some writers block, but also had some personal turmoil in his love life and marriage which came to an end during the time of this records recording. I feel songs reflect this inner turmoil in songs like “Breakerfall” and “Of The Girl” a song about relying heavily on love as a drug to where when its gone you’re left vulnerable and having withdraws. “Parting Ways” a song about a separation of two lovers. Many songs are very expressive emotionally and send the message of you can define your own life or let your life define you. “Soon Forget” is about a man who lets the material world and the size of his wallet define him and in the end hes like the money he defines himself by, here today gone tomorrow.

I feel Binaural gets overlooked even by the band themselves. Its a record that gets neglected most live and probably the first record to really get neglected by the mainstream radio, bytbreally anything after Vitalogy or even VS never gets airplay. The band still not perusing mainstream marketing in interviews and no music videos came from this record. Any mainstream success present during the early 90s for the band was definitely long gone. With Matt Cameron on board live performances became a primary for the focus at this time for the band. Reaching their 10 year anniversary as a band they were definitely paving their road to the Hall of Fame. Binaural really proved to be a huge progressive step for the band trying and experimenting with new things from production, structure, textures and instrumentation. Its not quite as good of a record as Yield or even their next effort in 2002, but I think its a record that makes sense as a bridge between the two records and at the time was a record youd expect from Pearl Jam being a sort of evolution in progression. Its brash, calming, atmospheric, personally emotive and expressive. Tragedies would soon follow after the release of this record that would play a big role on the bands seventh record that would leave the band questioning their purpose of even existing. Despite Eddies writers block he had been dealing with during the writing of the record a lot of songs were cut from the record such as “Sad”, a song that sounds like something off Sleater Kinney’s Hot Rock album and “Fatal” an acoustic ballad, and theres the grungy “In the Moonlight”, “Education”, “Sweet Lew”, which is a song led sung by Jeff Ament. “Hitchhiker”, the Three Fish inspired “Strangest Tribe”, and the folky acoustic “Drifting”. My favorite songs are “Light Years”, “Nothing As It Seems”, “Sleight of Hand”, “Of The Girl”, “Gods’ Dice”, and “Thin Air”. If you like Matthew Good Band, Temple of the Dog, Candlebox, Soundgarden, Finn Brothers, Wellwater Conspiracy, Supergrass, Stillwater, Mad Season, The Dismemberment Plan, Life House, The Rolling Stones, Eric Clapton, Three Fish, Pink Floyd, Neil Finn, The Verve Pipe, Brad,  The Rockfords, Mother Love Bone, Josh Freese, Neil Young, The Who, Seven Mary Three, Skin Yard, Stone Temple Pilots, Hater, Stegosaurus, Smashing Pumpkins, The Doors, Chris Cornell, Foo Fighters, or Red Hot Chili Peppers you will love this record.

[avaliveradio]

Greg Hoy Can You Take It? is about finding calm from the little things as the world blows up

A conversation between those feeling in control with those that are out of control, ‘Can You Take It?' is about finding calm from the little things as the world blows up.

Artist: Greg Hoy

New Release: Can You Take It?

Genre: Rock

Sounds like: Queens of the Stone Age, Devo, Foo Fighters, INXS

Located in: San Francisco, CA

This is the second single from our new album. All the songs were written deep into the COVID-19 quarantine. My comfort music became relistening to a lot of things that used to inspire me in high school: Public Enemy, Devo, Ice-T, Nine Inch Nails. It's about constantly raising the bar for your own tolerance for the cacophony in a messed up world.

View this post on Instagram

Can you take it? #gaslitnation #newvideo #rocknroll #gradolabs #analog #depression #bedridden #hiphopculture #rockthebells #cassettetapes #inspirationalquotes #sleep #dream #musicvideo #90svintage #curlyhair #spectacle #cacophony #messedupworld

A post shared by ɢʀᴇɢ ʜᴏʏ (@thegreghoy) on Oct 27, 2020 at 7:52am PDT

The Video...

The video for this song must be seen, and has a special guest hero of mine who told me the words I needed to hear: Greg, can you take it?.

About the Artists..

