#for all his banger egg tweets

[blueberry-beanie]

The New Cue #357 February 12:

Everything Everything's Jonathan Higgs

"We were weirdos then and we’re weirdos now"

At the beginning of next month, Everything Everything release their seventh record Mountainhead. It’s another brilliant album from one of the UK’s most imaginative and forward-thinking guitar bands, a quartet who never tread water and have been consistently honing, reworking and outdoing what’s gone before for over 15 years, always coming up with a new version of themselves without ever losing what makes them special. The pillars of their music tend to be a mix of danceable synth-y grooves and inventive art-rock, intricate arrangements constructed around big pop hooks and surrealist lyrics, frontman Jonathan Higgs’ vocal delivery emotive and exuberant at the same time.

Higgs is at the centre of it all, a creative dynamo who seems to sum up their idiosyncratic approach and who has the ability to inject emotion into the bizarrest lyrics, lines such as:

“And no reptiles! Just soft boiled eggs in shirts and ties, Waiting for the flashing green man Quivering and wobbling just like all the eggs you know”

That one is taken from Get To Heaven’s epic standout No Reptiles.

Or this, which somehow sounds poignant when Higgs sings it on the electro-pop banger Arch Enemy:

“Fatberg you smile, with your grave wax eyes, will you consume me?”

Or how about this oddball corker, from the euphoric electronica of Raw Data Feel closer Software Greatman?

“Maybe I see Klingons on the starboard bow Maybe, I’m a cat inside a sacred cow

Higgs is at it again with this zinger from their excellent recent single Cold Reactor: “I sent you the image of a yellow face To tell you I’m sad about the emptiness that’s all around me”

That song, released in autumn last year as the first single from Mountainhead, has become Everything Everything’s biggest radio hit yet. It’s spent weeks on the Radio 1 B-list, a very uncommon position for an indie band whose members are all in their late 30s, but its success that sums up the vibrancy and relevance of Everything Everything in 2024. Even better, it probably meant Radio 1 have had to get their heads around this blurb from Higgs on what the new record Mountainhead is about:

“In another world, society has built an immense mountain. To make the mountain bigger, they must make the hole they live in deeper and deeper. All of society is built around the creation of the mountain, and a mountain religion dominates all thought. At the top of the mountain is rumoured to be a huge mirror that reflects endlessly recurring images of the self, and at the bottom of the pit is a giant golden snake that is the primal fear of all believers. A ‘Mountainhead’ is one who believes the mountain must grow no matter the cost, and no matter how terrible it is to dwell in the great pit. The taller the mountain, the deeper the hole.”

Well, you don’t get that with Catfish And The Bottlemen. A few weeks ago Niall – that is me, I am The New Cue’s resident Everything Everything nut in case you hadn’t guessed – spoke to Jonathan over Zoom about the mad concept around the new record, the dynamics of being in a band in 2024, his favourite Liam Gallagher tweet and more. I’ve made this playlist of my favourite Everything Everything songs to listen whilst you read,

Hello Jonathan. I love the new record, it feels different to Raw Data Feel, a bit looser… Yeah, it’s got a lot more freedom and it sounds more like a band playing a lot of the time rather than the rigid, more computerised stuff that we were doing before. We made an effort to make it feel a bit more real and laid back.

Was there much overlap? No, partly because we put everything we made for Raw Data Feel on that record, we didn’t leave anything in the banks. We did the opposite with this, we actually went back and looked at some old demos and brought them back to life because we were looking for some kind of angle that we weren’t going to stumble across, we wanted to go back to our youngest selves and go, ‘What was that thing we were doing?’.

That’s interesting, how far back did you go? I think it’s sessions for A Fever Dream, or it might be Re-Animator, so five or six years ago. Some of the songs on this are from that time, or at least elements of them are or a little demo was made and then thrown away and then we went back and said ‘Let’s explore this and breathe new life into it.’

When you’re seven records in and you start to look back like that, does it feel like different versions of the band? Yeah, definitely. There’s definitely been eras, we’ve never got stuck in one way of doing things. There’s an evolution, for good or for ill, since our first songs to now. I can find myself very quickly thinking in those terms when I hear a song from then, I’m like, ‘Oh yeah, I was trying to do this’ and that stuff changes over time and I’m glad it does because otherwise, you just make the same record again and again and no-one wants that.

Yeah. Without naming any names, for some bands it ends up becoming a process of survival and maintenance. Yeah, thankfully, we’re not in that position. I know what you mean, this idea of being a nostalgia act does not appeal very much, partly because we were at our peak three albums in so we can go back and feast on Get To Heaven-era but I have no interest in going back to Man Alive and trying to recreate that partly because we were weirdos then and we’re weirdos now, it wasn’t the glory days by any means. I’m immensely proud of what we did back then but I’m not going to try and retread it. This is an odd thing to say having just said that I went back to some old demos and put them on our new record, but those demos were rejected for reasons that I find interesting now. And I don’t feel that we need to play the games we were playing them because we’re so good at writing successfully now, I think.

Something like Cold Reactor, I didn’t labour over it and I knew as soon as it was done, it was great and I knew that would that would carry us through. It allows you to feel a bit more relaxed about creativity rather than ‘Must get that radio single or we’re doomed!’, which obviously is the burning hot coal under our butts most of the time because it’s easy to take that stuff for granted, popular songs, but you’ve got to actually write them and they’ve got to actually be popular otherwise no-one cares. Basically, every album usually comes down to one, two or three songs and if none of them have any interest, then people just go, ‘Did an album even come out?’.

Cold Reactor is a good example of the band right now, it seems to sum up all that’s great about Everything Everything and it’s become this mad radio hit. I know! We’ve watched a lot of friends’ bands struggle in this period we’ve had, 15 years now. There is a tendency to rest on your laurels or try and repeat the thing and it’s very difficult to not do that. Sometimes, I’ve done it myself when I’ve sat down and written a song and then I get to the end of it, I go, ‘Well, we did that better with X song on Arc’ and it’s like, ‘I could do this and our fans will really like it because it sounds just like us, it sounds just like Arc’ and then we’re like ‘No, into the bin with you, let’s try and take that same sensation but do something new with it’. That often comes down to the production. I think if you were to strip all of our songs of their production, then you could probably find something I’ve written now very similar to something I’ve written.

There’s a simplicity to a lot of the songs on the new album, nothing is overloaded and it makes the more outlandish stuff more potent. That’s been a big thing to learn over our careers. You’ve got the ability to do outlandish stuff, and you’ve got these players who can play really well but that isn’t enough to just present all of those things at once and expect people to go, ‘Wow!’. Some of them will, and that’s how we made our name, the prog dads, as we used to call them, that came to our shows in the very early days and just stand there and go, ‘yes, this sounds like Yes!’, and that’s fine. But that I felt like it wasn’t really a challenge. It felt like being a music student still, trying to dazzle each other with complexity and emotion slowly rose through all that and they all just fell away. I was like, ‘No, that is the hardest thing to communicate’ and that’s the challenge. That’s what the greats do is, they get your emotions and you can’t manufacture that and you certainly can’t bamboozle that into people, you have to start with a strong, simple, true, or as close to true as you can manage, emotion and then you can start having fun with it. I think that’s the thing that took us the longest to learn.

Everything Everything’s work has grown more emotional with every record. You’ve got these big concepts around them but that disguises the fact they feel a bit more personal and vulnerable each time… I think that’s what happens to humans. Twenty-three-year-olds are a strange breed to look to for sustenance when it comes to art, there’s a rawness to being that age, it’s an age of discovery. And that stuff is very exciting but there’s no real reason why someone older would create like that or go to that well, it actually gets quite sad when people try to go to that well. Now I’m older and I’m more of an emotional person and I’m less about fireworks and more about volcanoes! I don’t know how to put it, there’s something much deeper now when I create than when I was a young punk.

On that note, rather than me crowbar into an incredibly long question, why don’t you sum up the concept of Mountainhead? It’s extremely simple, a one metaphor fits all type-deal. I knew I wanted to sing about capitalism but not put too fine a point on it. I mean, it’s not a very subtle metaphor. But I knew there were certain elements of it that I wanted to get across, namely the Sisyphean sort of feeling of it being pointless and also, the fact that there’s this trade-off between building the mountain but having to live in the dark, which was a big touchstone for me when I read Capitalist Realism by Mark Fisher, this sense that our lives are getting worse in some ways, that the more we progress we’re becoming more isolated and we’re shutting off large parts of our humanity in the search for this goal of ever expanding and growing our economy and trying to climb the ladder. It’s simple enough that you can’t really fault it, I’m not saying this is exactly how we live, there’s not enough to it for it to fail. It’s something everyone gets straight away.

A lot of the lyrics touch on that theme but which of the songs is the most personal to you that veer away from the concept? Probably The Witness, that’s definitely not really related to the concept. That’s pretty personal. There’s a line in there about this… I shot this bird with an air rifle when I was a kid. I walked into the shed and I saw it, this cute little chaffinch or whatever and it just sat there looking at me and then I picked up the air rifle, I knew where it was and I killed it.

