#zap out any nuance or complexities....

[tboyquackity]

can i be honest and say tht codependent is another term tht fanon needs put on a shelf

[hungryandliterate-blog]

Zap Black & The Sixth Century Future Recovery Group - ‘Coulture’

This is one of the the most complex, challenging, and rewarding albums released recently, and I swear some big film studio is just going to pick it up for the token ‘character accidentally takes acid’ scene.

I think it’s fair to say some bands harken to a certain time period when they make an album. Maybe it has 80′s new wave influence. Maybe it has a 90′s grunge feel. But Zap is an artist out of time. With ‘Coulture,’ the SCFRG (wow what a name) gives you an entire era of culture deconstructed and reimagined. While I’m not up on fusion jazz, and can’t speak to the academic successfulness of the arrangements of ‘Welcome to Hudson,’ ‘La Chismea,’ etc, or the technical correctness of the improvised tracks like ‘Legions In The Ocean,’ I can say that they’re important goalposts for a record that breaks in and out of seriousness, reflection, and nuanced reference for something far greater than the sum of the parts. Whether or not it’s intentional, most of the ‘jazzy’ tracks remind me of classic backing scores to ‘golden age’ cartoons like Pink Panther and Scooby Doo. While at first I attempted to fight viewing the music through that lens, the skit tracks, which pulled me into a Monty Python-esque tongue-in-cheek mentality reaffirmed that the band is well aware of the canonical time, and to what media their music is going to reference. Stepping beyond instrumentation, the album pulls you through several pop-adjacent tracks that sound like a blender full of less-dramatic King Crimson, more technically apt B-52′s, and a dash of The Brave Little Toaster. While the record doesn’t necessarily feature any absolutely ‘pop’ moments, it does dance lightly around the ideas of composition as a whole, and plays between tightly arranged boppy vocals, hard-panned and spoken delivery that harkens to retro advertisement, complex but articulate instrument melodies that blend jazz and psych-rock, and absolute pitfalls into chaos like the (in my opinion) epicenter of the album, ‘It’s Really Important�� where the narrator pleads with the listener to understand: “It’s - okay - it’s - you know it’s really - *crying sounds* *laughing sounds* *screaming sounds* It’s really just simple. Please. Please. Please.” ‘Coulture’ is, of course, not simple at all. But it does so much work to invite the listener into the space it’s creating, which is both as familiar as old ‘I Love Lucy’ episodes and as complex and unique as a dream being described by a friend, that anyone with any associations to American media circa 1950 - 1980 are going to have a certain emotional response to the content presented, but not be prepared for it. This album is a dialogue, largely between the artists involved in it’s production, but also with the consumer, that begins with the fractioned and digitally-augmented cover art that screams ‘classic’ with it’s vapor-wave color scheme and faux dust and scuffs, and bleeds into the ‘hands-off’ production, which feels very much like this is happening in a room in front of you, but with the occasional modern touch of panning or modulation that reminds you how self-aware the production is as a whole. The conversation this album wants to have is complicated, but not serious. It’s absolutely one of the headiest things I’ve ever experienced, and I’m barely able to even touch on the nuance of the music itself. If ever there was a record to hang in an art gallery, this is it.

Overall Rating: 4/5 skateboarding skeletons (My 5 point system, detailed) 1. Is it well produced? (The recording sometimes leaves me wishing for a bit of overall mastering push, but then the idea that the ‘implied room’ is so clean begins to become central to the album. So... call it a draw?) 2. Is it an album, not just a collection of songs? (Dear lord, yes) 3. Is it challenging itself / it’s genre expectations? (More than anything I’ve heard in a long time) 4. Does it say something? (Immaculately) 5. Do I personally like it? (This is too complicated to enter regular rotation for me, but I respect it)

[the-desolated-quill]

Cold War - Doctor Who blog

(SPOILER WARNING: The following is an in-depth critical analysis. If you haven’t seen this episode yet, you may want to before reading this review)

Here we go again with another Mark Gatiss episode and it always pains me whenever I have to slag him off. I’m a big League of Gentlemen fan and Gatiss has done sterling work with them over the years, but the sad fact of the matter is the stuff he does outside of the League just isn’t very good. His first Doctor Who episode, The Unquiet Dead, was decent but flawed, The Idiot’s Lantern was a ripoff of Little Shop Of Horrors except with none of the charm, Victory of The Daleks was utter crap, and Night Terrors just bored the pants off me. Now here we are with Cold War, and I wish I could say this was the episode where Gatiss finally pulls out all the stops to give us the magnificent Doctor Who story we’ve all been waiting for, but sadly it’s yet another dud I’m afraid.