The new 11 track LP 'Cacophony' out now was written & recorded to 2 inch tape in secret during the quarantine at Tiny Telephone, Oakland CA. The last EP, the 2019 release 'Enjoy the View' was recorded mostly live by audio legend Steve Albini (Nirvana, Pixies, PJ Harvey) in Chicago & mixed in Oregon by the equally amazing Sylvia Massy (Tool, Johnny Cash, Tom Petty, Red Hot Chili Peppers).  To date, there have been over 30 albums under various monikers, including The Royal Panics, Greg Hoy, Greg Hoy & The Boys, and Twice As Bright. When you distill it all down, Greg plays retro rock n’ roll meticulously crafted from the timeless essentials of infectious melodies paired with undeniable grooves. Yet, within this focused path, Greg issues diverse albums aligned in spirit with such singular artists as Jack White, Dave Grohl, Neil Young, Queens Of The Stone Age, The Jam, The Who, The Beatles. Greg’s songs have been featured on network television shows such as One Tree Hill and MTV's Made. Select live highlights include performances at Noise Pop, SXSW, CMJ, and on the main stage at Latitude Festival in the UK.

LINKS:  https://open.spotify.com/track/1f2p3ADoC11Rq2fQNpyZjz https://twitter.com/thegreghoy https://www.facebook.com/thegreghoy https://www.instagram.com/thegreghoy/ https://thegreghoy.com/

Reviews:

Greg Paddock wrote:

“I do like his music. This song is so cool as his is sound. It reminds me of something out of the 80s that would have been an influence for Nirvana and Foo Fighters. Like a Gen X and Sex Pistols type vibe but with a rocking pop feel to it. Great stuff ! .“

[aion-rsa]

Letter to You Review: Bruce Springsteen and the E Street Band Take Us Home

https://ift.tt/eA8V8J

One of the things that always impressed me about Bruce Springsteen is the melodic possibilities he can find in two-chord vamps. He doesn’t do it all the time, that would prove to be monotonous all night, but when he does it is a consistent affirmation of the power of rock and roll. It’s like he took every early inspiration which weaned him and plays their feel as if it were an instrument. Not the melodies, but what the melodies convey. The “stone and the gravel” in Springsteen’s voice may not be a suitable vehicle for the smooth vibratos of Drifters’ hits, but he never misses a note or what that note wants you to feel.

The new record is called Letter to You, and Springsteen’s weathered-through-rain-heat-and-gloom-of-night delivery consistently implies a range of additional tonic possibilities. And he’s got the band to back it up. His 20th studio LP is the first to feature The E Street Band since High Hopes in 2014 and is the first time they’ve performed together since The River 2016 tour. The album came out the same day as director Thom Zimny’s Apple TV+ documentary, Bruce Springsteen’s Letter to You, and we see it was recorded in Springsteen’s home studio. This is a mixed blessing. Yes, it’s obviously more comfortable than braving the first snow in Jersey to hit Hit Factory studios. But it might be a little too familiar, as the record was recorded on a factory schedule. The same one the Beatles stuck to when they were churning out hits on EMI’s clock.

Springsteen’s got the tightest rock and roll band “on the planet” around him. They’ve been playing together their whole adult lives and enjoyed triumphs and weathered losses. Hell, one of them is the Boss’s wife. They instinctively know what they’ll be playing before they’ve charted the chords and time signatures. The E Street Band – “Miami” Steve Van Zandt, Roy “The Professor” Bittan, Garry “the foundation of the E Street Nation” Tallent, “the mighty” Max Weinberg, Nils Lofgren, Charlie Giordano, Patti Scialfa and Jake Clemons (the late Clarence Clemons’ nephew) – hasn’t been this prominent on an album since Born in the U.S.A. The group can do anything, as their live shows attest, and Springsteen knows how to vary the sonic realities of whatever venue his musicians are playing.

On record you can hear the difference in how the band sounds on the songs “Night” and “Meeting Across the River” on Born to Run that goes beyond how many players are in the room. There is a notable difference in the aural reality of “Hungry Heart” as opposed to “The River” on the album it’s named after. Both have the full band playing, but damn if it doesn’t sound like they’re miles apart. The home studio quantizes that just a little, not that Weinberg would even need a click track. Letter to You was produced by Springsteen and Ron Aniello, who has produced every Springsteen album since Wrecking Ball in 2012. The pair maintain a cohesive tone throughout. The arrangements are almost uniform, but still evoke genre recognition from soft folk to their adoration of Phil Spector’s Wall of Sound.