You bastard! I know, I’m telling you this now cos I felt bad, I’m not saying it was a good thing! For some reason that came back to me. During the very early sessions on the album, we’d all gone away somewhere and when we got back, Alex went up to his studio at the top of his house and a pigeon had got into the room and thrashed and thrashed to get back out for four days, there’s like blood all over, feathers everywhere. I was like, ‘Guys, this is a sign… we’re gonna call it The Pigeon!’. Obviously we didn’t but birds do get into it - Canary obviously is a song there - and this thing about that bird and it flew into my head. That’s very personal. But then the rest of the song is about some fucked up stuff that happened to me in the pandemic that haven’t properly been able to talk about in these situations because it’s a bit too personal, basically. A lot of Raw Data Feel was about trying to deal with that as well. I should’ve called it Raw Data Deal. That’s the only moment I’ve given over to that thing on this newest album, the last song. I haven’t actually been able to listen back to it because it makes me too emotional when I think about what it’s really about. But that’s not for public consumption, it’s not needed.

Fair enough. Tell me about the dynamic between the four of you, because that seems like a really important point in your longevity. Apart from a very early line-up change, it’s been the four of you the whole way. Yeah, it’s great. We’ve settled into our roles over the last 15 years. Alex [Robertshaw, guitarist and keyboards] is very much the producer now and by way of that, he’s ended up writing a lot of the guitar and keyboard parts, which I would usually write more of in the past. I’ve become completely consumed by the emotion of getting the message across in the lyrics and stuff like that, as well as obviously writing songs. But in terms of how they sound, I’m less and less involved or concerned, that’s Alex’s playground more. Mike [Spearman, drummer] and Jez [Pritchard, bass] are very good at taste-making. Me and Alex do 98% of the composition and then those guys are much more like, ‘Well, I feel like this is a good way for us to go or this is better than this one,’ things you can’t really tell when you’re the creator and you think everything’s great. They’re also really good at the whole business side of the band, which is the less romantic end but incredibly important. So talking to accountants and they’re having meetings with the labels and Mike’s producing the videos, getting organised, all the stuff that me and Alex being “the creatives” are terrible at because we have the luxury of being terrible at them. Those guys fill in the gaps and they’re really, really good at that. Jez is really good at meeting people and all that kind of shit, so it works really well. You’ve got at least one person covering every possible angle. I’m doing a lot of the visual stuff now. I’m designing a lot of the visual side of the band, basically most things that we’re tweeting or videos is all being done by me. As a unit we could basically do this by ourselves... if someone gave us loads of money, which is how we operate.

My last question is a random one but it’s been on my mind. On Christmas Day, you dug up a four-year-old Liam Gallagher tweet where he called the producer Dave Sardy “Dave Sardine”, and I wanted to know how your Christmas Day mind had been drawn back to that. Haha! Well, when it happened someone tweeted it to me and I thought was funny and I retweeted then. Then recently, I remembered it and I went to see if it was still there. It was and I was like, ‘I’m gonna save that for Christmas Day’ - it wasn’t related to what I was up to. It’s just like, right, ‘Christmas Day, time to tweet my favourite tweet’. It will always be my favourite tweet because it’s how angry he is about Dave Sardine. It’s so good.

The full article is available on substack.

#jonathan higgs #ee #everything everything #the new cue #mountainhead

[gnfkitten]

Dreamnotfound bait this fundywastaken wedding that I want to know where the fundywasfound content is because I am not a coward.

#in fact I am brave and manly #pander to us dream you know you want to #come on dream imagine the contemplations #the search hits #dream 🤩 oh dream 🤩 you could have so much 🤩 #you could make them fight for content #Minecraft thruple rights! #dreamwasfound #dreamwastaken #georgenotfound #itzfundy #fundy #mcyt #dream smp #dtsmp #dreamsmp #sapnap #because sapnap deserves a tag #for all his banger egg tweets #... I am not a shipper but I appreciate good content #not really I just like the chaos

[mt-words]

Ranboo is one of the most successful L’manburg presidential candidates ever and he never even officially ran.

Let’s look at his campaign goals and promises.

Values-

• Primes- reached most subbed to twitch streamer.

• Clout- see above.

• Women- respects all the female streamers on the SMP.

• Funny- obviously.

• Banger tweets- has publicly murdered multiple people with sass.

• Sam- self explanatory.

Type of Government-

• Whichever one works :) - having a government never worked out well for L’manburg and now they don’t have one, so… I call that a win.

Outlaw-

• Arson- our first failure. To be fair his chances weren’t great.

• Tommy- exile.

• Racism- L’manburg is gone now and can therefore no longer be racist if it tried.

• No childenrrren- I’ve never seen a childenrrren, have you? Didn’t think so, that’s a success.

• Killing pets/ Sapnap- Since L’manburg is no longer a place (crater doesn’t count) Sapnap can’t go there anymore, therefore he’s been effectively outlawed.

• Boats just for Dream because he needs to learn how to walk- When was the last time you saw Dream in a boat? Guarantee it has been at least two months.

• Heart attacks- no one has had one since he joined the SMP.

• Ranboob- Tommy is a variable, this goal is doomed to failure.

Relaw-

• Untax Niki- She’s no longer being taxed.

• Ranboo day- I mean, it hasn’t not happened? It could be coming up?

• Techno shack- made a shack next to Techno’s house.

• Accidental muder- has been committed and gone unpunished multiple times, seems relawed to me.

• Make Big Q’s clothes mandatory- He showed up to the Disk War finale naked, unfortunately that’s a failure.

o And Dream too- depends on if this is in reference to him changing his skin or not wearing armor.

General Promises

• Recrown Eret King- yep.

• National Anthem will now be a mix of all star and ymca- strike four, I don’t think I can stretch this one.

• New Flag- strike five.

• Beach episode- the pirate treasure hunt.

• GIVE TECHNO SOME FRIENDS- He has Philza, Ranboo, and Niki now. It’s a good start.

• Make a bank- It’s being worked on.

Goals

• Kill Georgenotfound- I don’t think he’s done this? Correct me if he has.

• Punt Tommy- again, was involved in him being outlawed.

• Give Philza Elytra- failed so far, but it looks like it will happen when he dies. So.

• Give Fundy a dad- Eret sort of adopted him? It didn’t really get followed up on.

• Give Tubbo bees- he did get a hive.

• Somehow make Wilbur even more dead- is currently trying to kill Dream so Wilbur and Schlatt can never come back.

• Find Sally and figure out how the heck THAT happened- failed, but to be fair I’m not sure even Wilbur knows.

• PROTECT THE L’MANTREE- This aged poorly.

• Make TECHNO swear- close but not yet.

• MAKE PURPLED ORANGE- The egg messes with colors, we’ll see?

• Give Tommy his view- they’re making a tower with a great view of the Prison.

• Tax Punz- don't think this has happened yet.

• GIVE GEORGE AN ALARM CLOCK- can’t be done, the universe would break.

• Give Eret some rest- they took a break for a while.

• LET TECHNO AND NIKI SPEAK- they both have room to talk with the Syndicate

• Make new explosives- nukes.

• Enable rain- it has been fixed.

• MAKE MUFFIN A CURSE- multiple streamers on the Dream SMP use muffin to swear now.

• MAKE GEORGE FOUND- George is doing Lore now?!?

Get Money- is now one of the richest members of the server.

• Pyramid scheme/ Girl scout ccokkjgiers- can you prove he hasn’t?

• BAKERY THAT ONLY STEALS MONEY- Ice cream shop, but close enough.

• MERCH- has made merch.

Speech promises-

• Be a better president than any previous by not being in the smp- failed on the day he made the speech. I guess his promises were just too good.

#some of these are scarily specific #like the make new explosives? #I completely forgot about that! #And there are still more goals he could accomplish #the list isn't done yet #maybe i'll update this when everything is completed or impossible to complete #ranboo 2021 #ranboo #l'manburg #ranboo for president #dream smp #mt's words #ranboo appreciation

[whitherliliesbloom]

weaving the present, illuminating the future

[ ffxivwrite2021 ] ★ [ masterlist ] ★ [ prompt #30 - abstracted ]

[ illya & friends ] ★ [ 2,849 words ]  ★ [ streamers au ]

modern / streamers / online celebrities au where the spud squad are all popular streamers who frequently collab together. centers around illya and kaye mainly, but briefly mentions a bunch of other friends and illyanaud.

abstracted- withdrawn in mind, inattentive to one's surroundings

the spud squad announce their indefinite hiatus right after releasing their one year anniversary single, and illya cannot help but to feel just a tad bit melancholic.

Illya hasn’t bothered checking her notifications, or looked at either her computer screen or mobile phone, really. The sounds of ping after ping on linkcord, text after text and the flood of new tweets mentioning the one tag she followed on twitter easily made her overwhelmed - and so she’d opted to switch her devices off entirely before burying herself under the covers for the evening, trying desperately to distract herself with a copy of a manhwa that she’d borrowed from Laurelis. 

But it was futile, her head is empty and heavy, yet swirling with a myriad of many emotions all at the same time. And after feebly reading and re-reading the same page over and over only to realize she hadn’t been paying attention to the contents of the book at all, she closed the manhwa shut with a heavy sigh before closing her eyes, praying to the heavens that exhaustion would lull her quickly to sleep.

Outsiders would merely assumed she was simply nervous from the release of their newest single, Ultramarine Hymn, a collaboration between the members of their massively popular streamer group made in celebration for their one year anniversary. They’d prepared for months, working together with a widely renowned music composer and even performing live on stage with a set of professional make up artists, producers and videographers to film their first ever music video.

For everyone barring Mint, it’d been their first time ever singing and dancing for a large audience online. While the experience had been undoubtedly fun, it was still their first real exposure doing anything of such professionalism and scale- and so her flat mate Kaye wasn’t surprised at all to find her shaking like a leaf as she sat next to him on the couch just several minutes prior to the premier of the video.