By far the biggest problem with Cold War is its total lack of originality. An Ice Warrior gets loose aboard a Russian submarine and it’s a fight for survival as the Doctor tries to reason with the alien and save the crew. Yep, this is yet another base under siege story, and it goes through all the cliches. The Doctor meekly trying to persuade the villain to show mercy, the crew splitting up to search for a solution, the monster picking them off one by one, and so on. I’ve seen this kind of story done so many times in Doctor Who now that I was practically nodding off halfway through it. 

Cold War also borrows liberally from other sci-fi stories, the most obvious being Alien, but there’s also elements from other Doctor Who stories too, such as the multiple Silurian stories where the Doctor tries to persuade two sides to play nice, and Dalek where the last surviving member of a warrior race threatens to destroy all of humanity out of desperation and rage. The problem is the reason Dalek worked so well was because of the Doctor’s long history with the Daleks. A relationship he simply doesn’t have with the Ice Warriors. Plus Cold War shares the same problem as The Hungry Earth/Cold Blood where neither side are given any sort of nuance or depth, and therefore it’s hard to empathise with anyone.

Of course Cold War is significant in that it features the long awaited return of classic series monsters the Ice Warriors. Having heard all of my rants about the Cybermen, the Sontarans and the Silurians, you’re no doubt wondering what I, a veteran Whovian, thought about the Ice Warriors during their heyday.

Yeah, I’ve never really been a fan. Not that they’re bad villains, mind. They’ve had some decent stories in their time. I’ve just never found them to be particularly interesting. The only time I felt the Ice Warriors really came into their own was in the Jon Pertwee era story The Curse Of Peladon. It was a sort of murder mystery plot where an alliance between the Galactic Federation and Peladon was in peril due to someone killing off the delegates. Naturally the Doctor and his companion Jo suspected the Ice Warriors due to their reputation, but then the story pulls the rug out from under us by revealing the true culprit to be the High Priest Hepesh and the realisation that the Ice Warriors really had changed their ways after all. It was a genuinely good twist and opened up a lot of creative possibilities for the Ice Warriors. We’d seen heartless zealots like the Daleks, altruistic foes like the Cybermen and one note pantomime villains like the Master, but we had never seen a monster in Doctor Who that starts out as evil only to realise over the course of the show that what they were doing was wrong and try to make amends. This put the Ice Warriors in an incredibly unique position I feel. One that sadly was never fully capitalised on because in their next and last story, The Monster Of Peladon, the Ice Warriors reverted back to being baddies again.

So what direction does Gatiss take the new, revived Ice Warriors? Are they a morally complex race of warriors trying to make up for past mistakes or boring alien invaders hellbent on world domination?

...

Boring alien invaders hellbent on world domination.

Great! Yeah! God forbid we should do anything interesting with them!

To the episode’s credit, the new Ice Warriors look really cool. Much more high tech and imposing than the classic series ones. And Gatiss does try to address a few discrepancies in Ice Warrior lore, for example how did a race of cold blooded reptiles survive on a cold planet like Mars? But it’s the characterisation that severely lets this episode down. The Ice Warrior just isn’t a very interesting character. They try to make you feel an emotional connection to him by wheeling out the cliched dead daughter, but the character is just too extreme for us to empathise with. One human zaps him with a cattle prod and suddenly he wants to destroy the world, and the only explanation we’re given as to what justifies such an overreaction is some bollocks about Martian code of ethics. Also, didn’t he attack them first? And I had to let out a hollow laugh when the Doctor said the Ice Warrior would have left them alone if they didn’t zap him. Bit naive, wouldn’t you say? The Ice Warriors are many things, but merciful is not one of them.

