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patricksmusicblog · 7 months

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2023 Album Ratings(So Far)

These are some thoughts on some of the albums I've listened to throughout the year. Some of them are just thoughts others are mini reviews.

Owl City- Coco Moon: Solid sound/production, okay vocals, mediocre lyrics, and overall songs. It may work with a more youthful audience. 6/10

Princess Nokia- I Love You But This is Goodbye: This is a good little EP about the ends and outs, ups and downs of heartbreak. As usual for Nokia, it's elastic and expansive. However, there are moments when I find Princess Nokia's vocals to be weak. There are moments when her passion and authenticity cut through. 7/10

Aly & AJ- With Love From: With Love From is a quality summery indie-pop/rock album. There are a lot of tracks to play loud on an open road with the top down in somewhat breezy, sunburned weather. Lovely harmonies and hooks abound. The slower hooks slow things down to an extent. With Love From is not an album I imagine I'll go back to much, but it accomplishes its goal. 7.0/10

Weezer-SZNZ: Winter: Solid effort from Weezer; some catchy alt-rock tunes, nerdy songwriting Coumo's nasally vocals all things Weezer is great at and known for here. Not essential, but good. 7/10

Conway The Machine & Jae Skeese- Pain Provided Profit: A tight and concise project that's a commonly gritty Griselda affair, grimmy and yet soulful and contemplative beats matching Conway and Skeese's ability to be braggadocious and heartfelt at the same time. A solid EP 8.0/10

Logic- College Park: Maryland MC Logic's eighth studio LP is a quality follow-up to his album Vinyl Days, released last year. If last year was Boom Bap Logic, this year is Jazz Rap Logic. It's a good album; there's much soul-baring about substance abuse and avoiding those pitfalls and ideas of getting more true to who he is. There's an 8.5-9.0 album in here somewhere, but lesser tracks water it down. There are seventeen songs here, which is just too many, but ultimately, it's still a solid effort and something long-time Logic fans can get into. 7.5/10

Statik Slektah-Round Trip: The latest LP from Statik Slektah is a dope effort that has a piano-driven and somewhat jazz-rap-driven sound that features a mixture of 90's legends and younger artists, some of which are legends at this point now as well. It's a 20-track project, and the first half is where the most potent tracks lye. All are great, but the best include "Unpredictable" feat Inspectah Deck, Ghostface Killah, Raekwon and Method Man, "Ain't Too Much Too it" ft Conway, Life & Times ft Joey Bada$$ and "Lion Heart" with Elzhi and Boldy James. Lesser guests and less entertaining beats slow the rest down. All in all, it is a solid effort, particulary for those who love the current crop of underground MCs that have been making noise from 2018 to the present day. 7.5/10

Paramore- This is Why: Paramore is ever-growing; their last LP was a foray into synth-pop, and this one is more of a post-punk album. This album is musically sharp; there are a lot of strong guitar riffs and layers of sounds underneath the mix. Hayley is vocally great at shifting velocities and tonalities during a given song. Lyrically, the album is as content-rich as any Paramore album. It's a tight album, ten great tracks 8.0/10

7XVETHEGENIUS-The Genius Tape: 7xvethegenius is a solid rapper; this project feels like a lyrical exercise for her coming from the drumwork camp. "Brainstorm" ft Conway the Machine is a highlight, as is the storytelling on "Lost on Mars," and then there's the Rome Streets and Che Noir-assisted "Neck Protected". 7.5/10

Conway The Machine-Won't He Do It: Conway follows up with 2022 essential God Doesn't Make Mistakes with Won't He Do It, an album that features more versatile production and different sounds from the lush "The Chosen" to the piano-laden "Monogram" or the R&B influenced Water to Wine" you don't know what to expect track to track on this Conway The Machine album and I enjoy that. This album, while not having quite the depth and soul searching of the previous album, is more celebratory and features an array of flows and skill sets. He sounds comfortable and effortless on this project. Great work 8.5/10

Killer Mike-Michael: Michael is Killer Mike's sixth LP and his most personal and forthright album. The production features some gospel/soul influence that feels classically Atlanta. The album tackles issues he dealt with as a youth, from naively poising the community (Something for The Junikes) to adolescent love mishandled (Slummer) to the impact of losing his mother and grandma. This album gives you a sense of the good and bad that shaped Killer Mike. I also love the EL-P-assisted "Don't Let the Devil" for a more southern-fried RTJ feel. I appreciate what he's speaking to on "Two Days" regarding the prison industrial system and the politics that keep it going. At every turn, Mike is sharp, heartfelt, and thoughtful. The features on the album all come through with good performances from Atlanta pioneers like Ceelo and Andre 3000 to current-day essentials like Young Thug and Future. Michael's an excellent album and a refreshing solo effort, a nice change of pace from Mike's work with EL-P. 9/10

Nas & Hitboy- Magic 2: Nas and Hit-boy continue their run with their fifth album in 3 years and 2nd edition in the Magic series. While the 2021 Magic felt like an exercise in traditionalism, finding Nas rhyming over an updated 90s sound with rhyming up to par with his prime. On Magic 2 Nas finds himself more aligned with modern times; tracks like "Motion" and "Earvin Magic Johnson" sound more car and club-ready than anything on the original Magic. Songs like "Abracadabra" are more thematically aligned than most of what's on the original Magic. The more thoughtful and reflective tracks tucked in the back of the album are the strongest, "What it Really Means", "Slow it Down" and "Pistols on Your album Cover" are all great pieces of work. Par for the course at this point. 8.5/10