The band delivers “Letter to You,” the title song, on time, undamaged and you don’t have to sign for it. It is a warm hello from an old friend on behalf of a whole bunch of friends who are standing so close they can share a mic. The song is a confessional without the penance of details. The album opens with the sparse and reflective “One Minute You’re Here.” Bruce drawls like a country music veteran over acoustic guitar and strings, until he hits one line in a baritone croon, it’s a surprising change and gone by the time it registers.

“Burnin’ Train” could have been a B-side off Darkness on the Edge of Town, and would have charted. The guitars are particularly hot. Bruce bends the knee to Ben E. King, Wilson Picket and all the other disciples of soul who inspired Van Zandt to go solo on “The Power of Prayer.” Springsteen has always believed in the healing power of rock and roll, and both worships and preaches at the transcendent “House of A Thousand Guitars.”

“Sometimes folks need to believe in something so bad, so bad, so bad,” Springsteen sings on “Rainmaker.” He invokes the comic rule of three to demonize the used car salesman running things without having to give power to his name. Bruce doesn’t buy the snake oil of the presidential seal. Another Republican wanted to believe Springsteen’s song “Born in the U.S.A.” was a rousing anthem of national pride, when it was a sobering call on a different kind of patriotism altogether. The kind which could scare off police protection on indictments of “41 Shots.”

Bruce must have picked up one of his bootlegs while he was playing his Broadway residency. He is finally giving full-band studio treatment to three songs which were on the demo Springsteen sent to Columbia Records’ A&R god John Hammond before he formed the E Street Band in 1972. “If I Was the Priest,” with its line about Jesus being sheriff, convinced Hammond the kid from the Jersey Shore wasn’t merely a new Bob Dylan. The new version of “Song for Orphans” would fit nicely on Nashville Skyline, though. The opening jangly guitar and Hammond B-3 organ of the epic “Janey Needs a Shooter” sounds like it could have been on Dylan’s Highway 61 Revisited.

At the heart of most of the songs on the album are the tales of survival and loss. Springsteen staged his Born to Run memoir for the solo Springsteen on Broadway run, and continues his reflections. Keyboardist Danny Federici, who co-founded the E Street Band with Springsteen, died in 2008. The “Big Man,” Clarence Clemons, died in 2011. George Theiss, who dated Springsteen’s sister and brought Bruce into his group as a teenaged guitarist, died of lung cancer in 2018. Springsteen was in The Castiles from 1965 to 1968, an “eternity in the ‘60s,” the documentary notes. “Ghosts” comes from the last surviving band member. The song also subliminally references the late Tom Petty with its nod to “Freefalling,” and rocks a traditional call and response pattern. The album ends with the somber “I’ll See You in My Dreams.” Letter to You is an upbeat album with a strong downbeat.

“The pay is great, but you’re the reason we’re here,” Springsteen says at the very start of the album’s documentary. It sounds like he’s glad he’s passed the audition. Because the album comes along with the documentary, it begs comparison to the making-of documentary Let It Be. The title, Letter to You, even vaguely sounds like it, if merged with the Sesame Street parody “Letter B.” But Bruce Springsteen’s Letter to You is no breakup film, in spite of its stark black and white cinematography. This is a band in action. This is another album before the next album. Even if it is Springsteen’s 20th, it’s the first of the new decade and it’s got that 2020 hindsight. It’s safe at any social distance.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Letter to You is available now.

The post Letter to You Review: Bruce Springsteen and the E Street Band Take Us Home appeared first on Den of Geek.

from Den of Geek https://ift.tt/2HzRQxC

[anthonyisright]

Rolling Stones Albums, Rated, pt. 1

Aggressively subjective rating scale explained here. I’m only reviewing the American discography, as I’m more likely to wander across these track orders in a used record bin.