While the premier of their first music video was indeed a good half of the reason why Illya felt so out of sorts and nervous for the rest of the night up until sunrise, the true reason for the melancholy she bore in her heart came from the announcement that was posted right after the release of the music video, and it’d kept her awake for a good portion of the late night until she mercifully fell asleep, clutching the lavender purple ribbon she’d worn in the music video tightly in her hands.

The spud squad was going to go on an indefinite hiatus shortly after the release of Ultramarine Hymn - a result of an eight months long business trip Kaye had been assigned on as a professional programmer. Streaming and being something of an internet celebrity was never the man’s main source of income, so it’d be unwise of him to turn down the golden opportunity to further his career in favor of staying behind to continue streaming. 

Naturally, Lily was going to move overseas with him as well - and while she has made it clear to her audience that she will continue streaming whenever she could afford the free time to, the radically different time zones between Eorzea and Doma meant it’d be difficult to participate in anymore spud squad activities - at least until she and Kaye would return.

Mint too, announced that she’d been preoccupied with practicing for auditions into several professional idol management companies... and while Illya herself isn’t as busy as the other three, juggling between helping with business at her mother’s florist, studying for an entrance exam into a medical school and streaming on top of that has become quite a hectic endeavor. 

Thus with much reluctance, the six of them came to a consensus and decided to announce their indefinite hiatus, a news that they’d hoped would sit well with their impressively large audience of fans if it came with the release of a music video to remember them by.

Illya knew that it was a necessary change of process - that new doors are being opened for each of them and it was only right for them to seize the opportunity to chase their dreams. Deep inside, Illya truly did feel overjoyed for her friends, loved them all with of her heart so much that the hiatus was but a small fraction of the cost to pay in exchange for their happiness.

But that didn’t mean there wasn’t a hint of melancholy and bitter sweetness within that earnest joy and cause for celebration. None of the six of them knew when they’d next be able to work on something like this again, or if they’d even find the time in the future to work together again at all. It was perhaps because of their shared understanding - that unspoken sadness between all of them that they’d agreed to prepare something special to celebrate one year of their collaboration - a song that spoke of hope and a brighter future. 

‘The more you give up, the more regrets await you.’

By the time the sun rose, accompanied by the shining of morning light through her pastel pink curtains and the melodic chirping of birds nesting upon the wisteria tree just outside her window, her phone has been assaulted with a mountain of unchecked notifications that she dreaded to sort through. 

The girl knew she couldn’t possibly keep her phone locked and switched off forever, and so she’d booted it up after washing up in the shared bathroom, before walking out of her bedroom, staring down at her screen with a light frown.

The smell of fried bacon wafts through the apartment. The sound of sizzling oil intermingles with Hazel’s cheery singing, and Illya takes the time to open the latch of her enclosure, allowing the little sparrow to flutter about the living room until it settled peacefully next to the potted sunflowers that sat upon the window sills of the kitchen, watching the raven haired man flipping eggs effortlessly with a flick of the frypan. 

“Good morning, Kaye. Thank you for making breakfast, again.” Greeting with an ever bright smile, Illya sits herself down at her designated seat at the dining table upon a bright floral cushion, watching as the man turns his head back for a moment before returning his attention to the stove. 

“It’s Sunday, so it’s my turn. You don’t gotta thank me.” He walks over to the dining table to dump the steaming hot sunny side ups and crispy bacon onto their plates, cups of orange juice already poured and waiting, which Illya takes into her hand to take a quick sip out of.

“You checked eorzeatube and twitter yet?” The young man asks as he sets the frypan down, gesturing towards the phone in her hands.

“N-no... Is it urgent?”

“Not really, no.” Kaye raises an eyebrow, sitting himself down and jabbing a fork into his bacon. “But aren’t you curious about how the music video did?”

“I-I am... A little, I suppose... but-” 

Her stammer gives her away her listlessness, and Kaye shoots the girl a furrowed scowl and a frown. 

“Is somethin’ botherin’ you?” The man asks, and Illya’s lips curl upwards into a wide, deceptively warm smile.

“Just nervous is all.. What if the fans didn’t like it?” it wasn’t a complete lie, though not the total truth, but Illya was always exceptionally talented at hiding her negative emotions, and Kaye seems to buy it enough to slump back against the back rest of his chair and toss the bacon into his awaiting mouth, chewing quietly and swallowing before speaking.

“You won’t know till you see for yourself.” 

It’s an unfortunate reality that he’s right, and Illya finally gives in and taps onto the icon for the twitter app, waiting for the timeline feed to load before her star spangled violet eyes widen in complete disbelief.

99+ notifications, an equally unbearable amount of private messages in her inbox as well as the first tweet literally being about the music video - Moth’ir’s retweet of their short promotional video from their official spud squad twitter account, which has garnered over 40 thousand likes and 10 thousand retweets.

#spudsquad and #ultramarinehymn are trending, and Illya gives in to her curiosity enough to tap on the tags and scroll through the tweets.

cosplaycon2022 hype!!! @/oracleoflight  • 18h  my good friend illya and her friends #spudsquad just released #ultramarine hymn and it’s so so so good!!! please give it a watch!! 

EEEEEEEEEE @/driftinintiawind  • 18h @/academician you didn’t tell me your gf was an idol bro???? GOOD SHIT #ultramarinehymn

 pink is JUSTICE @/rosepinkcutie  • 17h OHHHHH I’m goihng to cwyg #ultramarinehymn made me cryuy. iT’S SO GOOD...... #spudsquad i LOVE YOU

Alphinaud @/academician  • 17h Do give your support to #spudsquad ‘s new music video, #ultramarinehymn ! They’ve worked very hard on it!

soliriii @/windupsunshine  • 17h thank you #spudsquad for all the joy you’ve given me for the past year!! what a way to celebrate <3 #ultramarinehymn

hien’s booty @/floortank   • 16h  HEY #ultramarinehymn IS SO LIT THOUGH????? WTF

thancredwaters @/gunbrkrs  • 16h #spudsquad Good job my daughter hasn’t stopped playing this song on repeat for the past 2 hours. 

Nyx @/underthebloodmoon  • 15h Sharing a good friend’s music video here. #ultramarinehymn #spudsquad

Nidhstinien @/azuredragoon  • 15h [youtube link] #ultramarinehymn nice

vergotohelldad @/reveilleur  • 14h only 4 hours after release and #ultramarinehymn is already trending. twitter has some fucking good tastes in music thank the twelve.

Lamittens! @/lalamitt  • 14h Oh to be spud squad long time fan :pleading: I’m so fed... #ultramarinehymn #spudsquad

nhelly @/blackestmage  • 13h I turn around and #spudsquad decided to drop an absolute banger. loving #ultramarinehymn !!

Aymeric de Borel @/officialborel  • 13h A wonderful song that elicits a sense of optimism and hope. #ultramarinehymn

kafuuchi @/cloudsysmile  • 13h hey is it just me or is kaye getting hotter :blush: still a kayelily simp tho!! #ultramarinehymn

KoKomi Komi @/sangopriestess   • 12h @/starblossoms Congratulations on the new MV!! It’s very catchy! #ultramarinehymn

The scroll is endless, timeline filled with a mixture of both familiar and unfamiliar twitter handles, yet all collectively singing praises and awe for the music video and the song. It’s hard to not be overwhelmed by the sheer amount of positive reception their hard work and efforts have received, and Illya tears her eyes away from the screen to look up at Kaye with a twinkle in her wide violet eyes, and the man looks back at her expectedly. 

“I-It...It seems to be very well received.”

“’Seems to be’? The video’s got over five hundred thousand views on eorzeatube from the past 18 hours.”

Illya almost chokes on her eggs, eyes blown wide as she swallows her food abruptly and her voice raises into a high, bewildered squeak.

“F-f-five... hundred thousand???” 

By the twelve, that’s far more than even their highest recorded number of viewers on their biggest stream - and it’s been less than a day since the release of the music video. She cannot imagine just how ecstatic Mint must be at having such a successful idol-esque debut. 

“Does that ease your worries now?” Kaye asks, snapping the girl out of her train of thoughts once more, and he is met with a smile and an affirmative nod in response. 

“It does... thank you, Kaye.” 

Knowing that weeks of preparation, practice and hard work has paid off and finally bore fruit was the biggest relief Illya’s experienced in a while, and the simple knowledge that the sentiment of their song got through to a good number of the fans warmed her heart.

But in the midst of the joy, there was yet an underlying somberness lingering in the air between the pair that was not lost to either of them, as silence quickly fills the atmosphere and quickly turns the space around them cold. 

Scrolling through the top tweets didn’t exactly help either - because while it had quickly eased Illya’s worries of the music video being negatively received, in between praises for the song came the posts of fans who were dejected by the hiatus announcement.

Most of them had been supportive, of course... Their audience has ever been so welcoming, understanding and wonderful to them. But that perhaps made the disappointment they felt even worse on Illya’s melancholy, as she once again quickly slips back into the depths of her own internal mind. 

Because as well received as the music video they’d released is, it still ends with them going their separate ways, and it fills Illya with a sense of already festering loneliness that she refuses to admit verbally to.

She never did like goodbyes. 

‘The time that flows in the blink of an eye. The fear of continuing to be as we are.’

Neither Kaye nor Illya particularly enjoyed talking about their troubles, not even to each other, and so while Kaye could make an educated guess on why Illya seemed so despondent, he makes no comment on it. He was never the best at comforting others anyway.

He lets the silence fester between them even after Illya sets her phone down to focus on her plate full of breakfast, fishing his own device out of his pants pocket and begins to type away at it. 