Meet me @ the Alter- Past//Present//Future: Meet me @ the Alter is a pop-punk band that has been working toward this moment for a while through a series of EPs and singles that showed a band bustling with pop-punk energy and hooks that only come from a strong appreciation for the pop-punk we came up on in the 00s. Past//Present//Future is the baby of all that hard work. I love the catchy and snarky "Say it to My Face." I also enjoy the chunky, distorted guitars on "Try" a song that speaks to pushing through anxiety and going for things anyway. "T.M.I" is my absolute favorite on the project. It's the best vocal performance from Edith Victoria, the best chorus, and the most well-written tune here. The bass and big chorus on "King of Everything" make for a good close to the album. It's a fun project for the band that leaves plenty of room for improvement and expansion musically and lyrically. 7.5/10

Protomartyr-Formal Growth in the Desert: This is the sixth project from Detroit post-punk band Protomartyr. As customary for a Protomatyr album, you'll get sprawling guitars and walls of atmospheric sound. Also, you'll get lead vocalist and lyricist Joe Casey's passionate vocal performances and great lyrics. "Fun in Hi Skool" is a great song seemingly about the inability to let go of the past to the point where it ruins your present and future. "Let's Tip The Creator" is my favorite on the project; I think it has some of the best guitar playing and drumming. Protomartyr has always been adept at shifting tones and adding sonic layers as tracks progress. With Joe Casey's lyrics being thoughtful yet abstract at times, it invites more and more listens that'll be sure to reward with time. 8.0/10

Dream Wife-Social Lubrication: Dream Wife's third full-length album is much like their previous efforts, a selection of songs where youthful exuberance meets thoughtful contemplations and some righteous rebellion. There's "Who do you want to be?" A call to mobilization instead of stagnation. The title track speaks to being buttered up and being made to get comfortable with getting screwed over. "Leech" is about men, companies, people, etc., who exploit and use women for what they provide—all great tracks. You still get simple punk tracks like "I Want You" or "Orbit," a song about an attraction that almost feels meant to be. Sonically, the band switches between straightforward punk and a post-punk sound, which is more beneficial when trying to get a message across. It's their 3rd straight great album, in my opinion. 8.0/10

Noname-Sundial: Sundail is the third full album by Chicago rapper Noname. Noname is a rapper who has always been adept at rhyming conscious, straightforward, but abstract at the same time. She's an artist who wears her culture on her sleeve and cares deeply about the state of it. She's also someone who has just gotten better and better at rapping over time. She's always had an agile and fluid flow, but this is her least quiet album yet; she's come through with a more substantial presence on the mic and more charisma. Topically, "Hold Me Down" speaks to black people only holding each other down when it's convenient, particularly monetarily. "Balloons" on why there was a musical hiatus for Noname in the first place, which is the exploitative nature of selling black trauma to voyeuristic white people entertained by black trauma. "Beauty Supply" tackles the self-loathing that inherently comes with adapting Eurocentric beauty standards. There's no turn on this album where Noname has nothing to say. There's very little wasted space on the album. Yet there are lighthearted and fun moments here like "Boomboom" or "Toxic." It's a great album that will reward with more listens. 8.5/10

Nas & Hitboy- Magic 3: Nas completes their fantastic run with their third installment in the Magic series Magic 3. To the surprise of no one, It's another high-level project that features excellent production and rhymes from Hitboy and Nas. From the production standpoint, Hit-Boy dives more into a soul sample style here, with many soulful beats and vocals floating in the background of these tracks. Meanwhile, Nas showcases his skillset; rapping well is a prerequisite for him at this point, so it's really about the direction and how the tracks meld together. "I Love This Feeling" track 4 on the project, is the first song that I think is steller on the project; it has a great soulful, almost jazzy sound, and Nas is just sharp and speaking to loving the place he's in. "Based on True Events pt1" and "pt 2" find Nas getting into his storytelling bag, both efforts are vivid. The first one is seemingly a little more personal, with him speaking about investigating a friend's supposed suicide and honoring Havoc of Mobb Deep's brother, who was murdered. Pt 2 echo's a song like "Nigga's Bleed' the late great Notorious B.I.G. "Blue Bently" and "Jodeci Member"are both bangers on the album tracks you could ride in the car too. The album tetters between celebratory and contemplative, and Nas is great at both. The lone feature on the project is Lil Wayne, who shows out his flow is fluid, and he rises to the occasion. It's another great effort from Nas & Hitboy, and in the end, this is an excellent send-off to their run. 8.5/10

By: Patrick Griffin II

#Music #Nas #meet me @ the altar #protomartyr #owl city #Paramore #Dream Wife #Noname #Killer Mike #Hit-Boy #aly and aj #Logic #7xvthegenius #statik selektah #Weezer #Aly and AJ #Princess Nokia #Jae Skeese

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screamingforyears · 4 months

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IN A MINUTE: // A NEW MUSIC ROUNDUP…

“GARGOYLE” is the lead single from @flesh.tape’s forthcoming self-titled LP (1/16 @power_goth@heavenlycrecs) & it finds the Fort Collins-based quartet of Larson Ross, Nick Visocky, Jae Smith & Jake Lyon bringing 3 mins of riffed_up, fuzzed_out & Dino_JR’d AltRawk.

@infantisland are here w/ “KINDLING,” the final single in the run-up to their forthcoming LP titled ‘Obsidian Wreath’ (1/12 @secretvoice_records) & it finds the Fredericksburg, VA-based quintet of Daniel Kost (vocals), Alexander Rudenshiold (guitar/vox), Winston Givler (guitar/vox), Kyle Guerra (bass/vox) & Austin O’Rourke (drums/vox) linking up w/ @deathbois to work that slowburn across 4 mins of atmospheric heaviness… that second half push tho!

“NEPENTHE” is the closing track on @noheirloom’s recently released debut self-titled EP (@zegema_beach) & it finds the Philly-based trio of Andy (guitar/vox), Derrick (bass/vox) & Eric (drums/vox) serenading us across a 4:20 clip of frantically fevered & prettily passionate ScreamO.