England’s Newest Hitmakers (1964) 8 12X5 (1964) 7 The Rolling Stones, Now! (1965) 8 Out Of Our Heads (1965) 7 December’s Children (And Everybody’s) (1965) 7 Big Hits (High Tide And Green Grass) (1966) 8 Aftermath (1966) 7 Got Live If You Want It! (1966) 5 Between The Buttons (1967) 6 Flowers (1967) 7 Their Satanic Majesties Request (1967) 7 Beggars Banquet (1968) 9 Through The Past, Darkly (Big Hits, Vol. 2) (1969) 8 Let It Bleed (1969) 9 Get Yer Ya-Ya’s Out! (1970) 6 Sticky Fingers (1971) 6 Hot Rocks 1964-1971 (1971) 6 More Hot Rocks (Big Hits & Fazed Cookies) (1972) 6 Exile On Main St (1972) 9 Goats Head Soup (1973) 5

The Rolling Stones were five kids from outside London who would mail-order albums from Chicago, play the songs at clubs, get paid and buy more. Though hard-R&B purists compared to those four kids from Liverpool, they still had cute outfits, cute haircuts and you could still dance to them. Mick Jagger, singer, was hammier and more openly erotic than any of the Beatles. Keith Richards, rhythm guitarist, was cooler. Brian Jones, lead guitarist, was also cooler (and blond). England’s Newest Hitmakers! captures their early enthusiasm, save for “Tell Me,” a juvenile original attempt at balladry that’s an eye-rolling minute longer than everything else on here (it was also their first US Top 40). 12x5 features covers both more definitive (“Time Is On My Side,” “It’s All Over Now”) and less (“Under The Boardwalk”). Now! is the party band’s last stand, as scathing, self-penned singles like “I Can’t Get No Satisfaction” and “Get Off Of My Cloud” began to critically & commercially outshine their co-opts from the black hit parade. Big Hits (High Tides And Green Grass) pulls together their most potent early originals and covers, “Tell Me” buried at the bottom of side one.

Aftermath is considered a major breakthrough due to Mick & Keith writing all the material and Brian experimenting with sitars & marimbas and shit. Maybe if Mick wasn’t curious to see how much shit he could talk about women without cutting into his sex life (answer: a LOT), I might be more forgiving of the filler and trend-hopping. Got Live If You Want It! is indeed a live album if you want it. The high-strung Between The Buttons announces that they’ve heard Bob Dylan and taken LSD, but the best song is one of two jagged hops about words that rhyme with “shun.” Flowers, a grab-bag of UK album tracks and outtakes, is about as (in)consistent as anything else from this time, flinging from acoustic explorations of post-adolescent ennui like “Sittin On A Fence” to a humiliating cover of “My Girl.” The psychedelic carnival Their Satanic Majesty’s Request isn’t particularly worse than the preceding albums, but between the mounds of mellotron, insipid jams and bassist Bill Wyman getting past security for a song of his own, it was undeniable that the Stones were now following rather than leading.

Fixing that were producer/groove pocket enthusiast Jimmy Miller and Keith Richards, multi-tracking his strums and slides to new heights as Brian Jones slowly marimbas off the scene (and soon the planet). Mick Jagger is still a self-impressed shithead on Beggars Banquet, but the fuller sound inspires richer fantasies; his meta-Dylan epics, hillbilly jokes and cocksman crowing achieve a grandeur both Dionysian and well-read. Through The Past, Darkly (Big Hits Vol. 2) culls the better moments building up to this breakthrough and adds “Jumpin Jack Flash,” the droning strut of a single that announced their de-flowering. I wish the chronology wasn’t so muddled (the ’68 lightbulb keeps flicking on and off), but the US version at least sticks to ’66 and later, cutting the UK’s ’64 Arthur Alexander cover. If I have to hear “Ruby Tuesday” - a moony pixie dream mourning that makes me respect “Sweet Caroline” by default (no flute!) - this is where I’ll do it.

Let It Bleed confirms the Beggars sound as the new normal. Mick preens over the twang and chug, throwing doomsday and decadence in our faces with a giddy confidence that shook Don McLean and anyone else who remembered the Crickets. Flaunting their racial & sexual privilege, reveling in roots that weren’t really theirs, Bleed is blues-based “rock” at its best and worst, demanding you give them their due or dismiss the genre entirely. I’m docking it a point because life could still lead me to the latter option (Trump plays this shit at rallies, after all). Get Yer Ya-Yas Out!, released after the tragic shitshow that was the Altamont free festival and initially loaded with related import, is now another live album if you want it.

