#vylet pony analysis

[fracturedgodhead]

I am going THROUGH it rn #16

I don't know why, and this might be something for my therapist, not tumblr, but for some reason, I was wildly emotional today. I cry very little (I wish I cried more) and I almost cried five times today. I don't know what the deal is. It might be that I'm trying to kick my two easiest unhealthy coping mechanisms (reddit and idle games lol), but I am feeling unstable.

Anywho, I have an idea for what to do for the song. I like the idea of "thanatosis" or "Apparent death" as an album title for an album about that concept, or at least how it presents in humans. Masking and fawn/freeze response mostly. The practice of producing false outward presentation for the sake of safety. I don't know if I'm qualified fully to represent such a sensitive topic; a certain thing my own sister told me is ringing in my head pretty loud... I'm going to though. I just hope that I don't hurt people... or make them feel like they're not valid.

That feeling has got to be worse than death I think. Being in pain and being told that it's not real, or not that bad. I love the line "If you hate me, I think you should kill me" that comes up in 4lung's 'cluster a-ok' and a similar line somewhere in either STOMACH BOOK or Vylet Pony's discography (I can't remember. ええと、*bleh*), but I think that the concept also extends, so like "if you dismiss me, I think you should cut me" or similar. Just the idea that people should not be able to distance themselves from the consequences of their interactions using social contract. If you claim to care about me and tell me my problems aren't real, you may as well be the one holding the knife, and if you hate me, you ought to take responsibility for my death.

Actually, I think I'm articulating it wrong. I think it's more so a parallel to the biblical concept of "hating someone is killing them in your heart", but abstracted and generalized. You ought to take responsibility for the catastrophization of the consequences of your feelings and how they affect people. It's not realistic or reasonable, but it has such a seductive, punk affect to it; I wait desperately for a chance to apply it. Next time someone tries to bullshit me, I will demand that they kill me.

You message me a death threat, I send my address.

Serve your purpose, hater. This is your role, and this is mine.

Alright, those were some very vague and rambling ideas, time to turn them into actionable plans I guess *groan*.

One of the biggest problems, or I guess it's a few in a trench coat. I have no clue which of the few ideas I have in mind I want to make, and I have no idea how to make it, once I decide.

I think Vylet pony's music is probably the best template for this specific subject matter. She has such a vibrant and fun sound, even when talking about some of the darkest subjects I've heard of. Monarch of Monsters is... well I can't call it fun, even without the lyrics, but it still manages to be energetic and bouncy despite its dismal subject matter. I like it a lot, and I think it works well with the Taxxonian concept of undermining your own seriousness to get past the (automatic) defenses of the listener.

If you start your song off with a scream, that sets a completely different mood and tone than starting it with a bark, and for the listener, that effects how the entire rest of the content is interpreted. I think BONNIE (Vylet Pony, CUTIEMARKS) hits me so hard for this reason. When I first listened to it, I imagined some butch lesbian pony in a dive bar with her band singing about someone she knew when she was younger, and had strong feelings for (platonic or romantic, either way works with the song), but never confessed, and either ended up drifting apart or the friend died. The subversion of them being ponies makes the line:

"for a while I would ask 'should I fucking die' or 'who am I, should I live tonight'"

hit like a fucking cement truck. My Little Pony, or basically any kids show for that matter, doesn't discuss suicide, especially not this intelligently, so hearing it in a song with the setting and characters presumably being those from the show (or a variation of) just fucking steamrolls me every time.

I want to capture that.

I need a subversion then...

I don't know of one. I simply don't have an easy... silliness that I can draw from, all the silliness I have is recent, and I'm still learning. I want to make deeply evocative music thoouuugghhhhh.... Maybe I'm just not there yet. Maybe I just need to make what I can now.

Alright, so this is the plan: I make a song where I just try to get familiar with the software, and music in general. I will use mostly synth stuff (because that stuff hits like ASMR for me, frission for days lol), but I also need to include some instruments and vocals. I need to learn right now :c.

So, basically, forget everything else, I'm just making music to learn for now.

[eggs-are-bricks]

im gonna actually start posting here i think so ill make a real intro for here and my main eventually; but for now

hihi, im toap.

this blog is gonna be unhinged essay posting and constant rebloging with no consistency of interests bc i hyperfixate with emphasis on the hyper.

long term interests you can (almost)expect posts ab:

don't click! (webtoon)

deep sea creatures?? maybe??

the sims 4 maybe

musicians and lyric analysis (particularly r.i.producer, vylet pony, and mike mayo as of late)

some hyperfixations that i know will change but i have thoughts on rn:

welcome to the nhk

spaceboy

heather's maybe???

talentless nana

random anime tbh

god i don't have consistent interests

a lot of random comics/graphic novels

a lot of random webcomics

fucking hit one panel comic 'cow tools'

ill edit this to be accurate l8er xd. follow for inconsistent insanity [or just follow my infinity more coherent main]