“OUR MISERY IS THE CURRENCY” (@summerdarlingtapes) is the title-track from @nocturnalprosetx’s recently released EP & it finds the San Antonio-based outfit living that small_town_goths lyfe across 5+ mins of wholly DIY & post_punking GloomRock.

“TWICE AS MEAN” is a choice cut from @trust.blinks’ recently released odds/ends comp titled ‘2021-2023’ & it finds Ethan Hoffman-Sadka’s Asheville, NC-based project bringing a scrappy rush of 4_tracking, emo_rawking & Elliot Smithing SadCore.

#music #screamingforyears #songs #postpunk #indie #rock #goth #indierock #alternative #aesthetic #emo #screamo #Bandcamp

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sinceileftyoublog · 7 months

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Augustus Muller Interview: Synth Stories

Photo by Jimmy Fontaine

BY JORDAN MAINZER

For Augustus Muller of Massachusetts-via-Georgia electropop duo Boy Harsher, feeling the pressure gets results. Not for the duo's studio albums, mind you, but for the impressive number of film scores that he and Boy Harsher have been releasing the past few years. "Soundtracks are cool because you have 2-3 weeks to write them. You have to be prolific in that amount of time," he told me over the phone last month. "A record is going to take a couple years to finish, for the same amount of music...you don't have a lot of time to make a mistake." Looking at Muller's history as a creative, from his early days to his recently released scores for Cellulosed Bodies and My Animal, his spontaneous mindset has paid off.

Before he made music, Muller was an aspiring filmmaker, creating short films as a teenager, and attending film school. As he started making music for his own films, he realized her liked that part, too, and his career shifted. Of course, his project with film school classmate, vocalist Jae Matthews, took off, starting as Teen Dreamz and eventually becoming Boy Harsher, as the combination of her spoken word and his beats became more dance-oriented. Films were on the backburner, and it wasn't until 2020, when he teamed up with progressive adult film producer collective Four Chambers, headed by experimental pornographer Vex Ashley, that Muller released his score debut. Machine Learning Experiments (Original Score), comprised of distinct scores to two films (Orgone Theory, tracks 1-5, and Hydra, tracks 6-10), was released via the band's imprint Nude Club Records. In combination with the film's subject matter and Boy Harsher's usual minimal synth wave, the music fittingly sounded like a sort of dystopian cousin to the works the late Patrick Cowley made for John Coletti in the 80's. And early last year, the band released The Runner, which started as a piece of music but sounded to them so suited for the screen that they simply directed an accompanying short horror film.

Now, Muller has given us two more scores. Cellulosed Bodies is another collaboration with Ashley, structured similarly to Machine Learning Experiments in that it features two scores for two films, Crash and Automaton. What makes Cellulosed Bodies a standout in Muller's oeuvre is that the two scores that make it up simultaneously provide a cohesive whole and exercises in textural contrast. Both films deal with the relationships between bodies and machines, the former an homage to David Cronenberg's erotic body horror film of the same name, the latter exploring pandemic-influenced digital isolation and dependency. Crash uses all analog instrumentation, sounding appropriately tactile on the pulsating synthesizers of "Fur And Metal" the crispy, synaptic drum machines of "Perverse Technology", and the booming bass of "Shattered Glass". Automaton, on the other hand, doesn't abide by as many patterns, using more FM synths for its droning vignettes and metallic harmonics, notably oblique strings and organ synthesis on "Observation" and "Who Is In Control" and vocal samples on "Subdue Yourself". But whether taking a more traditional or contemporary approach, Muller exudes the same visceral quality from his compositions.

On Friday, Muller released his score for Jacqueline Castel's My Animal, which, like Crash, uses mostly hardware but has the same abstractly filmic quality as The Runner. If you didn't know it was a film score, you'd think it was just a standalone piece of instrumental 80s synthwave, as effective in the club as it is soundtracking horror romance. "Sanctuary" borders on stadium rock, layered with drum fills and arpeggios, while the combination of wincing synthesizer and shuffling beats propels tracks like "Transformation #1", "The Slots", "Outside the Rock", and "Something's Building". More simply, many of the record's tracks are heavy on vibes, with the music evoking exactly what the titles suggest: "A Soft Howl", or "Winter Drone". At this point, Muller and Boy Harsher have amassed a solid following for their studio albums, but all signs point to Muller--still an aspiring filmmaker, after all--becoming an in-demand name for helping filmmakers bring their corporeal visions to life.

Below, read my conversation with Muller, edited for length and clarity.

Photo by Jimmy Fontaine

Since I Left You: Describe the process of working on Cellulosed Bodies with Vex Ashley. Was the music made in tandem with the visuals or in response to them?

Augustus Muller: She'd send me a rough cut of what she was working on, and I'd write something to that. It was pretty loose. She cut around stuff. I would send something back, she'd send me notes, and edit around what I'd written. Then she'd send another cut, and we'd work on transitions and put finishing touches on it.

SILY: What's unique about this soundtrack as compared to others you've done?

AM: Compared to writing a feature film, there's a lot more space for music. Crash has no dialogue at all. With porn, the music can lead. I felt like I had full freedom with that. I could write a full track. With other scores, for narrative, you have to hide it under dialogue, so it's a different sound palette.

SILY: Are you often given the whole film without the score, and then you work around it?

AM: Yeah. For Crash and Automaton, there wasn't even temp music. I started from scratch.

SILY: Why did you decide to release "Fur And Metal" and "Stretching / Invading" as the first tastes of Cellulosed Bodies?

AM: For this project, it's been difficult to explain to our fans and the world what it is. It's my solo music, but not an album, but an original score to porn films. People are blasting through social media, not really reading through the fine print. "Fur And Metal" was one of my favorite tracks from Crash, and I thought it was important to share something from Automaton, which is what "Stretching / Invading" is from. It's more of an ambient, droney track. It's good to show the range the album has.