Everyone has their own bridge too far with these jerks - I won’t pretend to know objectively when the irony and indulgence goes from audaciously gauche to merely gross. But Mick J’s slavedriver metaphors cross my personal line on Sticky Fingers’ opening song, and new hire Mick T’s Santana-esque soloing crosses it on the longest. The rest is good-to-great blues-based arena rock, the weathered stars determined to push forth despite the horrors of Altamont and Allan Klein (the ex-manager who somehow got the rights to their entire sixties catalog as a parting gift). Toss the jam and change the “Brown Sugar” lyrics - as Mick does live - and it’s *all* good-to-great blues-based arena rock. But even without those bummers, it’d be hard for me to get too excited about the Stones pushing forth with blues-based arena rock - that’s a cheap commodity today. I wish the languid anthem “Sway” was an A-side compilation staple, though.

(Speaking of compilations, Hot Rocks is a popular sum-up of the era they accidentally sold to Klein, too succinct at 21 songs. More Hot Rocks tries to fill in the cracks with two dozen or so more, including a side’s worth of early obscurities. It’s more charming but still superfluous.)

Sticky Fingers set a template they could follow until…well, we’re still waiting to find out. Thankfully, they were initially too zonked to stick to it. Instead, these nodding tax evaders and their pals jammed and tracked and jammed and tracked in a French castle, each song’s line-up depending on who could make it in that day, with yet more overdubs thrown atop in LA. Exile On Main St. is a mix of diamond and rough they’d never be able to recreate - not the least because Jagger doesn’t get what the big deal is with this samey-sounding jamboree. I too prefer my classics short, hit-packed and sweet, but this is four luxurious sides of the Stonesiest Stones that ever Stoned: a shining swamp of sound, rich lyrical detail peeking out under the groove. Long, low on hits, but it’s hard to beat in the sweet department. 

Despite the relative anti-hype, Goats Head Soup isn’t a rebuke of the Exile aesthetic so much as an attempt by Mick to give its jammy warmth a little focus (plus a hit ballad about another girl they’re gonna miss). The subtly banal outcome doesn’t throw the baby out with the bathwater, so much as make one ponder the magic in that bathwater. Plenty of Americans went crazy for the ballad, and some fans still get excited about the album’s coda, where they finally say “fuck” a lot. Coming up in pt. 2: I decide whether I can give an 8 to an album with “Far Away Eyes” on it.

[athousandheartsattack]

I started paying real attention to music in 1989. I was at summer camp and I taped two U2 albums, War and Unforgettable Fire, on someone’s boombox that had two cassette players so you could make tape copies (also, later on that same summer, I bought The Cure’s Boys Don’t Cry, my first purchased cassette). I was 14 years old. I listened to Unforgettable Fire a lot, War not so much (I got into that album much later) but at the time I gravitated towards The Cure more. It isn’t until Achtung Baby (an album that, over 25 years later, still gets tons of play in my home) that I fell in love. Every U2 album released since then has, on first listen, been a letdown. They’ll never make Achtung Baby again. It is a messy, beautiful, dark, noisy masterpiece. Let’s do the post AB rundown: Zooropa has a few classics but also has many (too many) throwaway tracks. Pop is admirable in its bold attempt at, basically, anti-pop pop, but I still can’t make up my mind about whether or not it’s any good (I like it, though I spent years unable to stand it). All That You Can’t Leave Behind was well received because it basically wasn’t Pop, but it’s a bland album that has very few keepers (I’m a guy who cannot stand Elevation, but there’s no denying Beautiful Day is great). How To Dismantle An Atomic Bomb is a great late U2 offering (what a great album title!) and while it’s uneven – especially in the back half – it has some truly amazing songs and renewed my faith that the band was capable of greatness. Then they release No Line On The Horizon, which is their worst album by a mile. It opens AMAZINGLY well, the first few moments of the title track are a burst of great, noisy guitar and really dynamic singing and everything works so goddamn well and then they shit the bed with a chorus that stops the momentum of the song dead. The album never recuperates. It has songs that range from “it’s ok, I guess” to “awful”. I love this band, but there you have it. Here’s the funny thing, though: that album is bookended by the release of two U2 classic singles: Window In The Sky, a fantastic single released in 2006 that was never on any album, and the powerful Invisible, released in 2014 as a single and later showing up as a hidden song on the deluxe edition of their next album, Songs Of Innocence. Again, both of these tracks are top of the shelve U2. Just when you think that’s it, they’re out of ideas; they give you a nugget of gold to prove you wrong. This brings us to Songs Of Innocence, and album best described as fine. It has some good songs, no classics, and a few throwaways on the b side. So the post Achtung Baby U2 is a band that is easy to love (they keep coming up with great singles) and easy to be let down by (other than Atomic Bomb – which comes closest to being a fully great album - most of those albums are good to great EPs padded up to long players with a handful of disposable tracks…)