And it just gets worse when they then commit the cardinal sin of getting the Ice Warrior to come out of its shell. So instead of the tall, imposing Ice Warrior we were promised, we instead get a pair of green rubber gloves gripping people’s faces and the worst CGI face I’ve ever seen in my life. It’s hard to imagine an Ice Warrior being that fast and nimble out of the suit, (not to mention that spindly looking), not just because I’m so used to the Ice Warriors being slow, sluggish brutes, but also because Earth’s gravity is much stronger than Mars’. Shouldn’t the Ice Warrior be a quivering puddle of slime on the floor? And what was the point of the Ice Warrior ‘disassembling’ people to learn human weaknesses. It never comes into play at any point in the episode. Everything about the naked Ice Warrior just feels utterly divorced from anything I’d associate with them to the point where I question why Mark Gatiss would even call it an Ice Warrior. Why not come up with your own alien? Why bring back the Ice Warriors? And I’d prefer a better reason other than ‘it’s the 50th anniversary.’

The human characters are just as bad. Whenever I’ve seen Cold War related stories, it’s usually from the perspective of the Americans. Hardly ever from the Russians. This is an opportunity for Doctor Who to cover new ground here, but they don’t really. The Russians aren’t actually characters. None of them are given any real development, arc or personality of their own. You have the captain who’s... well... the captain, some douchebag who is obsessed with war and gets promptly killed off, and then you’ve got David Warner’s character who we learn absolutely nothing about other than he’s obsessed with Duran Duran. The rest are just pointless redshirts that I don’t give a single shit about. If you’re going to give me a base under siege story, the least you can do is give me interesting characters that I actually care about, otherwise it’s going to be a bit hard to work up any kind of shock or sadness when they do kick the bucket. There’s no tension because I don’t care who lives or dies.

And speaking of tension, that’s another missed opportunity. It’s the Cold War. The world’s on a knife edge. Any spark or conflict could trigger nuclear armageddon. Combine that with the claustrophobic submarine setting and this episode should be brimming with paranoia and nervous tension. But you never get a sense of that, not only because I don’t give a shit about any of the characters, but also because at no point did I feel the weight or scale of what’s happening. Oh sure the Doctor keeps reminding us about the threat of a nuclear apocalypse, but it never feels imminent because none of the characters seem to take the prospect seriously. For one thing, the Russians are very quick to trust the Doctor and Clara despite them mysteriously appearing out of nowhere and could very well be working for the enemy for all they know, and whenever they do talk about the Cold War, it’s very quickly brushed to the side. Well if the characters are’t bothered by the prospect of a nuclear holocaust, why the fuck should I be? Even the finale with the Doctor praying that the Ice Warrior won’t launch the nukes is undermined by Clara randomly singing Hungry Like The Wolf. Strip all the tension out, why don’t you?

The Doctor is at his most ineffectual sadly, reduced to spouting his usual ‘show mercy’ claptrap and waving his sonic screwdriver around, but what annoys me even more is Clara. Not only is she back to her smug self, reducing the potential threat considerably because if she’s not taking it seriously, why should I, but also there’s an opportunity for a good character arc here that Gatiss botches spectacularly. At one point Clara wonders whether she could have handled her first encounter with the Ice Warrior better and at the end is able to use the memory of the Ice Warrior’s daughter to persuade him to leave. This could have been an effective moment had Clara been allowed to speak to the Ice Warrior freely the first time around instead of being reduced to a mouthpiece for the Doctor (why couldn’t the Doctor just talk to the Ice Warrior himself? They never properly explain that). Clara isn’t given any real agency of her own or licence to screw up, so rather than the ending feeling like a personal triumph for Clara as she grows and develops as a character, she’s instead just a convenient out for Gatiss.

And don’t get me started on all the stuff that just didn’t make sense. How can the Russians mistake a frozen humanoid for a mammoth? Why did that guy thaw the Ice Warrior out other than for the sake of plot convenience? Why would a submarine that was only sent on an Arctic expedition be carrying nuclear weapons? Why would the Russians have automatic weapons on a submarine? How is the Ice Warrior able to hide inside the walls of a submarine? How does the Ice Warrior expect to launch a successful nuclear attack from a submarine that’s stranded 700 meters down below sea level? Oh and the Doctor just happened to have been fiddling with the TARDIS off screen, which just happened to make it disappear to the South Pole, leaving them stranded in the submarine? That’s fucking convenient, isn’t it?

I suppose I don’t hate Cold War. It’s competently made and if you’re someone who can’t get enough base under siege stories in Doctor Who, I’m sure it’s possible to enjoy this one provided you switch your brain off beforehand. The only crime this episode commits is that it’s just really, really dull. The story is cliched, the characters are one dimensional, and the potential of the setting is completely wasted. The only noteworthy thing about Cold War is the Ice Warrior and they don’t even do that very well. Overall it’s a very bland and forgettable episode. Maybe one day the Ice Warriors will get an episode that finally realises their full potential, but it isn’t this one.