SILY: It emphasizes the distinct textures and qualities of the scores, too. You used strings and organs on the latter.

AM: Yeah. It's two pretty different sounding scores. Similar subject matter--a techno dystopian future--but Crash was all analog gear and vintage hardware. It has that older sound. Automaton is a lot of FM synths to get these new sounds.

SILY: The final track, "Subdue Yourself", has vocal samples [from dominatrix Miss Marilyn]. Why did you choose to introduce voice at the very end?

AM: That track is not in the film. It's something I wrote and ultimately didn't use, but it's a song I really liked. I love Miss Marilyn's monologues, so I thought it was a cool thing to include in the soundtrack. Giving it context, like when original scores and soundtracks have clips from the movie in it.

SILY: Do you think this score holds up separately as its own piece of art? Can it be consumed and appreciated separately from the film?

AM: I think it really varies soundtrack to soundtrack. This one can definitely stand by itself. I'm really proud of the tracks. I think it's listenable. I was just listening to Vangelis' Blade Runner [soundtrack]. I had never actually listened to the LP before even though I've seen the movie a million times. There are a lot of instrumental tracks that must be so low in the mix in the film that when listening to the LP, it felt like I'd never heard them before. They're banging tracks!

SILY: Crash is a direct homage to Cronenberg's film of the same name. Have you ever called out an influence that directly in your music before, whether with Boy Harsher or your solo work?

AM: On tour, we're playing a "Wicked Game" cover. [laughs] But in terms of the Crash score, I watched [Cronenberg's film] and wanted to get Howard Shore's soundtrack channeled through me. I then realized, "I can't do this. Howard Shore's a genius. This is not my style." I just started playing some driving bass and went a totally new direction.

SILY: When I listened to your score for My Animal, I thought it was pretty banging itself. There are a lot of catchy tracks on there, like "Sanctuary" and "The Slots". These could be singles.

AM: I was writing with a lot of temp music. [Jacqueline Castel] was putting Boy Harsher songs in it as temp music. So I was channeling drum-driven material.

SILY: Do you think Boy Harsher songs work well within a film context?

AM: I think so. We've had some stuff licensed for films and TV shows. When I'm writing something, I know it's good when it feels visual, when it's evoking some imagery or takes me some place.

SILY: I feel like certain general aesthetics seem to fit films very well. What are some of your favorite film soundtracks or creative influences when making a soundtrack?

AM: Recently, that Jonathan Glazer movie Birth. Alexandre Desplat does that really tight chamber music. I like it because it's the opposite of what the scene is showing. It really changes the mood. That was really inspiring for me, to show what music can do for a film, to take a scene and transport it into a totally different vibe.

Abraham Marder and Nicolas Becker's [work on Sound of Metal]. I have to shout out Tangerine Dream's Sorcerer. That's such a powerful tool in the film. It really elevates all the emotions, but it's also an album I can listen to on its own.

SILY: Have you ever thought about curating a film's soundtrack, picking songs from other artists?

AM: Like Trent Reznor for Lost Highway? Yeah, I think I could do that.

SILY: It seems like you have that ear as a film and music fan.

AM: I just love putting music to visuals. That's how I got into music, making shitty short films as an 18-year-old. I was like, "Wow! This film got so much better with this music behind it." That's why I kept making music before making it on its own.

SILY: Are you going to make films again?

AM: I want to so bad. But it's such a privilege, and you need so much money. It's something I've been working towards for a while. I just need to find that opportunity for someone to trust me for a big chunk of change.

SILY: You could make the film and the music.

AM: That's what I dream about every day. Make the film, edit it, write the score.

SILY: Anything you've been listening to, watching, or reading that's caught your attention?

AM: I just saw Bottoms. It's really funny. A feel-good movie. I've been watching a lot of [Rainer Werner Fassbinder]. Somebody gave me a book on him, and I realized I hadn't watched a lot of his films. I watched Querelle, which was definitely a vibe. The Marriage of Maria Braun was really cool. I love genre films that are an allegory for something else. It's been fun digging into his movies.

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weaversweek · 1 year

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Uncool50 - American influences

Another part of the #Uncool50 project, singles help tell an autobiography.

Two trips to the States in 2001. High summer in Dallas to see Jae, where we bopped around to clubs and restaurants. They always seem to play one record absolutely everywhere, and that week was "Let me blow ya mind", by Eve and Gwen Stefani. A great record, made even better by my best friend.

New year in Tucson with Helena and our way-cool friend chelle. One of chelle's passions of the moment was Jimmy Eat World, and "The middle" was the current single. The trip helped me through a very dark place, and Helena gave me a framework to think. The greatest gift she could give.

Ten years later, I was taking part in a charity event, which asked participants to make a line of the clothes they were wearing. "It's like that Jimmy Eat World video," I said to my companion... but more of that in a later installment.

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Does any song have a greater opening ten seconds than "Take me out"? The twanging, reverberating guitar, Alex Kapranos' vocal cuts through. And then the beat kicks in, and we're away. Still gives me goosebumps after all these years.

The Popworld years, Simon and Miquita take the piss out of pop stars, then a bunch of us gather on Livejournal to chew the cud and wonder about Busted and The Noise Next Door and Lemar and Sugababes. And to share our tips for great pop tunes.

"Chewing gum" came from that group – was it Bridgey, was it Cam, was it anyone else? It's chirpy, it's even more aloof than Walter T Softy, it's Madonna-era pop funk reinterpreted for the following generation.

#uncool50 #uncool 50 #pop music #singles #autobiography #eve #gwen stefani #best friends #jimmy eat world #the middle #franz ferdinand #annie #popworld #simon amstell #miquita oliver

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shiweimigi · 2 months

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Sorry I've been slacking on posting the anniversary promotional art for JAE VOCAL PROJECT. Here they are since Xiao Meihua's back in June 2023, starting with Yu Junjie.