It isn’t until after a whole ten minutes has passed that he’d finally look up from the screen, expression unreadable yet his voice sounding a modicum more relaxed than it had been a while ago as he calls out to Illya as she was drinking the last of her orange juice. 

“Hey, you’re free tonight, right?” The raven haired man asks, and Illya sets her glass down with a quirk of her eyebrow, if there was even a hint of sorrow in her, she didn’t allow him to hear it.

“Um... I am. Why?”

A smile from Kaye is a rarity, let alone one that carries such gentleness and ease... but the one he’s wearing now is so warm that it blows away the storm clouds that she hadn’t even noticed hanging over her head. 

“Then, are you cool to do an Among us stream tonight? With the other four, of course.”

Sparkling lavender eyes widen, and Illya is silent for a brief moment before stuttering out in response.

“A-aren’t you going over to Lily’s place to help her pack though?? And... the others.. aren’t they-”

“I’ll only be there for the afternoon. We’re only gonna be flying next week so there’s no rush. As for the others, I already asked. You can even invite Alphinaud if you want, the more the merrier.”

“But didn’t we just announce that we’re going on hiatus? I don’t want to trouble the others if they’re too busy either-”

Her pink lips slightly part, voice timid and soft. Hesitation and uncertainty briefly flashing through her twinkling eyes as she averts her gaze from the man and hides them under the shadows of her pure white bangs. But it does little to keep the light red burn of her cheeks and the bridge of her nose from Kaye, who only rolls his eyes at her in response.

“Gods, stop being so nice. I said I already asked and they’re down for it.... well, mostly. Ichi said he wanted to sleep but I’ll drag him outta his bed if I have to. We may be on hiatus, but it’s not like we’re gonna stop hanging out together, right?”

Though Kaye’s tone is rough and his words are painfully honest, his tongue as sharp as the gaze of his midnight blue eyes, Illya knew there was kindness laced beneath his huff, and the tension in her body slowly begins to fade, making way for a brighter, far more honest and radiant smile that washed away the chill of the air like a spring breeze.

He’s right, as he often is. 

Even if they may go their separate ways in the future, they will still always remain connected as friends, holding the memories they made together close in their hearts. 

Her phone’s buzzing with notifications again, and she takes a peek down at the lit up screen, her heart warming at the equally excited messages from her beloved friends. From Mint who is spamming :mikurave: emotes, to Lily who was telling Ichi that no, a schedule with his bed isn’t a valid excuse and Nanami who was offering to set up the stream for the night... Things are all as it should be, right here and now where they are together - where they are home. 

“If everyone’s fine with it then... I’ll join too. Don’t raid Ichi’s flat, though!” 

Illya lets out a giggle that rings out like windchimes in a cool summer breeze, and Kaye clicks his tongue with a shrug of his shoulder.

“He gave me his keys for this exact reason, he doesn’t mind. How do you think he always makes it in time for our streams? All I need to wake him up is a fork and porcelain plate and-”

“Kaye! That’s... that’s so mean-”

‘I'll hug you with equal parts expectation and anxiety. You and I, weaving the present, illuminating the future.’

#ffxiv #ffxivwrite2021 #ffxivwrite #kiwisffxivwrite2021 #illya skawi #kaye #spud squad #streamer au #fanfic #mine #i had a vision but I think it went all over the place #and i didn't know how to write all my ideas and themes coherently #sorry ichi i don't have your appearance data #which is why he's not in the picture #big SOB #i wanted to include illyanaud more prominently in here somewhere but #it would always feel out of place so #its fine i like the concept so thats all that matters #the song referenced in the fic and title is ultramarine hymn by eve!! #which was written for proseka's 1st anniversary so

[bananaofswifts]

Taylor Swift’s ‘Folklore’: Album Review

It’s hard to remember any contemporary pop superstar that has indulged in a more serious, or successful, act of sonic palette cleansing than Swift has with her eighth album, a highly subdued but rich affair written and recorded in quarantine conditions.

While most of us spent the last four months putting on some variation of “the quarantine 15,” Taylor Swift has been secretly working on the “Folklore” 16. Sprung Thursday night with less than a day’s notice, her eighth album is a fully rounded collection of songs that sounds like it was years in the interactive making, not the product of a quarter-year’s worth of file-sharing from splendid isolation. Mind you, the words “pandemic hero” should probably be reserved for actual frontline workers and not topline artistes. But there’s a bit of Rosie the Riveter spirit in how Swift has become the first major pop artist to deliver a first-rank album that went from germination to being completely locked down in the midst of a national lockdown.

The themes and tone of “Folklore,” though, are a little less “We can do it!” and a little more “Can we do it?” Because this new collection is Swift’s most overtly contemplative — as opposed to covertly reflective — album since the fan favorite “Red.” Actually, that’s an understatement. “Red” seems like a Chainsmokers album compared to the wholly banger-free “Folklore,” which lives up to the first half of its title by divesting itself of any lingering traces of Max Martin-ized dance-pop and presenting Swift, afresh, as your favorite new indie-electro-folk/chamber-pop balladeer. For fans that relished these undertones of Swift’s in the past, it will come as a side of her they know and love all too well. For anyone who still has last year’s “You Need to Calm Down” primarily in mind, it will come as a jolting act of manual downshifting into actually calming down. At least this one won’t require an album-length Ryan Adams remake to convince anyone that there’s songwriting there. The best comparison might be to take “Clean,” the unrepresentative denouement of “1989,” and… imagine a whole album of that. Really, it’s hard to remember any pop star in our lifetimes that has indulged in a more serious act of sonic palette cleansing.

The tone of this release won’t come as a midnight shock to anyone who took spoilers from the announcement earlier in the day that a majority of the tracks were co-written with and produced by the National’s Aaron Dessner, or that the man replacing Panic! at the Disco’s Brendon Urie as this album’s lone duet partner is Bon Iver. No matter how much credit you may have given Swift in the past for thinking and working outside of her box, a startled laugh may have been in order for just how unexpected these names felt on the bingo card of musical dignitaries you expected to find the woman who just put out “Me!” working with next. But her creative intuition hasn’t led her into an oil-and-water collaboration yet. Dessner turns out to be an ideal partner, with as much virtuosic, multi-instrumental know-how (particularly useful in a pandemic) as the most favored writer-producer on last year’s “Lover” album, Jack Antonoff.

He, too, is present and accounted for on “Folklore,” to a slightly lesser extent, and together Antonoff and Dessner make for a surprisingly well-matched support-staff tag team. Swift’s collabs with the National’s MVP clearly set the tone for the project, with a lot of fingerpicking, real strings, mellow drum programming and Mellotrons. You can sense Antonoff, in the songs he did with Swift, working to meet the mood and style of what Dessner had done or would be doing with her, and bringing out his own lesser-known acoustic and lightly orchestrated side. As good of a mesh as the album is, though, it’s usually not too hard to figure out who worked on which song — Dessner’s contributions often feel like nearly neo-classical piano or guitar riffs that Swift toplined over, while Antonoff works a little more toward buttressing slightly more familiar sounding pop melodies of Swift’s, dressed up or down to meet the more somber-sounding occasion.

For some fans, it might take a couple of spins around the block with this very different model to become re-accustomed to how there’s still the same power under the hood here. And that’s really all Swift, whose genius for conversational melodies and knack for giving every chorus a telling new twist every time around remain unmistakable trademarks. Thematically, it’s a bit more of a hodgepodge than more clearly autobiographical albums like “Lover” and “Reputation” before it have been. Swift has always described her albums as being like diaries of a certain period of time, and a few songs here obviously fit that bill, as continuations of the newfound contentment she explored in the last album and a half. But there’s also a higher degree of fictionalization than perhaps she’s gone for in the past, including what she’s described as a trilogy of songs revolving around a high school love triangle. The fact that she refers to herself, by name, as “James” in the song “Betty” is a good indicator that not everything here is ripped from today’s headlines or diary entries.

But, hell, some of it sure is. Anyone looking for lyrical Easter eggs to confirm that Swift still draws from her own life will be particularly pleased by the song “Invisible String,” a sort of “bless the broken roads that led me to you” type song that finds fulfillment in a current partner who once wore a teal shirt while working as a young man in a yogurt shop, even as Swift was dreaming of the perfect romance hanging out in Nashville’s Centennial Park. (A quick Google search reveals that, yes, Joe Alwyn was once an essential worker in London’s fro-yo industry.) There’s also a sly bit of self-referencing as Swift follows this golden thread that fatefully linked them: “Bad was the blood of the song in the cab on your first trip to L.A.,” she sings. The “dive bar” that was first established as the scene of a meet-cute two albums ago makes a reappearance in this song, too.

As for actual bad blood? It barely features into “Folklore,” in any substantial, true-life-details way, counter to her reputation for writing lyrics that are better than revenge. But when it does, woe unto he who has crossed the T’s and dotted the I’s on a contract that Swift feels was a double-cross. At least, we can strongly suspect what or who the actual subject is of “Mad Woman,” this album’s one real moment of vituperation. “What did you think I’d say to that?” Swift sings in the opening lines. “Does a scorpion sting when fighting back? / They strike to kill / And you know I will.” Soon, she’s adding gas to the fire: “Now I breathe flames each time I talk / My cannons all firing at your yacht / They say ‘move on’ / But you know I won’t / … women like hunting witches, too.” A coup de gras is delivered: “It’s obvious that wanting me dead has really brought you two together.” It’s a message song, and the message is: Swift still really wants her masters back, in 2020. And is really still going to want them back in 2021, 2022 and 2023, too. Whether or not the neighbors of the exec or execs she is imagining really mouth the words “f— you” when these nemeses pull up in their respective driveways may be a matter of projection, but if Swift has a good time imagining it, many of her fans will too.