[thornheartcat]

On genre, presentation, and Anime Bullshit™

Okay this is fucking dumb but I just figured out something that bothers me about the popularity of something like ERASED/BokuMachi and I know it’s fucking dumb to be complaining about something I didn’t like more than a year after it ended and can’t you just let it go Fiona no no I can’t I’m full of salt I’m so full of salt I’m considering going through some shitty books piece by piece and complaining about them (pls tell me if you would be interested in this kind of content from my blog I’m not sure if I should do this or not) but also I think this is kind of a larger problem that is worth talking about in general and I’m using ERASED/BokuMachi as more of an example than anything else

I think part of what made ERASED/BokuMachi so popular wasn’t any of its actual content but its presentation. Specifically, the way it was presented as being this serious drama, and the way it was presented as not being super “anime”. I mean obviously it’s a fucking anime but I mean it wasn’t presented with a lot of the stylistic choices that accompany many anime like candy color hair, or super “anime” voice acting, or comical super-deformed or over-exaggerated facial expressions, etc etc (hereto referred to as Anime Bullshit™). All of that combined with the story being a murder mystery (in theory anyways) with minor genre elements (the time travel) suggested that this show was more mature and worthy of respect than something like, say, Higurashi, which features plenty of Anime Bullshit™, such as a variety of wacky characters (Rena’s OMOCHIKAERI, Satoko and her ojou laugh, Rika’s nipah and mii and nano desu) and candy hair and crazy violence and plenty of hinted genre shit that turns out to only be some genre shit but it’s still pretty genre. ERASED/BokuMachi had none of that obvious Anime Bullshit™. Only realistic hair, no over the top loud characters with dumb gibberish cutesy verbal tics, no extreme violence or fanservice, no crazy anime faces, and a generally lowkey vibe to the whole affair. And there’s nothing wrong with that: Your Name./Kimi no Na wa. had a fairly grounded presentation aside from the genre elements and it’s like one of the best movies I’ve ever seen. But Your Name./Kimi no Na wa. is incredible because it’s a great story with likable characters and it’s well thought out and goes in directions you wouldn’t expect and it looks FUCKING GORGEOUS. It’s good because it’s GOOD.

Basically what bothers me is when people act like something that’s trying to be more “realistic” and “grounded” is inherently better than something that embraces certain conventions and genre trappings, including Anime Bullshit™. ERASED/BokuMachi is simply not a better show than Higurashi. Its characters are more subtle in some ways, but that does not make them more interesting, and I’d argue that every character in Higurashi has more depth and nuance than any character in ERASED, who tend to cross the line from “subtle” to “just boring”. I was endeared to Higurashi’s characters almost immediately but could not muster the ability to give a single shit about Satoru or any of his friends for the entire show. ERASED presents itself like it’s so mature and you’re mature for liking it instead of Shitty Light Novel Adaptation #19054830 that aired the same season. But you’re not. I mean Shitty Light Novel Adaptation #19054830 almost certainly sucks, it sucks a lot, way worse than ERASED, but just because ERASED doesn’t obviously fall into some of the same Anime Bullshit™ doesn’t make it inherently good.

I’m reminded of a review I once saw of BioShock Infinite where the reviewer basically suggested that BioShock Infinite could not tell the compelling and emotionally involving story it wanted to tell because it was sci-fi, because you play a dude who mows down hundreds of people and gets the power to zap people with lightning and shoot crows out of his hands, all in a flying city, all with a story that brings in quantum mechanics, time travel, and alternate universes. As if all of that precluded it from having complex and engaging characters, as if Elizabeth’s ability to open tears in reality made her somehow less interesting and lovable, as if the flying city aspect of Columbia invalidated everything it had to say about America, racism, and imperialism, as if all this somehow softened the blow of the final twists, made the storytelling less interesting or well-crafted.

And that’s bullshit.