November 13, 2023: Yu Junjie's 3rd Anniversary by @elven-ariaera

December 6, 2023: JD's 4th Anniversary by @chaoticmidnightart

January 1, 2024: Ser0's 7th Anniversary by @kandavers

February 2, 2024: Canary's 5th Anniversary by @shi-yin-drawings

February 16, 2024: Xiao Shancha's 5th Anniversray by M_Mame_E

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a-purpled-world · 7 months

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I was curious as to how Ser would singing Ponzi an octave lower, so I went and put this together! Original cover under the break if you want to compare

Original song by Kyoe

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#jae02 #ser0 #my utau #utau #jae vocal project #Youtube

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solplparty · 2 years

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[Live] 김재환 (Kim Jae Hwan) - 삭제 (Delete) / Official Live Video https://youtu.be/KcabWdPUzv4 [Live] 김재환 (Kim Jae Hwan) - 삭제 (Delete) / Official Live Video ‘지나간 일상에 그리움을 더하고, 새로움을 입힌다.' ‘더하기 기억 프로젝트' 네 번째 앨범 ‘삭제 - 김재환' 김재환의 보컬이 돋보이는 ‘삭제'는 2004년에 발매된 이승기의 곡으로 원곡과는 다른 섬세한 기타 솔로의 선율과 감미로운 보컬의 시작으로 이별의 아픔을 노래한다. 이 곡을 통해 우리는 김재환에게 최고의 보컬리스트라고 해도 반박할 수 없을 만큼 다양한 면모를 확인할 수 있다. 이별의 아픔으로 넘치는 감정을 절제하면서도 듣는 이로 하여금 그 아픔을 느낄 수 있도록 만드는 김재환의 표현력과, 잔잔한 전반부에 비해 후반부의 고조된 감정의 표현에서 느낄 수 있는 김재환의 곡에 대한 이해도, 그리고 탄탄한 보컬까지 최고의 보컬리스트라는 수식어가 아깝지 않을 정도이다. 이번 곡을 통해 최고의 보컬리스트 김재환이 모든 세대에게 발라드의 정수를 느끼게 해 줄 것이다. [CREDIT] Lyrics by 싸이 (PSY) Composed by 싸이 (PSY) Arranged by John Choi, 김구현 Piano by 최요한 Guitar by 임선호 Bass by 임기범 Drum by 최요한 Strings by 필스트링 String Arranged by 최문석 MIDI Programmed by 최요한 @ Studio U&I LAB Background Vocal by 임영묵 Recorded by 장우영 @ doobdoob Studio, 최요한 @ Studio U&I LAB, 김구현 @ room 9 studio Strings Recorded by 김희재 @ CSMUSIC& Studios Digital Edited by 김선아, 김구현 Mixed by 박병권 @ SOUNDFROG Mastered by 권남우 @ 821 Sound Mastering Project Supervisor 툰정은 Project Director 문수영 Artwork 이수정 #김재환 #KimJaeHwan #NewRelease #livevideo SEOUL MUSIC / 서울뮤직

#서울뮤직 #SEOUL MUSIC #하이그라운드 #HIGHGRND #소속사 #Label #레이블 #YouTube

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dojae-huh · 7 months

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Although I can see NCT without Jae and can’t without Tae????

What!!!! It is ur words....is that true?? U can still see nct without jae?

Btw I am dy stan..but I am shocked u wrote it...if nct is a human.. then jae without nct would be like a face without a body...(for me head is tae nd dy is the brain)...but can u explain y u think so??

You dug up some old stuff, huh.

Everyone builds their notion of NCT having their bias as the centre, I guess. NCT Dream stans don't care about the rest, there are Taeyong antis who want him out, I personally can't imagine 127 surviving as a team without Doyoung. However, if we take a more emotionless approach, look at NCT as a project, a group, then NCT was made around Taeyong. He is the chosen trainee, the rest were matched to him, filled in the spots. Think of 2-3 member NCT U songs. It's either the vocal line, or it has Taeyong. And if Doyoung or Taeil can be absent on those vocal oriented songs, Taeyong can't. Maybe in the future we'll see Mark+YY+HD track, but it hasn't happened yet.

Tae wrote, produced and choreographed for NCT. I think the success of Zoo is an example of him being the core of this neo culture. Mark also was always a prominent figure in NCT, but he was young upon debut, he couldn't represent the group as a whole, be the face. He still can't, in my opinion, even if many find his rapping more to their liking, he is a much more "down to Earth" guy to be the figurehead of the whole of NCT. Add to it Tae's ability to mingle with other idols, do collabs.

As for Jaehyun. He isn't noticed in MVs as well as his popularity suggests. And a visual can be replaced with another visual. He is one of the "founding fathers", sure to debut trainees, and is important, but his absence won't change NCT as a group.

Again, this is a very "everyone is replaceable" kind of take. Jaehyun is the core member, and is more essential than many of other neos (he is no Sungchan). His "one of a kind idol" card adds a lot to the group. He is in the King's entourage.

#ask me away #taeyong is the boss #jaehyun is a dance machine #chain reaction

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fiorrie · 3 years

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I received breathtaking keychain from guys I’ve reposted before, based on Mo Qingxuan’s song Ophelia’s Moonrise. Look how beautiful it is! It was so cool to work for something real, something you can actually hold in hands >^< I’m in feelings More about this keychain and video in action: https://twitter.com/YuezhengMigi/status/1377456736156651523 You can buy your own here: https://ko-fi.com/s/395850865b Music, lyrics, mixing, video of original song release: MinaKi https://twitter.com/jaevocalproject Art is mine :)

#mo qingxuan #utau #keychain #jae vocal project

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patricksmusicblog · 2 months

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2023 Album Reviews/Thoughts

Some summeries, reviews and thoughts I had about albums released last year.