(A second such reference may be found in the bonus track, “The Lakes,” which will only be found on deluxe CD and vinyl editions not set to arrive for several weeks. There, she sings, “What should be over burrowed under my skin / In heart-stopping waves of hurt / I’ve come too far to watch some namedropping sleaze / Tell me what are my words worth.” The rest of “The Lakes” is a fantasy of a halcyon semi-retirement in the mountains — in which “I want to watch wisteria grow right over my bare feet / Because I haven’t moved in years” — “and not without my muse.” She even imagines red roses growing out of a tundra, “with no one around to tweet it”; fantasies of a social media-free utopia are really pandemic-rampant.)

The other most overtly “confessional” song here is also the most third-person one, up to a telling point. In “The Last Great American Dynasty,” Swift explores the rich history of her seaside manse in Rhode Island, once famous for being home to the heir to the Standard Oil fortune and, after he died, his eccentric widow. Swift has a grand old time identifying with the women who decades before her made fellow coast-dwellers go “there goes the neighborhood”: “There goes the maddest woman this town has ever seen / She had a marvelous time ruining everything,” she sings of the long-gone widow, Rebekah. “Fifty years is a long time / Holiday House sat quietly on that beach / Free of women with madness, their men and bad habits / Then it was bought by me… the loudest woman this town has ever seen.” (A fine madness among proud women is another recurring theme.)

But, these examples aside, the album is ultimately less obviously self-referential than most of Swift’s. The single “Cardigan,” which has a bit of a Lana Del Rey feel (even though it’s produced by Dessner, not Del Rey’s partner Antonoff) is part of Swift’s fictional high school trilogy, along with “August” and “Betty.” That sweater shows up again in the latter song, in which Swift takes on the role of a 17-year boy publicly apologizing for doing a girl wrong — and which kicks into a triumphant key change at the end that’s right out of “Love Story,” in case anyone imagines Swift has completely moved on from the spirit of early triumphs.

“Exile,” the duet with Bon Iver, recalls another early Swift song, “The Last Time,” which had her trading verses with Gary Lightbody of Snow Patrol. Then, as now, she gives the guy the first word, and verse, if not the last; it has her agreeing with her partner on some aspects of their dissolution (“I couldn’t turn things around”/”You never turned things around”) and not completely on others (“Cause you never gave a warning sign,” he sings; “I gave so many signs,” she protests).

Picking two standouts — one from the contented pile, one from the tormented — leads to two choices: “Illicit Affairs” is the best cheating song since, well, “Reputation’s” hard-to-top “Getaway Car.” There’s less catharsis in this one, but just as much pungent wisdom, as Swift describes the more mundane details of maintaining an affair (“Tell your friends you’re out for a run / You’ll be flushed when you return”) with the soul-destroying ones of how “what started in beautiful rooms ends with meetings in parking lots,” as “a drug that only worked the first few hundred times” wears off in clandestine bitterness.

But does Swift have a corker of a love song to tip the scales of the album back toward sweetness. It’s not “Invisible String,” though that’s a contender. The champion romance song here is “Peace,” the title of which is slightly deceptive, as Swift promises her beau, or life partner, that that quality of tranquility is the only thing she can’t promise him. If you like your love ballads realistic, it’s a bit of candor that renders all the compensatory vows of fidelity and courage all the more credible and deeply lovely. “All these people think love’s for show / But I would die for you in secret.”

That promise of privacy to her intended is a reminder that Swift is actually quite good at keeping things close to the vest, when she’s not spilling all — qualities that she seems to value and uphold in about ironically equal measure. Perhaps it’s in deference to the sanctity of whatever she’s holding dear right now that there are more outside narratives than before in this album — including a song referring to her grandfather storming the beaches in World War II — even as she goes outside for fresh collaborators and sounds, too. But what keeps you locked in, as always, is the notion of Swift as truth-teller, barred or unbarred, in a world of pop spin. She’s celebrating the masked era by taking hers off again.

Taylor Swift “Folklore” Republic Records

#taylor swift #folklore #review

[topweeklyupdate]

TØP Weekly Update #54: COVER ME (7/13/2018)

Finally, after months of solid drought, the barren wasteland known as the TØP fanbase has finally been blessed with rain. And not just a gentle sprinkle; it’s been a consistent heavy downpour, a veritable flood. Even before new music, this week gave us new content from the group every single day. There will probably be something new out by the time you’re done reading this. So let’s not waste any time! Here’s your week in Twenty One Pilots news.

This Week’s TØPics:

Your Band Is Back: Trench Coming This October

“Jumpsuit” and “Nico” Released

New Logo/Theming/Everything

Josh Speaks

And SO. MUCH. MORE.

Major News and Announcements:

This time last week, I was certain that we would be getting new music on the 6th because it was my birthday. Turns out, myself and many others in the Clique read a little too deeply into Clancy’s promise that “everything would be different” by morning. We did not receive new music on that date, which, for the record, was way earlier than most reports had pegged. The fanbase wanted music ASAP and interpreted the letter to fit that, and anyone who said the band lied about when music was coming was just not being honest with themselves. 

Things were different starting last Friday. On the one-year anniversary of their departure, Twenty One Pilots directly reached out to their fans for the first time, not through the wide platform of social media, but with an email message to their mailing list.

The message only consisted of the subject line “ARE YOU STILL SLEEPING?” and a gif of an opening yellow eye, with images fitting the iconography of the Dema site flashing under the eyelid. The Clique basically lost their minds at this direct contact, so much so that major publications like Billboard finally started to report on the long gestating speculation. Everyone was excited to see the eye open over the course of the day, bringing everything full circle and culminating (presumably) with new music.

That... didn’t happen. Rather, dmaorg.info was restored after being down for only a few hours, and this gif of torches was added onto the site. This indicated that Clancy had escaped Dema, and the Clique promptly set about assuming that the next day would mark the band’s full return. Further, the name of the gif, “they_ca_ntseeFCE300″, seemed to confirm what people would be speculating ever since Josh dyed his hair nearly two years ago: the next era’s color would be yellow (specifically, FCE300) to symbolize hope and light pushing back against the dark.

The next day brought with it another update from Clancy (and the general concession among the Clique to stop expecting new music every night and just go to bed). In one of my favorite bits of attention to detail so far, Clancy’s latest journal was messily handwritten on a scrap of paper, due to the fact that he had successfully escaped Dema and was now traveling through- big shock- a region called “Trench”. The writing itself is kinda rambly and generic (so I can relate), with Tyler Clancy marveling at how much he loves being in the trees being alone out in nature. That said, I do love that there is a definite story being presented, with Clancy experiencing changes, taking action, and going on a real journey through this world that Tyler’s created.

On the back of the paper, however, is something much more interesting: a blown-out image that, when reversed, revealed a dead body. That was creepy enough as is; far more creepy was the Clique’s CSI-level discovery that this ripped photo fit with several other dmaorg.info images in a giant puzzle. Who was this man? Was this a random poster that Clancy grabbed as he escaped, or are we supposed to take it as a metaphor? Was it a random citizen of Dema? A bishop? Clancy himself? Blurryface? So many questions.

Twenty One Pilots truly made their mainstream return on July 9th, when they posted a second video of a half-opened eye, not just for hardcore fans, but on all of their social media platforms. This return was accompanied by a total overhaul of the band’s general branding: a new yellow-and-black ||-// logo was revealed for the new era, while the old “silence” banners and even the website subscription box were covered up by bright yellow tape. Billboards featuring the logo on this yellow tape aesthetic sprang up in cities all around the world, from London to Toronto, Berlin to Melbourne, even an entire building in São Paolo. The boys were back.

On Tuesday, Twenty One Pilots again returned to social media to post a second video. The eye, now about 3/4 open, depicted even more of this medieval battle, now with the addition of the Watchers on the cliff throwing... something (rocks? rose petals?) into the air. Instead of generic white noise, this clip was scored by a muffled but still obviously crunchy bass line. As radio stations across the country began to tweet about a major alternative release coming Wednesday morning (with a few even mentioning they were from Columbus), we finally knew that we were going to be ok....

New Releases:

And then I was not okay.

Early Wednesday morning, Twenty One Pilots dropped two singles and announced the names and dates for the next album, Trench, and tour, Bandito. My prediction from last week was 100% correct, and you all may thank and validate me in the comments below like and subscribe. “Jumpsuit” is our main single with a full cinematic music video, while “Nico and the Niners” is the more lore-heavy low-key song for the fans. I’m going to pull back from fully going in on picking apart every sonic and thematic element of both songs and save that for (hopefully) a less busy week, but you know I gotta write about their first new music in two years. Cause that’s what I do: I write too much.

Guys, “Jumpsuit” is a straight-up banger. Featuring a killer driving bassline, some of Tyler’s most impassioned screams, and a truly devastating bridge, I have not tired of this song one bit in the last few days. It takes me on a complete emotional journey in just four minutes every time, and it does so mainly through its soundscape (there’s only the hook, three couplet verses, and that damn bridge). It’s so, so, so, so good, potentially (dare I say it) the best sonically arranged and produced song the band has ever released.