Something being genre or pulp doesn’t mean it can’t elicit a powerful emotional response in the viewer/player/whatever, it doesn’t mean that it can’t say anything important or interesting, and just because something avoids some of those trappings doesn’t mean that it automatically IS saying something important or being emotionally engaging, or even that it really is avoiding any of the actual bullshit that those trappings usually entail. Like, yeah there’s not any super obvious fanservice in ERASED, but that bath scene with Kayo and Satoru’s mom got SATORU excited from the other room, and the attention to detail on the mom’s tits conforming to the shape of the tub certainly didn’t escape my notice. Satoru’s mom doesn’t ever age, because god forbid a woman ever NOT look like an attractive 20 or 30 something the viewer might want to fuck. Kayo is basically engineered to make people declare her as their new daughteru and scream about how they want to protect her smile and shit. Just cause she’s not making any cute moe sounds doesn’t mean she’s not another form of moebait. Satoru is hinted at possibly getting together with Airi, a cute, very anime girl more than 10 years younger than him. The villain is a cartoon with zero depth, he just really likes murdering little girls and literally carries candy around to lure them into his car. (And I know in the manga he gets a backstory but it’s a dumb one.) The fancy deep metaphor of the spider’s thread that it brings up ends up basically making no sense and having zero connection to the villain and his story and motives. For all its high aspirations, all its pretense of maturity and serious drama, it’s honestly not that different from a lot of the anime it and its fans seem to look down upon, without even having the courage to embrace its own Anime Bullshit™.

And that pretentious, superior, smug ATTITUDE is what I think bothers me more than anything else about ERASED, and stuff like it. A work can be more grounded and realistic and be fucking GREAT, but that won’t be what MAKES it great, and it shouldn’t act like it is. And if you’re gonna do Anime Bullshit™ or any other crazy absurd genre stuff, just do it, don’t be ashamed. If your material is actually any good it will stand on that.

[elenuniverse-blog1]

Rejuvenation juice, beauty secrets 75015 paris

Rejuvenation juice, beauty secrets 75015 paris

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[eloquentbaboon-blog]

Imperfect Rhyme: The Perfect Solution

Ah, there you are - you’ve just written the most amazing riff, using the most surprising chord structure, and sung a vocal melody that would make angels weep. Now, if only you can find that perfect lyric then you will have finally written the PERFECT SONG. Let’s see…this is all about that heartbreaking love affair you had last June. What rhymes with June?? I know, MOON!! There. That was it. That was the moment you lost everybody’s interest. It’s gonna be hard to play your next gig over the sound of the entire audience snoring so damn loud. Don’t buy bigger amps, don’t get some Björk-style Tesla coils that will zap sleepy fans into submission (tempting as that may be). The solution is blessedly simple, you don’t have to use perfect rhyme.

Abandon Reliance on Perfect Rhyme, All Ye Who Enter Here

Rhyming is part and parcel to songwriting. Rhymes make your lyrics more memorable, they allow the lines to connect, they can impart a flow to the words – they bring a sort of musicality even in the absence of music. But cliche rhymes will cause that flow to bleed out – they wear on the listener’s attention span until it trickles away. There’s only so many predictable couplets an ear can withstand before the brain simply tunes it out as so much noise. Moon/June, rain/pain, miss/kiss, hand/understand…zzzzzz. Worse, as a writer you can fall into a trap before the song’s even finished by allowing the meaning and direction of the lyric to be dictated to you:“But, these are the only words that rhyme! I had to write it like this, I’m sorry!” You should be sorry, hypothetical songwriter. You should be.

Ok, we’re gonna talk a bit about the nuts and bolts of language now, but hang in there it’s worth it. Just get a little phonetic knowledge under your belt and you’ll never be short of options when writing again. When we talk rhymes, 99% of people think of perfect rhymes. We all know it when we hear it: sound/round, here/beer, June/moon. In short, perfect rhyme occurs when the final vowel+consonant combination between two words is identical. The vast majority of cliche rhyme crimes are committed because of the desperate search for these perfect rhymes. Now I’m not saying all perfect rhymes are cliche or that you should never use perfect rhyme, but once you abandon reliance on it and learn how to look for more unexpected rhymes, your verbal palate will expand exponentially and your songwriting prowess will level up. Then the next time you finish a song you might think: “No that isn’t a perfect rhyme, but yes that is closer to the actual meaning of the song I set out to write and hey whaddaya know it’s actually something I’ve never heard before, isn’t that clever? Won’t all the people love me now I’ve written something truly original? End Scene”

 Be Friends With Family

There are several different ways to find a thoroughly satisfying imperfect rhyme, but for the moment we’re going to stick with what’s known as Family Rhyme. Family rhyme is a type of imperfect rhyme that occurs when two words have the same final vowel sound but only a similar sounding consonant.