Owl City- Coco Moon: The production is solid in sound/production. The vocal performances are okay. The lyrics are mediocre though as are the overall songs. May work with a more youthful audience though. 6/10

Princess Nokia- I Love You But This is Goodbye: This is a good little EP about the ends and outs, ups and downs of heartbreak. As per usual it's elastic and expansive. Though there are moments I find Princess Nokia's vocals to be weak. There are moments when her passion and authentication cut through. 7/10

Aly & AJ- With Love From: A nice summery indie-pop/rock album. A lot of tracks to play loud on an open road with top down in somewhat breezy sun burnt weather. Nice harmonies and hooks abound. The slower hooks drag things down to an extent. This is also not an album I imagine I'll go back to much but for what it's attempting to achieve I think it accomplishes that. 7.0/10

Weezer-SZNZ: Winter: Solid effort from Weezer some catchy alt-rock tunes, nerdy songwriting Coumo's nasaly vocals all things Weezer is great at and known for is here. Not essential but good. 7/10

Logic- College Park: This is Maryland MC Logic's eighth studio LP and this is a quality follow-up to his album Vinyl Days released last year last year was Boom Bap Logic this year is Jazz rap Logic. It's a really really good album, there's a lot of soul-baring about substance abuse and avoiding those pitfalls and ideas of getting more true to who he really was. There's an 8.5-9.0 album in here somewhere but it's watered down by lesser tracks there are seventeen songs here which is just too many but ultimately it's still a solid effort and something long-time Logic fans can get into. 7.5/10

Statik Slektah-Round Trip: The latest LP from Statik Slektah is a dope effort, that has a piano-driven and somewhat jazz-rap sound that features a mixture of 90's legends and younger artists some of which are legends at this point now as well. It's a 20-track project and the first half is where the strongest tracks lie. All are great but the best include "Unpredictable" feat Inspectah Deck, Ghostface Killah, Raekwon and Method Man, "Ain't Too Much Too It" ft Conway, Life & Times ft Joey Bada$$ and "Lion Heart" with Elzhi and Boldy James. The rest is slowed down by lesser guests and beats lacking quality. All in all a good effort particularly for those who love the current crop of underground MCs that have been making noise from 2018 to the present day. 7.5/10

Paramore- This is Why: Paramore is ever-growing, their last LP was a foray into synth-pop and this one is more of a post-punk album. This album is sharp musically a lot of catchy guitar riffs and layers of sounds underneath the mix. Hayley is vocally great she's shifting velocities and tonalities greatly. Lyrically the album is as content rich as any Paramore album. Trying to be considerate of others, and dealing with how sad the news is among other things. It's a tight album, 10 great tracks 8.0/10

7XVETHEGENIUS-The Genius Tape: 7xvethegenius is a solid rapper this project feels like a lyrical exercise for her coming from the Drumwork camp. "Brainstorm" ft Conway the Machine is a highlight, as is the storytelling on "Lost on Mars" and then there's the Rome Streets and Che Noir's "Neck Protected". 7.5/10

Conway The Machine-Won't He Do It: Conway follows up with 2022 essential God Doesn't Make Mistakes with Won't He Do It, an album that's much more versatile production-wise, and features different sounds from the lush "The Chosen" to the piano-laden "Monogram" or the R&B influenced Water to Wine" you actually know what to expect track to track than any Conway The Machine album to this point and I really enjoy that. This album while not having quite the depth and soul searching of the previous album, is more celebratory and features an array of flows and skill sets. He sounds comfortable and effortless on this project. Great work 8.5/10

Killer Mike-Michael: Michael is Killer Mike's sixth LP and really his most personal and forthright album to this point. Backed by a great production that features some gospel/soul influence that feels classically Atlanta. The album tackles issues he dealt with as a youth, from naively poising the community ("Something for The Junikes") to adolescent love mishandled ("Slummer") to the impact of losing his mother and grandma. This album gives you a sense of the good and bad that shaped Killer Mike. I also love the EL-P-assisted "Don't Let the Devil" for a more southern-fried RTJ feel. I appreciate "Two Days" where Mike touches on the prison industrial system and the politics that keep it going. At every turn, Mike is sharp, heartfelt, and thoughtful. The features on the album all come through with good performances from Atlanta pioneers like Ceelo and Andre 3000 to current-day essentials like Young Thug and Future. Michael's an excellent album and a refreshing solo effort aside from the work with EL-P. 9/10

Nas & Hitboy- Magic 2: Nas and Hit-boy continue their run with their fifth album in 3 years and 2nd edition in the Magic series. While the 2021 Magic felt like an exercise in traditionalism, finding Nas rhyming over an updated 90s sound with rhyming up to par with his prime. Magic 2 finds himself more aligned with modern times tracks like "Motion" and "Earvin Magic Johnson" sound more car and club-ready than anything on the original Magic and tracks like "Abracadabra" are more thematically aligned than most of what's on the original Magic. The more thoughtful and introspective tracks tucked in the back of the album are the strongest, "What it Really Means", "Slow it Down" and "Pistols on Your Album Cover" are all great pieces of work. Par for the course at this point. 8.5/10

Meet me @ the Alter- Past//Present//Future: Meet me @ the Alter is a pop-punk band that has been working toward this moment for a while through a series of EPs and singles that showed a band bustling with pop-punk energy and hooks that only come from a strong appreciation for the pop-punk we came upon. Past//Present//Future is the baby of all that hard work. I love the catchy and snarky "Say it to My Face" I also enjoy the chunky distorted guitars on "Try" a song that speaks to pushing through anxiety and going for things anyway. "T.M.I" is my absolute favorite on the project though, I think it's one of the best vocal performances from Edith Victoria, best chorus and overall well-written tunes here. The bass and big chorus on King of Everything make for a really good close to the album. It's a really good/fun project for the band that leaves plenty of room for improvement and expansion musically and lyrically. 7.5/10