And this all leads us to Songs Of Experience, their best, most even album since Achtung Baby. Not as good as AB, but what a relief to hear a U2 album with no skippable tracks. Not a one. The quality varies, they’re not all classics, but there’s nothing on here that makes me ashamed of liking that band (I’m looking at you, Stand Up Comedy). So let’s have at it, shall we?

It’s earnest. I think that’s what I like the most about it. It wears it all on its sleeve. It’s fragile and vulnerable and scared and angry and in love and thankful and happy and romantic and loving. So it’s cheesy. It’s corny. Three songs have the word “love” in the title. There’s a lot of talk about the power of love all over these songs. To me that’s a good thing. I like cheesy, my friends know this. Show me a teen movie third act victorious prom scene and I will cry, guaranteed. So I’m fine with someone one belting out that Love Is Bigger Than Anything In Its Way. You, however, might not be. This is my review. Go be cynical somewhere else.

Another thing that will maybe put some people off is how clean and safe the album is. This is a white glove album. Nothing here will upset anyone. U2 have done stuff in the past that, umm, flustered some folks (I won’t get into any of that here, this is about the music) so I think they had a very strong desire to please. That being said, this is superb, efficient song writing. So let’s talk about the songs. All of them. Yes, this will be that type of review.

The album opener is called Love Is All We Have Left. It’s great. It reminds me of Unforgettable Fire era U2, more specifically its B side. It’s a subdued, short song (under three minutes) with no drums and no guitar (unless it’s heavily filtered and I didn’t recognize it as such). Just strings, voice and studio fidgiting. It’s lovely and earnest and full of grace. Maybe it’s cheesy. It’s a fantastic start to the album. It also has the only weird, out of left feel move on the entire album: on the second verse the voice is auto-tuned. I love it. It feels a little like Bon-Iver, maybe. It works, and when the voice returns to swoon us into its chorus, it’s all the more effective. Might not be everyone’s cup of tea, though.

That is followed by Lights Of Home, which is kind of part Rolling Stones, part White Stripes, with a great gospel bridge at the end. Simple chords with no showy effects. I think it would have fit nicely on Rattle And Hum, an album I really like. The Haim sisters are on this track. I really like the gospel bit.

You’re The Best Thing About me is the weakest song on the album, but it has such a great, catchy and infectious chorus that I can’t skip it. I’m just not crazy about how it starts, but I like everything after those first 30 seconds. There’s a lovely bit of The Edge singing (who, by the way, does stellar backing vocal almost throughout the album) towards the end, something about someone needing to be loved quietly, which I think is beautiful.

Get Out Of Your Own Way is stadium-sized U2. A big, Beautiful Day-style anthem full of hooks that, like some other songs on this album, could be faulted with trying a little too hard, but I like that. It’s better than not trying at all (and in U2’s defence it has never felt, in 40+ years of making music, like they didn’t care about the music they are making. These guys try, like, all the damn time). That song ends (and the next one starts) with a powerful guest spot by Kendrik Lamar. I’m just mentioning this. Maybe you like him? He’s there.