Family rhyme relies on using sounds that are closely related to one another phonetically. Essentially, it’s as close as you can get to perfect rhyme without technically being perfect. And now, time for a visual aid:

(Note: This chart shows the sounds of consonants in English but in no way reflects how these sounds are actually spelled. For example, the sound of the g in fragile is represented on this chart by the letter j – because English is a language with a long and complex history and often the spelling makes zero phonetic sense. Don’t think so? Here are some other words with the letter g: rouge, bulge, hug, rough. Yeah, that’s what I thought. Oh, add “thought” to that list too.)

This little chart groups consonants in the English language by the way in which the sounds are made and what mouth/tongue position is used to make each sound.

The different columns reflect the 3 different ways these consonant sounds are made – either by allowing for a build-up and release of air (plosives – explosives!), by restricting air as it passes through the mouth (fricatives – think friction), or by resonating the nasal cavity to form the sound (nasals – mmmawp?). Sounds that are formed the same way are called companions.

The top row of voiced consonants are formed when the vocal chords are engaged, the unvoiced consonants are formed without using the vocal chords.

To demonstrate the difference, take a deep breath and breathe out slowly. Now being sure to keep your mouth in the same position, alternate saying “Uhhhhh” while you exhale with saying nothing at all (“Errrr” if you’re British. See, arbitrary spelling!). That’s you engaging your vocal chords. Now try saying “Duh-duh-duh-duh” and then say nothing at all while continuing the same mouth/tongue motions. The “duh-duh” sound is the voiced plosive “d”, the “t-t-“ sound you get from disengaging the vocal chords is its partner “t”. Yeah, you guessed it. Voiced/unvoiced sounds that appear directly opposite each other in the chart (partners) are made using the same mouth/tongue position.

The completionist in me wants to give an example for each sound. Left to right starting with the voiced row: rob, rod, gig – sieve, budge (j), baThe, forces (z), deluge (zh) – seem, seen, sing. Unvoiced: tip, pit, pick – sniff, hatch, bath, trips, splash.

And Then…?

So, how does all this newly found linguistic knowledge help get you out of the rut of relying too much on perfect rhyme? Well, if you can’t find a non-cliche perfect rhyme or need a word that more closely conveys the meaning of the lyric as you envision it, start by searching for a word that has a partner sound to the one you want to rhyme. And, like in life, if you can’t find a decent partner, you should at least be able to find a decent companion. Companion rhymes can be just as good.

Hypothetical Songwriter Finds a Hypothetical Rhyme

Let’s look at an example of this approach in action by coming up with some alternatives for the second line in this couplet (Copyright 2016, by me. I would’ve used an actual famous human’s lyrics, but that would’ve cost money so…womp-womp)

           You say my ambition isn’t serious enough

           You call it a flaw [when I laugh at stuff] Ok, so we’re gonna wanna to fix the obvious placeholder “at stuff” here. Enough/stuff is a perfect rhyme, it’s just a terrible line. We’ll start by listing perfect rhyme options. The sentiment of the lyric is dealing with an overbearing or overly-critical lover. Perfect rhymes for “enough” include:

bluff      cuff       huff       scruff     buff       fluff       puff       snuff chuff     gruff      rough    tough

Hmm, nothing great there.

You call it a flaw when I call your bluff – could work, but there’s no context in the rest of they lyric. What bluff? What are you talking about?

You call it a flaw when I dress too rough. Meh, that’s ok, but it’s a superficial criticism and doesn’t cut as deep as the line could. And it’s a bit awkward.

You call it a flaw, and that’s just rough. Another indifferent solution – just doubling down on the meaning of the previous line without adding any interesting nuance. Also by changing the subject of the criticism, it detracts from the momentum of this section.

You call it a flaw when I’m not tough. Ok, that does work. It’s a bit simplistic, but let’s see how the rest of the section develops.

Right, time to move on to the partner. If we look back at the chart we can see the consonant directly opposite the final f sound in our word enough is the voiced fricative v. So we’re looking for words with the same vowel sound as enough, but ending in v.

above   dove     glove    love      shove

Not a lot going on here either.

You call it a flaw when I fall in love. Hey, good line – makes zero sense in this context though.