Protomartyr-Formal Growth in the Desert: This is the sixth project from Detroit's post-punk band Protomartyr. As customary for a Protomatyr album, you'll get sprawling guitars as well as walls of atmospheric sound. You're gonna get lead vocalist and lyricist Joe Casey's impassioned vocal performances and his great lyrics. "Fun in Hi Skool" is a great song seemingly about the inability to let go of the past to the point where it ruins your present and future. "Let's Tip The Creator" is my favorite on the project, I think it has some of the best guitar playing and drumming. Protomartyr has always been adept at shifting tones and progressing as tracks progress and with Joe Casey's lyrics being thoughtful yet abstract it invites more and more listens. 8.0/10

Dream Wife-Social Lubrication: Dream Wife's third full-length album is much like their previous efforts a place where youthful exuberance meets thoughtful contemplations and some righteous rebellion. There's "Who do you want to be?" A call to mobilization instead of stagnation. The title track speaks to being buttered up and being made to get comfortable with getting screwed over. "Leech" speaks to men, companies people etc who exploit and use women for what they provide. All great tracks. You still get simple tracks punk tracks like "I Want You" or "Orbit" a song about an attraction that almost feels meant to be. Sonically the band switches between straightforward punk to more of a post-punk sound that definitely more beneficial when they're to get a message across. It's their 3rd straight great album in my opinion. 8.0/10

Noname-Sundial: Sundail is the third full album by Chicago rapper Noname. Noname is a rapper who has always been adept at rhyming conscious, poetic but abstract at the same time. She's an artist who wears her culture on her sleeve and cares deeply about the state of it. She's also someone who over time has just gotten better and better at rapping. She's always had a nimble and fluid flow, but this is her least quiet album yet, she's come through with more stronger presence on the mic and more charisma to it. Topically "Hold Me Down" speaks to black people only holding each other down when it's convenient particularly monetarily. "Balloons" on why there was a musical hiatus for Noname in the first place which is the exploitative nature of selling black trauma to voyeuristic white people who are entertained by black trauma. "Beauty Supply" tackles the self-loathing that inherently comes with adapting Eurocentric beauty standards. There's not a turn on this album where Noname has nothing to say. There's very little wasted space on the album. Yet there are lighthearted and fun moments here as well like "Boomboom" or "Toxic". It's a great album that seems sure to reward with more listens. 8.5/10

Nas & Hitboy- Magic 3: Nas completes their amazing run with their third installment in the Magic series Magic 3. To the surprise of no one, It's another great project that features great production and rhymes from Hitboy and Nas. From the production standpoint, Hit-Boy dives more into a soul sample style here a lot of soulful beats and vocals floating in the background of these tracks. Meanwhile, Nas just showcases his skillset, rapping well is a prerequisite for him at this point so it's really about the direction and how the tracks meld together at this point. "I Love This Feeling" track 4 on the project is the first song that I think is steller on the project it has a great soulful almost jazzy sound to it, and Nas is just sharp and speaking to loving the place he's in in life. "Based on True Events pt1" and "pt 2" find Nas getting into his storytelling bag both efforts are vivid. The first one is seemingly a little more personal speaking to doing some personal investigating on a friend's murder and honoring Havoc of Mobb Deep's brother who was murdered. "Pt 2" echo's a song like "Nigga's Bleed' from the late great Notorious B.I.G. "Blue Bently" and "Jodeci Member"are both bangers on the album tracks you could ride in the car too. The album tetters between celebratory and contemplative and Nas is great at both. The lone feature on the project is Lil Wayne who shows out on his verse his flow is fluid and he really rises to the occasion. It's another great effort from Nas & Hitboy and in the end, I think this is an excellent send-off to their run. 8.5/10

Drake- For All The Dogs: Another blockbuster Drake event and similar to the last 3 it's a bloated affair that attempts to please multiple audiences and run up the streaming numbers by any means necessary. The album is 23 tracks long with a runtime of over 84 minutes which from a modern perspective is a long project, one that Drake isn't capable of carrying to greatness. The album thematically leans more R&B and specifically speaks to Drake and his dealing with women. How they do him dirty and how he returns the favor. The best of the R&B include "Slime Me Out" ft SZA which features some of the best vocal work from Drake. "Virginia Beach" sets the tone well and with a nice Trap & B feel. However, most of my favorites on the album are the rap cuts. J.Cole has arguably the best verse on the project with "First Person Shooter". "8 Am in Charlette" finds Drake doing what he does best basically giving you an exact snapshot of where he is in his life, his mindset his mentality, and where he thinks he fits within the game. I enjoy the levity found on "Another Late Night" ft Lil Yachty. However the absolute best track on the album is "Away From Home" a track detailing everything went through to get to the point where he's at, all the rejections and no's he had to endure to get to where he's at in the game. All in all, I think For All The Dogs is a solid effort it's too long and a bit meandering at times. I think some of the R&B is a bit generic at times but I think the highlights make it worthwhile to listen through once to pick out the tracks you like and make a playlist out of those you enjoy. 7.0/10

Earl Sweatshirt & Alchemist-Voir: Earl's interesting because he's a really good/great rapper who's grown from more of a wordy abstract rapper who would impress with dense dexterous rhyme patterns. He's still that way but much more direct, maybe more monotone and monotonous than he ever used to be. You can't care about charisma, or wide-ranging vocal dynamics if you're going to be into Earl Sweatshirt. It can often feel as though Earls just rambling over these beats. However, he's still nice and stern on these soulful and beautiful beats from Alchemist. Earl has a way of still being heartfelt and vulnerable there's a weariness and soul-searching nature to him on these tracks. I love the bright synths on "Heat Check" and the soul samples that come in on that track. The guitar-laden "27 Braids" is a highlight of the project. "Mac Deuce" is my favorite on the project though Alchemist's fluttering swirling beat sounds great under Earl's vocal. There are two tracks with Vince Staples on the project but neither disappoints with "The Celiphant" being the best of the two. 7.5/10