American Soul is GREAT. I loooove how that song starts: Kendrik Lamar says what he has to say and then some big, fat, dirty chords are banged out of a guitar, it feels like White Stripes again, with the drum pounding in time. Just two chords. Bam-Bam. Then silence. Then two more. BAM-BAM. Then two more again. Then the song takes off. An angry, anti-Trump, pro-refugee, pro America (the inspiring, idea of America, not the travesty of that dream that’s on the news every fucking day). That song is the first of two songs that borrow from Songs Of Innocence. In this case the chorus is taken straight from a bridge in the song Volcano. It is used better here, in a song that is better than Volcano. This happens again on the album closer, we’ll get to that in a bit.

Summer Of Love is a great little diddy, with a beautiful vocal melody and simple chords stripped once again of the big fat pedals effects that The Edge is normally so fond of. The song is great, it never goes for epicness, it never tries to be more than what it is. Just a lovely little song. Well written, everyone in the band understanding where this thing needs to go (this is true of the entire album: it is played by a band whose members are all on the same page about tone and feeling and purpose, it shows). I have a criticism, though. In the middle of the song there is a switch. It’s good. The guitar becomes a bit distorted (just a bit, calm down) and the vocals become more dramatic for a bit and then the song returns to its status quo in a formidable bit of manoeuvering and strings come in and it’s all good, but that initial switch is a bit weird. It feels like another song was tacked onto the one you’re listening to. It’s a rushed bit of mixing. But that doesn’t kill the song, it’s just a transition that maybe could’ve been smoother. Or maybe that’s how they want this to sound, who am I to judge?

Red Flag day is one of the stand-out tracks from the album (certainly from the A side – the B-side of this album is unbelievably strong). This song sounds like War-era U2. It feels rebellious and youthful. The guitar and bass hooks are so fucking good. Very propulsive. Again, very simple chords, very little effects. Just good song writing.

I love the next song so much, but some people won’t stomach it I think. It’s called The Showman (Little More Better) and it sounds like early Beatles. For real. It’s a light, insanely catchy little pop gem that hasn’t failed to put a smile on my face since my first listen. Maybe U2 aren’t supposed to do Beatles-type songs, but here I am, glad that they did.

The Little Things That Give You Away is a highlight for me. It could fit on Achtung Baby (after So Cruel or something). It starts off slow and builds up to one of the most classic, chill-inducing U2 moments on the album. It starts like something on Unforgettable Fire, with vague (but beautiful) echo-y guitar melodies that support the gorgeous vocal work. The chorus is achingly melancholic, and the final bridge builds and builds until you realize your feet aren’t touching the ground anymore. Definitely a keeper.

Landlady is a love letter from Bono to his wife. It has a classic U2-sounding guitar, think Unforgettable Fire and Joshua Tree, a lovely vocal melody, and a lot of respect, love and gratitude. It’s another one that doesn’t strive for big anthemic swells of melody, it is content to just be as beautiful as possible. What is interesting is that they could have easily made that song bigger, the final third begs to escalate, but the restraint is more powerful.

The Blackout is another rocker like American Soul. It is very much Adam Clayton’s song (the bass is so good). It has a good sing-along chorus but everytime you get back to the verse the song shines more. It’s fist-pumping, feet-stomping rock and roll. They have been trying to write that song for a long time, it seems (what with the Vertigos, the Get On Your Boots and so on) and here it feels like they know what they have is special.

Love Is Bigger Than Anything In Its Way, the penultimate song on the record, will test you. It is really, sublimely cheesy. I like it a lot. I find that there is something defiant in being so boldly hopeful in these difficult times, to place all you have on the unstoppable, all-consuming urgency of love. The song is filled with gorgeous melodies, but there is, in particular, a chant that happens towards the end of the song that is so joyful, so buoyantly optimistic in the face of adversity, that it lifts the entire thing a mile into the sky. This is, once again, really big U2.

The album closes with 13 (There Is A Light). This is the second song to borrow from Songs Of Innocence, this time they re-purpose the entire chorus of Song For Someone, and once again I believe the end result is more powerful. This song mirrors the tone of the album opener. It is more atmospheric, with Bono quietly crooning to a slow subtle emotional build that pays off in beauty but not flamboyance. The song never gets big, it gets softly magnificent. Its restraint is resplendent. It’s a perfect way to end the album.