So... what’s “Jumpsuit” about? Well, a lot of things, but in a word: pressure. Again, the lyrics are super vague, I think deliberately so. Clearly the song is about the singer feeling pressured by others into taking a path that he does not want to travel down. That bridge, delivered in an eerie detached falsetto, shows Tyler pushing back even at his weakest point, stating that he will not submit to what others want him to do unless they “grab him by the throat, tie him down, and break his hands.” Certainly you can argue that this is about the music industry. The “breaking his hands” line is killer in that context, as it signifies that the industry can’t control him without taking away the things that makes him valuable to them in the first place, his artistic ability and freedom. You can also say that it’s just playing straight into the concept, with Clancy breaking away from the bishops’ control. But the deliberate vagueness of the lyrics means that the audience can apply the message- and the empowerment of that killer bassline- to whatever struggle they are facing. That’s pretty darn rad.

The music video, directed by “Heathens” and “Heavydirtysoul”’s Andrew Donoho, is sick. Tyler (looking extra fly in his new yellow hooded jumpsuit) attempts to flee from this creepy Red Riding Hood old dude on a white horse (Nico?) through what is certainly a Game of Thrones filming location while other figures in yellow duct tape jumpsuits look on from the cliffs above. Tyler is captured by the bishop, who “smears” him by putting the black Blurryface makeup on his neck. Tyler is freed briefly from the bishop’s control when the other yellow-clad figures throw yellow petals down on him, but he is chased down knocked out or killed. The others flee the scene, save for one very handsome looking drummer boy... Oh, and there’s a bunch of intercut clips of Tyler on the car from “Heavydirtysoul” for some reason.

Besides those “Heavydirtysoul” scenes, which truthfully don’t connect much to the story of the video beyond artificially welding it onto the end of the Blurryface Era, this is one of the band’s best videos yet. It totally fulfilled all of my expectations of a more epic scope for this era, from the gorgeous Iceland setting to the dope as hell costumes to the implication that the story might continue on from this point. And there are tons of little Easter eggs, from brief flashes of the nine bishops to possible cameos from the Josephs and Duns. We don’t really know for sure if Tyler is playing Clancy or if the red dude is Nico, but it will certainly be fun to continue to fill in the blanks as we move forward and (hopefully) hear more from Tyler directly.

“Nico and the Niners” is a weird track, but one that I still absolutely love. In some ways, it’s a more traditional tøp track, with some of the raggae elements found on Blurryface and a rap verse to fit all of Tyler’s lyrics in. But in other significant ways, it’s a totally different path for them. For starters, just look at that title: it’s very explicitly about this album’s concept from top to bottom, with Tyler singing about fleeing Dema and its bishops’ control and even heavily referencing “Jumpsuit”; there’s clearly going to be a great deal of thematic cohesion in this project. But there’s also just the general vibe of it: just as “Jumpsuit” was a heavier rock song than anything we’d yet seen from the band, "Nico” is way more laid back, its repeated references to being high and even its visualizer of assorted shrubbery making it a potential stoner anthem (whether that was Tyler’s intention or not). Regardless, the song is brimming with character and hooks, and it’s already grown on me significantly in just a few days.

Oh, and one more thing: this song lives up to its Dema-referencing title and content by being cryptic af. The track is littered with reversed audio in the instrumental bits, including the “we are banditos” snippet from dmaorg.info and another sample of someone who sounds a lot like Josh saying “We will leave Dema at true east, renounce Vialism [the bishops’ ruling philosophy, alluded to be Clancy in an earlier journal].” I swear, if all it takes for Tyler to make all this stuff is a year break, he should do this after every album.

With all that new music, the fact that we finally have a name for Album 5 almost got lost in the shuffle. Trench was a popular guess over the last few days thanks to dmaorg.info, but it’s good to finally know for sure. Graphic designer Brandon Rike from the Blurryface Era is back again, revealing a cover featuring a badass-looking vulture/falcon/whatever, some new logos (including the return of FPE!), and some more yellow tape that appears to be covering the names of the rest of the album’s songs. Not too much else to say at this point; we’ll just have to wait until some of that tape gets peeled off between now and October 5th.

Finally, let’s talk about the Bandito Tour. It bears mentioning that, amidst the otherwise overwhelmingly positive positive atmosphere of the band’s return, this tour name received the most general opposition from fans and non-fans alike. The fact that “bandito” was probably going to turn up in a lyric from two decidedly white dudes was already enough to put some folks on edge, but the idea of an entire tour of predominantly non-Hispanic tweens flooding arenas and calling themselves banditos was enough to turn a few people against the band. And look, I get it- I hear “bandito” and the first things I think of are John Wayne Westerns and Speedy Gonzalez, and I get why a lot of fans might feel uncomfortable with that. But, to be fair, the band hasn’t used any of those stereotypes and banditos is a word for outlaw used in a number of Romance languages. Perhaps most interestingly, there’s not yet any evidence that the word even appears in the album itself. So far, the only appearance of “bandito” is in a coded message on dmaorg.info and in reversed audio in “Nico”. If this does turn out to be a name meant to only make sense to the most hardcore of fans, it is almost redeemed (I mean, I still think the name is a little silly, but I’m already in presale).

So, with that out of the way, let’s actually talk about the tour itself. It will be an international arena tour- even if the band’s sound is not going in a pop direction, they still clearly feel confident that the Clique will show up wherever they go. The first show will be hosted in Nashville (their first arena concert in that market) on October 16, not even two weeks after the release of the full album. What a baller move, and much preferred to the Blurryface rollout where we didn’t hear most of the songs on the record until nearly two months after the album release and they didn’t play near me for even longer. The boys will tour the U.S. until November 21, even playing arenas in a few markets that they’ve never played large venues in before, and then hit up Australia and New Zealand in December.

The most objectively interesting leg will be in Europe from January through March. Not only will the band play their first arena shows in markets like Moscow, Oslo, Stockholm, Copenhagen, Central Poland, and Manchester, they will return to markets like Dublin and Glasgow they’ve been absent from for years. Most exciting, Twenty One Pilots will play their first shows in Bologna and Stuttgart and venture into the countries of Ukraine, Switzerland, Spain, and Portugal for the first time ever. Needless to say, the rabid fanbases of all of these regions are super excited, and I’m super excited for them!

Other Shenanigans:

While Tyler has continued to stay silent (much as he has since mid-Blurryface Era), Josh immediately jumped back on Twitter with a standard Josh joke and even resumed his morning workout Snapchats. On Thursday, Josh even called into BBC Radio One with Annie Mac to give a quick interview about the new era. He didn’t provide a ton of information, but it was just a delight to hear our kid’s voice again. A few tidbits of info:

Josh reported that he was calling from Trench, I hate him.

The sick bass riff on “Jumpsuit” was born from soundchecks toward the end of Emotional Roadshow. He says that, as a result, it sounds closest to the Blurryface sound, serving as a good transition into the new era. (If this is what he thinks is close to Blurryface on Trench, this album’s gonna be nutter butters.)

Both Josh and Tyler are really nervous about the elaborate rollout, both out of the usual fear that no one stuck around and out of wariness of severely disappointing people when they hear the actual music (so far, so good...)

Trench continues to have the “diverse” sound of the previous records and also was designed to be played live.

Josh also tuned into Apple Music’s Beats 1 for an interview with Hanuman Welch. This conversation was less about the new album and more about the “hiatus”. More tidbits: 

The band views collaboration as a “sacred” thing, and while they’re not against it in the future, it has to be done in a context that makes sense and not merely for marketing purposes.

The band has never used the word hiatus because they’ve been working. They drew back from the spotlight to allow themselves some time to recharge, but also because they were worried of oversaturation (particularly after the Grammys pushed them into that next-level pop culture sphere). Rather than make a bunch of social media posts that didn’t mean anything just to stay relevant, the band decided to draw back, focus on music, and in the process “thin the weeds” of fans who weren’t the diehards.

For the last few albums, the music has come from a specific personal place the band was at while write, whether it be a spiritual journey with Vessel or tackling insecurities on Blurryface. Josh says the same remains true with Trench, but notes that there will be a little more fleshing out themes by working on a specific story with this one (he still says it’s not really a concept album, but ok).

Believe it or not, we are not done. While the boys were blazing a brave new path forward, another bit of content reminded us of where the band came from. Greg Wells, the producer who made Vessel the masterpiece it was, gave an hour-long interview to Billboard’s Pop Shop Podcast. He mainly speaks about getting started in the industry back in the 90s and working on the mega-blockbuster Greatest Showman soundtrack, but he does talk about Vessel for a bit approximately forty minutes into the interview. I won’t give the exact time-code, not because I’m lazy, but because the entire interview is worth listening to. Greg just seems like a rad dude. His laid-back nature and the seriousness he takes with his craft really shine through; he and Tyler must have gotten along just fine.

Community Spotlight:

The Clique took some heavy losses over the last year, as a great deal of old fans moved on to greener pastures. But that just left room for a whole host of new fans to rise to the occasion and help us get through that long drought. Today, I wanted to give a shout-out to GingerSheep and Stolen Potential, two Clique vloggers that have really kept the fanbase informed and uplifted and have been working their butts off reporting on the daily content. I know how long it takes me just to research and write one of these- I can’t imagine the work that then goes into filming and editing on top of that nearly every day. Hats off to you, good sirs. Make sure you all check out their channels if you haven’t already! But, you know, don’t stop reading these. I have bills to pay with all the Tumblr money I’m not making.

Well, that wasn’t too much, was it? If you made it all the way to the end, mad props. See you next week for a slightly tamer week (probably).