[breakerbeam]

and, branching off of the last post, "hush!" was another song i didn't really get at first until i fully read the booklet and the lyrics. but now i think i understand. the repeated themes of stagnation and lack of progress ("you feign benignly- indulge stagnation, a sickly, cyclical, sinister, sinister, abomination." and "a cacophony disembodied, disavowed, and vacant dies in your abstinence." as well as many more) all lead me to a one of the major themes of the album, being artistry. it almost reads as aritst's hatred for themself, like, that guilt and feeling of going nowhere (maybe, tying back into the carousel bit) in your art, feeling unable to move forward, even though you're creating, it will never be good enough or feel like substantial progress. i think that also ties back into lyrics like "every blasé verdict's been clipping your wings" from "carousel" which represent how disparaging remarks from critics and those looking to bring you down hurts your ability to make art, making you stagnate. creekflow literally clips vylet's wing in the text for "hush!" and, since i see creekflow as being a mirror self for vylet, maybe that represents how self hatred most of all inhibits you from creating the art you want to, from "spreading your wings" keeping you in the same cycle

also! can i just say that leaving "hush!" off with "sing a song about life, motherfucker" loud and clear after that basically been vylet's subtle leitmotif for the past two albums is fucking sick as hell

[greenjokwe-blog]

Vylet Pony: Carousel (An Examination of the Shadow, 'Creekflow', and its Life as an Afterthought) - Listened 06/02/2023

Back in 2019, I made a bold and very premature claim that fandom music was the way of the future. I don’t know how I feel about that now but I think I still believe in the idea on a fundamental level. From what I see from my interpretations of current trends (again, probably wrong), the all-range demand and universal love for music and art that’s based on “real life experiences” as amazing as it can be I feel can sometimes diminish from artists who are influenced to write genuinely about other unpopular means, the art of character songs, and ironically enough prints artists into this box of spreadable, marketable personas, leading to restrictions along the line and the need to self-fabricate (which, for the record, is totally fine, but you can see the contradiction). I feel like in order to keep with the creation of wonderful art that’s still sincere, it has to go back to the roots of the one thing basically all artists have in common; the love of their influences and the desire to create.

This is a lot of what makes Vylet Pony’s music so interesting and special to me. An artist who addresses these ideas as directly as you possibly could, Vylet has an amazing talent regarding production and musical ideas, and manage to deliver that with such honesty regarding its specific interests, and strong disregard for anyone who wouldn’t give its music the time of day. It ends up leading to music that’s incredibly exciting to listen to, sounding very assessible while still being albums filled with love. I have no real weight in the say of My Little Pony music specifically, stopped watching FiM after the airing of the first episode of season 2 (still don’t know what happened to Discord), but this album manages to be the best of all worlds regarding previous outings, being arguably one of the more generally accessible from a surface analysis, but musically as experimental and personal as ever.

While I really liked fish whisperer, one of the easier complaints that you could make about that album is that it was very much a “Porter Robinson worship” album (fine by me, I loved nurture!) This album, however, takes a much broader influence from a variety of electronic music in general. From artsy indietronica, to drum and bass, to bro-step, to glitchy VGM and its many samples. There are also broader influences from rock music and industrial that make the album sound truly unique as far as my experience of this kind of music goes. Some of these influences and their execution I prefer more than others, but overall generally I think it works great at getting the point across, that the album, as well as Vylet’s music in general, isn’t made to be “confrontational”, but rather take the feelings of the whimsical and the eclectic from its sources and expand on them anew, with its own vision and personality.

And again, this album is definitely the most personal Vylet has released yet. It’s one that I have difficulty writing about as of yet, having not heard it a second time yet and currently still writing this to mainly keep up with my media thread (don’t expect album reviews to be here often bc of this, even if it’s my preferred medium), but I do have a strong feeling that Vylet doesn’t really know what to make of its placement as a long-standing artist. Feelings of losing self-confidence and fleeting moments and dreams seem to fill the album, almost like the baggage of its work has bitten back, no matter how unjustified it may be.

I’ll refrain from writing any more about it in case I find something else on relistens or find out more abt Vylet/Pony lore, but if one thing is the case for me is that I hope Vylet keeps creating music that feels like this. While fish whisperer might be easier for me to digest and go back to, this album is definitely the better and more accomplished of the two. Something that I genuinely hope makes an impact, that has so much talent going into it that I hope that even its harshest cynics sit back and think about it for a bit. If we can finally break this boundary of this kind of music being put into a corner and forgotten about, I feel like the more that music as a whole can grow and change for the better. Although maybe we don’t have to. Maybe it’s already here. I don’t know. But yeah, definitely the first album of 2023 I ended up loving. Excited for what the future may bring, both for Vylet and music in general.