You call it a flaw when I’m a dove. Ok, makes sense, but a bit out of place. Someone is usually called a “dove” for their political beliefs.

That’s about it there, how about companions? Always start with the nearest companion/s and expand out from there – the further away you get from the original sound, the more imperfect the rhyme becomes. First up, ch:

clutch   crutch   much    such     touch

Better options here.

You call it a flaw when I use a crutch. Ouch! In the literal sense of someone actually having the gall to criticize you for needing a crutch to walk, that’s pretty good. However a “crutch” can also be a metaphorical one – like maybe, alcohol. So, yeah that could be a flaw indeed. Too vague.

You call it a flaw when I laugh too much. Good. And the closest one yet to the meaning of the original line.

You call it a flaw when I need your touch. Yeah, also an overly harsh criticism so it works in that sense. But “need your touch” is a cliche phrase, and this exercise is all about avoiding cliches so…Next!

Next companion, th:

doth (American accent only…)

Yeahhh, moving on – s:

bus, cuss, discuss, fuss, impetus, plus, radius, stimulus, us, adventurous, ambiguous, analogous, anonymous, arduous, assiduous, blasphemous, boisterous, cancerous, chivalrous, courteous, curious, dangerous, delirious, dubious, envious, fabulous, furious, glorious, hilarious, humorous…

There are actually hundreds of words that could possibly fit here – seriously, give it a moment and you’ll realize these are just a few examples. So very quickly we’ve gone from 12 not-so-great perfect rhymes to literally hundreds of imperfect rhymes with varying degrees of meaning and subtlety, and weeding out the obvious duds still leaves us with dozens of directions the lyric could go. It’s much easier to find a needle in a stack of needles. Our job now is simply sifting through the options to find which needle works best.

I’ve settled on either:

           You call it a flaw when I laugh too much

or:

           You call it a flaw when I’m hilarious

Now to try the two in the context of the whole bar:

You say my ambition isn’t serious enough You call it a flaw when I laugh too much You tell me I’m week, ‘cause you’ve seen me cry And I never lay the law down for you to comply

vs

You say my ambition isn’t serious enough You call it a flaw when I’m hilarious You tell me I’m week, ‘cause you’ve seen me cry And I never lay the law down for you to comply

Difficult to say. Although I love the self-deprecating humor of when I’m hilarious, the fact that it produces the internal rhyme with serious almost makes it flow too well. It’s gonna be another 4 lines before the listener gets a true end-line perfect rhyme, and when I laugh too much makes that payoff bigger by more effectively delaying gratification, and it still manages to flow.

Decisions! And this is just the first batch of words with potential, there are still more to try – we haven’t considered ­sh or any of the companions voiced counterparts yet. Hopefully this example proves the point – with just a little applied phonetic knowledge, there is no shortage of options.

Loose Ends

Moving on from the example above, let’s quickly address why L and R sounds are missing from this whole discussion. Well, L and R stand a bit apart from the rest of the English consonants, phonetically speaking. In fact the only close relationship they have is to each other so the options when trying to find a suitable rhyme can be limited. If you’re having trouble, rewriting the line by ending with a different word might be best.

And lastly, rhyming vowels. The good news: words that end in vowel sounds usually have no shortage of potential perfect rhymes. I, she, you, they – we could go on all day. The bad news is: that’s all you get! There’s no such thing as an imperfect rhyme for an isolated vowel sound.

Tools

To truly get the best results from this method, you’re gonna need a grown-up rhyming dictionary. I know what you’re thinking: “But, aren’t there websites that do this for me? Why do I have to think about it?” Well for starters, there are no websites out there that cover everything, especially the more complex compound rhymes. And really the most thorough solution is to use both, of course.

By ‘grown-up’ rhyming dictionary I do NOT mean a simple, most often worn out, list of perfect rhymes. You need one where the words are organized by sound – in other words, phonetically. I whole-heartedly recommend The Complete Rhyming Dictionary, edited by Clement Wood. You should note, though, that this is an American dictionary and therefore everything is grouped according to that accent. Fear not! Many if not most modern singers tend to mimic a flat Midwestern American accent when they sing anyway (yes they do, it’s fine, it’s just a style and there’s historical context to consider), but even if you’re in the outside set that sticks to their regional guns, this book is arranged by sound. Your rhymes will still be in there. And be sure to read the introductory material, it’s worth taking time to familiarize yourself with how the book works. Good luck!