Power to the local dreamer.

|-/

#twenty one pilots #tyler joseph #josh dun #trench #jumpsuit #bandito tour #nico and the niners #hiatus #dema #top weekly update

[g-castel]

My Top 10 Albums of 2016

I've been wanting to post this since January 1st lol, but I never got around to it haha. I need to be better about blogging. Well, I figured that since we are halfway through 2017 it would be good to share, once again, my top 10 albums of the year (last year). I've been doing this annually for a while now and it's been fun for me. Take a read if you'd like!

Top 10 + Honorable Mentions

Honorable Mentions

-Signs of Light (Head and the Heart)

-24K Magic (Bruno Mars)

-A Seat at the Table (Solange Knowles)

-WALLS (Kings of Leon)

-The Hamilton Mixtape (Various Artists)

-The Life of Pablo (Kanye West)

-Coming Home (Leon Bridges)

-Views (Drake)

-This is Acting (Sia)

-There’s A Lot Going On (Vic Mensa)

-22, A Million (Bon Iver)

-Telluric (Matt Corby)

-Wild World (Bastille)

-Bobby Tarantino (Logic)

-Oh My My (OneRepublic)

-Stranger Things, Vol. 1 (Kyle Dixon and Michael Stein)

Passion, Pain, and Demon Slayin’ (Kid Cudi)

A Moonshaped Pool (Radiohead)

Farewell, Starlite (Francis and the Lights)

Starboy (The Weeknd)

Sunlit Youth (The Local Natives)

   indicates nearly making my list haha

Top 10

10. Home of the Strange

Young the Giant

The third studio album for Young the Giant, Home of the Strange, to me has pushed the band to become one that I will continue to listen to for the rest of my life. They are able to create a good range of styles. I think HOTS is able to listened to in so many different settings.

This California band has focused on the phenomenon of the diversity in ethnicity that the band possesses. The lead singer being, Indian-American, and other members being from across the globe plays a part in the album’s theme and dynamic.

I was super happy with songs like “Something to Believe In” (which sounds so perfect for a live performance) and “Titus Was Born”. If you are about to take a listen to Young the Giant for your first times, start from their first pieces of art and move towards their latest piece of art and you will see a fitting a beautiful revolution.

Also, go ahead and head to their Youtube channel where they post the “In the Open” videos that are stripped versions of their music and it’s record so raw and simple. Those videos have inspired me to do video work for music as well!

9. The Colour in Anything

James Blake

The music in James Blake’s album, just like before, is the some of the most unique current music. I have not found other songs out there that sound anything like his other than Bon Iver and Radiohead’s music this year.

So, so, so weird. if you’re gonna go listen this, because I said I like it, please be warned, it doesn’t mean you will, like you might hate it actually, and that’s okay. We tend to adhere to sounds that’s familiar and that coincides with our minds. This album, if you haven’t been a listener of James Blake’s previous works, will not do that for you. There are some odd sounds, weird time signatures changes, and he sings once again with beast vocoder vocals! Sometimes there are some horror silences behind nasally high frequency vocals.

It sounds like I am somewhat shoving you away from listening to this. However, do not get me wrong, I love The Colour in Anything! 

Favorite Songs:

Meet You In the Maze

Points.

The random interruptions of repeated lyrics into silence are interesting and I think they reflect perhaps the character of Blake or the anybody out there who shares the stories and feelings written in his lyrics. They’re brash and the noises are loud. & I DIG it.

8. Georgica Pond

Johnnyswim

Johnnyswim. The (Latin) American folk soul pop-duo have returned this year with a banger of an album. I think personally that this is the best work that they have done. This couple are two incredibly talented musicians and they’re chemistry in and out of the booth is something like the dynamic of a Shaq and Kobe.

“The longer you’re out on the road, it gets nicer to have [Abner Ramirez] there. Because he’s the closest thing to home I have,” Johnnyswim’s Amanda Sudano says. “Home is where he is.”

I watched the videos that they shared on Youtube giving commentary on a couple of the songs that were a part of the album. They talked about the process in the studio and the  inspirations behind songs like “Drunks” and “Touching Heaven”. One thing I picked up from what they attempt to maintain is the loyalty to the authenticity of the craft.

This was an album that I listened continuously for maybe three straight weeks. I went through phases were song after song became my new favorite. That happens a lot of times when the record is good from start to finish.

I want to be friends with them, simple as that.

#goals

7. THREE

Phantogram

I was introduced to them years ago by my brother, who I could honestly give credit to for a lot of the music I listen to now. This album, THREE, yes, in all caps, was music that I had no clue they had in them.

I definitely used a few tracks on this album for workouts. This is the album that this year I felt comfortable bumpin with both my more conserved buddies and also with some of my hood friends. After Phantogram released some music with as Big Grams in the past, you can surely feel the influence of Big Boi, a former member of the hip hop legendary group, OutKast.  The 808s on songs like “You’re Mine” and “Cruel World” are so fulfilling.

One song from this album you’ve probably heard if you haven’t heard of any of the songs on the list is the song “You Don’t Get Me High Anymore” They collaborated with other people to produce such a fire beat. The lyrics are weird and polarizing but that’s what’s great about it

On release day, I went through the entire record as I usually do with music and immediately sent Phantogram a fan girl tweet. I just had to tell them that they nailed this one and it is probably their best work yet.

6. Birds in the Trap Sing McKnight

Travis Scott

S’il vous plais. Those in favor of auto-tune, or at least okay with listening to it and not being baffled by the off-the-(traditional hip-hop)-wall that it is, take your time to listen to a few tracks of this album by the G.O.O.D. Music prodigy, Travis Scott.

I just know in 2017, this man Travis is going to blow UP! I do not know in what way, whether it’s with his music, or with his involvement with big name fashion clothing lines, he will find his way into having you know his name. It’s just the loud and abrasive nature that he possesses.

Birds in the Trap Sing McKnight to me was like a real intro to the world, though it isn’t his first album. When Ye signed him, he was doing a bunch of writing and waiting his turn to get on the map. Kanye finally did what he does best and gave him more pushes and connections. I’ve never seen someone with so much energy. Hip hop gone be alright.

Usually, I listen to albums from front to back, but I know that’s not how everyone does it. So, if you do not have much time and want to take a peek of the record, check out these three, “goosebumps, through the late night, and way back”.

5. The Human Condition

Jon Bellion

  Mr. Jon Bellion, out of New York, is the next Chad Hugo, No I.D., and Timberland, all put together, who also sings and raps on the music he produces. Riding that “come up wave”, he will be a name that pretty soon will have a bigger font size on next summer’s festival lineups, guaranteed.

This early 20s MC, is just a pure talent to say the least, and outside his talent, is seemingly a phenomenal character. He has worked so hard to make it to where he is in his music career, but has managed to stay as humble as he was when he was making beats in his college dorm room. The Human Condition was crafted and along with Bellion is the band, A Beautiful Mind, who were all buddies who have all committed to sticking together if one of them made it big in the industry which is such a noble thing to see. They have a natural chemistry.

Bellion says a lot of the people who inspired his sounds were the Neptunes, Kanye, and derivation.

So I can’t write this without giving one person credit for introducing me to him. My roommate Jeff did everything he could that season to make sure the whole world new about Jon Bellion. He played songs from previous EPs to prepare for the album release over and over. While he showered, I could here the songs including the pre-release singles. We ended up seeing Bellion live…twice actually.

I’m excited for his future, collaborations, and ideas he execute to change the way people see music. He’s got that much potential in my opinion. The dude is straight out of New York. If you haven’t heard the album yet, let me just tell you it is very evident. Jon Bellion is a multitalented artist. He’s got his hands on everything, being well-versed with the keys, vocals, and he’s got some bars too. He’ll break it down with the MPC pad too like his idol Kanye. Even on stage during his tour, homie would bring the pad to center stage and loop up the layers of his songs and the sing over the top of it brilliantly.

Bellion’s, like many of us, is also a closet nerd and loves cartoons and animation. One of his big dreams, which he might as well soon see come into fruition is to work with Pixar on scoring a film. I hope this happens! He’s a dreamer, he’s got a newfound faith, and has got a colossal muse. This artist is someone who is just peeking his head out of his egg and we have no idea what he will do once he starts flying.

4. 4 Your Eyez Only

J. Cole

This album is the cure.

Mr. Jermaine Cole. He is such an people’s person. I liked the fact that after he finished touring for 2014 Forest Hills Drive, he said “I’m out.” He had a withdrawal from the public eye. Just wanting to have a normal human experience here in America, he laid low, didn’t really share much on social media and rode his bike around the city. It gave him a fresh mind to intake life and be creative, especially in a tough all-around year like 2016. Seeing artists do that is a breath of fresh air to me. Fame is just something he doesn’t care about.

In the album, there’s a few times Cole rhymes from different perspectives apart from himself. What we have here is a real lyricist, and wordsmith. He chops up words perfectly to make them fit meter after meter. I honestly think he’s getting better and apart from Kendrick, no one out there is stopping him from being the most influential lyricist in urban culture. His mass appeal comes naturally, though he does not care about it or give into it.

Ed Sheeran said in an interview recently on the Breakfast Club that in the likes of the hip hop genre, right now he is really liking this J.Cole album. Reason why I say this is cause, Ed, too took a page from this book and, took a year off from music and celebrity living and just vacationed and traveled.

You can feel it in these songs. The calmness in the beats. There is something retro about the drums, the flows are mellow, and the vibes make me want to go for a soothing walk with headphones, or take a subway into a city like NY. I don’t know if any of that makes sense, but once you listen to a song like “Ville Mentality”,  you’ll know.

3. We Got it From Here…Thank You 4 your service

A Tribe Called Quest

They’re Back! Mr. Abstract, Phife the Five Footer, Ali! The return of the historic and legendary hip hop group, the pioneers for all current rappers today, the one, the only, TRIBE CALLED QUEST.