Westside Gunn-And Then You Pray For Me: And Then You Pray For Me is essentially a sequel to Westside Gunn's most acclaimed effort and Pray for Paris a nearly perfect representation of East Coast underground hip-hop circa 2020. And Then You Pray For Me, finds Westside staying close to roots while also itching to expand his sound outward. Much like Westside's taste for traditional East Coast boom bap and blending that with elegance and opulence, he has a taste for classic trap music, done in the mid-00s by artists like Jeezy, T.I., and Ross. "Kostas' is Griselda trap featuring the big three in Benny The Butcher, Conway The Machine, and Westside Gunn himself and they sound right at home on the beat the track is meant to play in your ride at high volume. The album goes back right into some menacing hard East Coast sounds with "Suicide in Selfridges" the "Eurostep" of this project. "Kitchen Lights" ft Stove God is in my opinion probably the best track on the project it has the best production, love the lush strings on here as Westside paints the picture of his background as Stove romantizes cooking up the work under kitchen lights. There's something about Stove's serious yet somehow unhinged tone when singing that makes this track. "Disgusting" is dark and menacing and speaks to Westside's ethos "Yeah a ngga from the hood but a ngga bougie though". It's another banger on the album with trap percussion that sounds like it'll sound nice in your ride. Then he turns back to that standard gritty sound with "Babylon Bis" ft Stove God Cooks, They're both strong on here but Stove just shows why his album is so anticipated in the underground. On this album, I think Westside finds a way to bring a trap sound in and still blend it into Griselda's world. It's 21 tracks long though which means there more variance in quality here than your average Westside project. Still, I think it's a strong project. 8.0/10

City Girls-RAW: City Girls are back with their 4th project in RAW. This isn't as good as their 2020 album City on Lock. That album had more energy from track to track, still "No Bars" is among the best on the project which features some of the best of the project. I wish JT would just go solo, she can rap and I'm more curious and what she has to say lyrically. "Fancy Ass B*tch" is another highlight of the project it has some of the best production on here. "Flashy" is a solid pop-rap tune. Outside of that, almost everything is formulaic and a couple tracks are awful due to blatant sampling and straight-beat jacking. The City Girls have something but it just doesn't feel like they're progressing musically and it doesn't even feel like they're on the same page at times. 6.5/10

Reason- Porches: Reason is a good artist, I really enjoyed his 2018 album There You Have It, Then he dropped New Beginnings, and that one actually escaped me. Reason's new album speaks to coming from the ghetto and the good and bad that comes from that. It's a great album that finds Reason telling stories of homies that are good and have a lot to lose getting off track due to the street element on "A Broken Winter Break". He touches on generational curses as well as the same friend who was watching the older brother repeat some of his same actions later on on "Bussin". Love the flow pattern on "Too Much" as he gets introspective about how he came from the bottom but how still deals with issues even though he's seen "success". He's basically saying I'm not a superhero I go through issues too. On the fun side "At it Again' is my favorite song with some bounce on it, a great track to ride too. On "Gang sh*t" Reason touches on how people feel as though you switch up when you made it but when the really only thing that has changed is them. The album could've been a lot sharper at 12 or 13 songs but at 17 it feels like it drags a bit but that's how things go with hip-hop albums these days. Still, this was a great project from Reason. 8/10.

Lil Wayne & 2Chainz-Welcome 2 Collegrove: Lil Wayne & 2Chainz's first collaborative effort Collegrove while solid didn't really grab my attention when released, Wayne's career was somewhat in a lull and I wasn't the biggest 2Chainz fan. On Welcome 2 Collegrove things are much different Lil Wayne feels like he's getting into a 2nd prime and 2Chainz is a really quality MC at this point. This album also feels more highly produced and organized with varying sounds. "Big Diamonds ft 21 Savage has that classic cash money/New Orleans sound produced by none other than the great Mannie Fresh. It felt good to hear Wayne go back to his roots on that sound. There's the bounce and whistling sound of "Presha" on which Wayne showcases his great flow. "P.P.A" has a great jazzy sound, and has a lush sound as 2Chainz, Wayne, and, Fabulous wax poetic about women's genitalia. Wayne once again has the best verse on this one. "Oprah & Gayle" ft Benny The Butcher is sharp again the production is strong, everyone is great but Wayne dominates this one again. "Shame" is fun because they take on a Wu-Tang-influenced track produced by Havoc where they reference to being like Rae & Ghost. The Havoc-produced "Bars" is excellent as well. "Can't Believe You" has a beautiful opulent sound where Wayne is the MVP as well. Wayne is the MVP of the album. He's competitive, his flow is nimble, and his wit is on point. The sequencing is on point as well. Great album. 8/10

Kamaiyah- Another Good Night: A Good Night in the Ghetto(2016) is truly the principal project for Kamaiyah and one where she showcased her penchant for hooks, melody, and, an around-the-way arura on 90's flavored West Coast production(highly recommended). While this tape is similar in aesthetic. The quality of the tape is about 2 or 3 notches below what that project was. The best track was the first track "Raining Game in California" It has a catchy hook and Jay Worthy is strong. "Take a Sip" repurposes "Out The Bottle" and is a track worthy of being on the album. After that there are really a lot of middling Kamaiyah tracks with a lot of them being no longer than 2 minutes long barely long enough to establish a vibe and leave. It's a fun lil project still but I found her EP Still Lit released late last year to be better not to mention 2020's Got it Made. 6.5/10

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