 Here is Phife Dawg. The Five Foot Assassin is what he used to go by. He founded this group back with Q-Tip I believe when they were in high school. Hip Hop was already on the rise and established, but it had no real characters that were unique and funky. Them comes along these gentlemen along with other members of the Native Tongues who brought a energy to the hip hop scene that was crazy and untouched. They weren’t talking about money and drinking. It was all conscious writing and fun creativity. This band is why I am a hip hop fan today.

Tribe to me is like the mantle of the earth if Hip Hop was looked at as the planet. And the core would be jazz. We hear it in all of their records, and after the band split in 1998 and after 18 years…it took the death of co-Founder Phife, for the men to get into a studio and make some powerful music for the people, for themselves, and for their lost brother, Phife.

I think it takes bravery to return. They’re a bunch of old men. They know there’s a new audience of hip hop lovers out there who don’t even know them. They know that a lot of people aren’t really gonna feel their music and rhythm. So, I commend their boldness in return and with their humility in asking a great conglomerate of artists from Jack White to Talib Kweli to help join them create their final album to send strong messages on things as simple as how it is to be a black man in America.

This band has left an impeccable legacy and imprint on hip hop music forever.

2. i like it when you sleep for you are so beautiful, yet so unaware

The 1975

You’re probably like.

Wait, what…huh?!?

And I’m sorry to put them so high, but I am not at the same time. I keep finding myself DRAWN to each and every track on this record. For a sophomore album, they definitely found the best way to expand but at the same time stay inside the realm that they created for the fans that is kind of the this imaginary “1975” world.

Kickstarting with a perfect “first single” in Love Me, to being the iliwysfyasbysu era was a pretty cool statement made because we just knew that they were bursting forth with a different brand. You’ll know what I mean if you go ahead and watch the music video. Musically, they’re was some experiments and that is always fun for me to hear. I wish I could know the terminology for what is being used to make that sort of grungy, wavy, synthy guitar sound to start and end the song, but it’s sexy and reminds me for some reason of Halloween?

Matty said that their London shows this year in the O2 were the biggest shows they did and since Vevo put on a sweet video production for it up on Youtube, I had to lay down and watch the hour-long concert. shows.

I found myself listening to the record over and over. Music doesn’t just make it into my top three just that. I really have got to like it. And I enjoy the music, simple as that. All visuals for the album certain vibe. They made a change to their brand and new look to their socials, beginning with a complete 180 of all their black and white monochrome look. It was hit with a hard flavor of flamboyant, loud, pink. That’s right, pink.

(Which, quick input, 2016 was the year of pink. Big year for pink)

Previously, on their first studio album, though they’ve been doing music for over a decade, the artwork of the album, singles, and live show light show were all bright whites and black contrasts.

Then at the end of May, we were introduced to the regeneration of the young (not-so-young) band, the 1975.

The lyrics, on almost every song, so vulnerable and loud, are what mostly impresses me about the record. Matty writes about a lot of things he deals and is trying to make sense of in morality, psychology, drugs, religion and love. Though the song titles are not as obviously direct with the messages like the first album, this album hit at so many questions that we as humans ask, or should ask.

Matty Healy’s intellect kills me. I would definitely put him in my top ten with musicians I would desire to have one or two tea time conversations with. I feel like there would be things we could teach each other. Just listening to what he has to say in interviews became quite a hobby of mine, especially the interviews where he was sober. He has interesting things to input about, love, politics, Jesus, and whatever makes the world go round. I found every lyric and every emotion put into the musically was very intentional.

They have definitely built an experience surrounding what is deemed, the 1975. It’s their own world. Everything about it. The social mediums. The twisted yet attractive persona of the lead. The sounds of the guitar that you hear in “She’s American”. It’s not much different than what you hear in “Settle Down” or even “Chocolate”. My point is, you know you’re entering the 1975, when you enter the 1975; it’s distinct.

There’s something special about that.

These are my lads.

my pics from the show*

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Processed with VSCO

1. Coloring Book

Chance the Rapper

Mixtape? Album? Whatever you call it, this body of work takes the crown for me of this year’s best musical work. Gospel and hip hop are the largest influences in my musical upbringing so, for others, this was just a good album. For me, however, this hit me in my heart strings, where my hair rises, and the bumps on my skin appear. The horns and the choir vocals are what told me that I was home.

The evolution of this young Chicago artist is major as I’ve been following Chancellor since 2013 to who he’s become today as a Grammy-nominated star. When he jump started his musical career with his 10 Day mixtape, he was just a shorty making beats in his city, snatching stages at the open mics. He released his first song on Soundcloud in 2011. The 2013 XXL freshmen article is where I realized this man was gonna blow up one day. He and his overalls, nose piercing, and whippersnapper attitude is what drew me. He was put on by Gambino, when he asked Chance to go on tour with him when Gambino had nothing but Royalty and was working on Because of the Internet.

Back then, lil Chano was a little more immature, a high school dreamer who opted out on college and grew on his experimentation of drugs. So many things has changed in a matter of three years lemme tell you.

He and his girl now have a DAUGHTER. Which he just recently is letting the world get to know through his social media platforms. “My daughter look just like Sia, yah can’t see her.” He and his friends who have been working on music producing and writing for other artist called “The Social Experiment” compiled an album for free called SURF, which ended up being a top three album for me last year if you read blog post last year. Finally, he’s cut down on the trippy drugs; he used to think that they would be his thing and something to be known for, but realized it was not something of value to him anymore. The growth mostly is shown in the music by far.

After the mixtape dropped and while Chano and his gang went of tour, they announced the Magnificent Coloring Day Festival, a festival in Chicago to end the tour. It was a day where he invited many of his musical friends, including Francis and the Lights, Alicia Keys, John Legend, Skrillex, Chicago’s own Common, Lil Uzi Vert, and his mentor Kanye West. He had the city of Chicago ‘doing front-flips’!

Undoubtedly, it can be said at least in hip hop, that the is his year. It’s definitely Chance the Rapper’s season in hip hop as much as it can be denied. Last year was Drake season, this year is Chance’s season, maybe next year is someone else’s. Chano had one of the  HOTTEST VERSES ON arguably biggest song in hip hop in 2016, Ultralight Beam. He helped heavily on Hamilton mixtape. He has sold out stadiums, became the first independent artist to do Saturday Night Live, performed at ESPYS for the late Muhammad Ali, and got the Grammys to open up categories for non-selling, stream only artists. 2016, as you can see below, was his year.

I’ll get to the main reason why Chance is my guy later, for right now let’s quickly talk about the music. Diversity in his features is what I thought was cool with him at first. In ’13, he spit a verse on James Blake’s, “Life ‘Round Here” and I was like, shoot this new cat messes with people like James Blake AND Action Bronson?!? I need hop on this train before it’s too crowded. Chancellor, along with his brother and other Chicago rappers, has a way with the way he says his words. Poetically he makes them fit into patterns of time rhythms that sets a unique flow almost every time. But there’s also a slight Chicago twang to his voice, especially when he was younger.

One thing I respect is that, this man was blowing up while still being flat out broke in relation to how big of a name he was becoming. He was only making his cash off of merchandise and touring, and doing features I guess. I mean maybe not anymore, I’m sure he’s well off, but it was just cool to see that someone could continue independence and be like, nah it’s really not about the money, Imma give this here music for free.

The Social Experiment.

These guys right here are the Social Experiment. #SoX

They stuck it out with along with Chance, not as a surrounding band, but as a group with equal say into decisions. Head by Nico Segal on the left aka Donnie Trumpet, they made music for the people and were a collection of songwriters for man artists out there and did it for fun. They are now the band of friends that Chance plays, and probably will always play with on tour.

Aint that something! :’)

He’s Happier. It’s evident. If you listened the drug-influenced, young whippersnapper  Chance the Rapper was during 10 Day, and his Acid Rap era, and dug deep into the reasonings for his anxiety and hurt in his young life, you’d see a difference in who we’re being blessed with today. He, growing up in Chicago, has seen lots of violence including the murder of one of his friends. Chance has rededicated his life to the Lord and has changed abundantly. It’s so obvious in his tone and poise nowadays. He’s still fun and buck, but man Chano is a transformed person.

So one of the real reasons I love this dude is his social involvement. Time and time again you’ll read that he has had a upbringing with educators and strong women in his life. His father worked in politics and was part of being running the campaign for Barak Obama to get into the presidential office. So, Chance learned a thing or too about how to meet peoples’ needs. He has donated and promoted giving warm, thick coats to the homeless during the winter through an organization in Detroit. These coats turn into a sleeping bag so it is designed especially for those who have no homes. He speaks up against violence like we all do, however, I love seeing someone with a platform like his, give a nonviolent voice of reason. In his community, the city of Chicago, Chance also hosts an open mic night every month called, Open Mike, which is near and dear to him because that’s how he began and how he realized he wanted to pursue music. He wants to give other young kids to opportunity to dream as well.

Anyways, that’s all.

I realized I’ve talked about him for a while now…I’ve tried to be very unpretentious over the year with Coloring Book…but personal blog so.

Anticipating Albums

Colony House

John Mayer

Lorde

Drake

Ed Sheeran

Lupe Fiasco

Paramore

Snubs (the eh’s)

Joanne (Gaga)

Lemonade (Beyonce)

ANTI (Riri)

Awaken, My Love (Bino)

JEFFREY (Thug)

matty and chancellor.

bye.