#Julian Bunetta

[crinkle-eyed-boo]

what’s the context behind julian bulian?

It's Julian Bunetta's instagram handle, but it became a joke in the fandom? How? My old brain cannot remember at this time.

#Julian Bunetta

[didhewinkback]

Who is this Julian person from 1d?? I missed that tea 👀

to be able to describe mr julian bulian himself as "this julian person"...how i envy thee

he was their producer/cowriter for their last 3 albums, hes in all the docs as the scraggy guy waking them up at 3 am to record their vocals. he always gave me suuuch bad vibes and was friends with like 15 year old fans when he was in his 30s. bad vibes weirdo but he is responsible for like all of their music midnight memories-on. he's in so much of their footage you cant miss him.

#his real name is julian bunetta #but his dumb social media handle was julian bulian #just discovered in my googling to determine if i remembered his last name correctly that he wrote slow hands #sigh

[persimmonlions]

.

#was going through matt vines’ follows on ig for no particular reason #and i noticed julian bunetta; jamie scott; and ed drewett were all very early on #as was steve durham (louis’ current drummer) #seven7

[unholyverse]

waterparks // marvin magazine issue #10

(full transcript under the cut)

Waterparks

WORDS by HOLLY SOLEM

PHOTOGRAPHY by DANIEL PRACOPCYK

Waterparks are places you go for fun; both pools and slides and the gloriously buzzy, pop punk band featuring members Geoff Wigington (lead guitar), Otto Wood (drums), and singer/guitarist Awsten Knight, whose neon energy matches his hair. Their music leads you down sonic chutes and up rainbow ladders with four albums, countless tours, millions of listeners and a recent signing with Fueled By Ramen, the label under which they are about to drop their highly anticipated 5th studio album. MARVIN had the good fortune of catching up with Knight—who is busy prepping for a European tour, a US tour and the release of the band's new album—to talk about all that goes into creating the bubbly world of Waterparks.

The new album titled Intellectual Property features eleven legit bangers filled with anthemic choruses. psychedelic experimentation and hooky melodies all polished to a sheen. There are hints of megalithic rock bands like Muse, inspiration from The Beach Boys and the pop punk sounds we have come to expect. But as for the "pop" part, this record goes in hard with collaborations with the likes of blackbear and songwriter/producer Julian Bunetta.

I love pop music and we got an offer to write with this dude, Julian, who has credits on 95% of One Direction's discography. I fucking love One Direction. I don't want to be dramatic but let's say I've got a top 60 favorite songs, I think four or five are One Direction songs. And Julian's written on all of them. I was just like, 'I want to do what I do but with him too.' And then I made "FUNERAL GREY", "BRAINWASHED", and "FUCK ABOUT IT", with him.

For this album, the band brought in more outside alliances than on previous albums, with Knight saying. "I think I was more open to [collaborations] on this album. Other people's opinions and thoughts and stuff like that. Normally, I don't really love writing with people that I don't know very well because it can feel very sterile. You walk in and they're like, 'what do you want to write about? You're like, 'oh fuck'—because it's a personal thing." And when it comes to getting personal, Knight is also realizing that to his surprise, the more personal he gets-the more vulnerable lyrically—the more universal the message.

I feel like I used to be kind of freaked out by [vulnerability], especially earlier, on album one. I was really nervous about it and it sounds so lame in retrospect but I didn't even want to do any acoustic songs. I liked burying myself a lit- tle bit behind a big instrumental. [The song] "21 Questions" for example. I sent that along with all the other demos to Benji because I wanted his opinion and he was like, 'this is one of the best ones.' Those wind up being the favorites, which seems counterproductive because songs are supposed to be relatable. And I never feel like I'm being relatable but I try to be less selfish with the writing. I want this to be for someone else.

When Knight refers to "Benji" he is talking about Benji Madden, one half of legendary pop punk duo Good Charlotte. Benji, along with his brother and bandmate Joel, manage Waterparks after discovering them on YouTube and DM'ing them on Twitter back in 2015. Knight received the news of the Maddens' invitation to fly to LA for a meeting while working as a babysitter who gave guitar lessons.

I called the guys and we're like, 'holy shit.' So we all went and bought swimsuits because…California. And yeah, that was it. After we met them, we went back to our hotel and were just like, 'what is happening? A week ago we were still passing out flyers outside of other people's shows. And we're right here, right now. This is the weirdest shit.'

A literal dream-come-true for Knight and the band, who eventually would make the move to LA from Houston while missing its Tex-Mex and Thai food, and of course, his family. But when it comes to the weather, he's all about California. He doesn't even mind the earthquakes. He was in a rooftop hot tub during one and actually found it rather exciting. For a man who has toured the world, there's a bright-eyed innocence and almost childlike wonder to him. His seeming lack of cynicism is as refreshing as freshly fallen snow which he admits he only saw for the first time not that long ago. But now, Knight talks about having stress dreams as he and the band get ready to embark on a European leg, followed by an extensive US tour.

Here's the thing, I like to play shows and I like to meet people. The other 22 hours of the day, I like having my space. I'm pretty particular, you know what I mean? I like my zone where I can sit and just do stuff. You go from peace and quiet and doing what you want all the time to sharing a small living space and a bus with twelve people. It's basically having twelve people in your living room for two months. And you're just like, 'ah, but the shows are great' as long as the shows are fun and everyone is having a great time, that makes it worth it to me.

He's also superstitious. Around his apartment there are crystals, there are obsidian and selenite wands in front of all the mirrors. He has a healer-type person come in and energetically clear his space, insisting he throw away objects that may have "dark entities" attached. "I'm luckier than people I know. They're like, 'why is the light always turning green when you go to it? Why do you always get the front spot at the store?' I'm like, it's because I don't split the pole, you know? Can't split a pole when you're walking. There's a bunch of superstitions. But I follow them and I'm crazy lucky."

In addition to music, he recently penned a well-received book of personal essays called, You'd Be Paranoid Too (If Everyone Was Out to Get You). He plans to write a novel next and has also started a clothing line called HiiDef. that fabricates small collections that sell out fast. His enthusiasm for the line is on par with music. "If everybody made the songs that I wanted to hear, I wouldn't have to do this. The same thing applies with clothing." Passion abound, he is all smiles when discussing plans for the future of Waterparks.

How do I get to the fucking moon? I think anyone who hears this album is going to love it. Cause I think it's incredible. I'm looking at the songs right now. I'm just like, 'man, straight slappers.' Even the last song, which I know wouldn't be a single or anything-that's probably one of the best accomplishments of a song that we've ever been able to pull off. I see this album in plaques on the wall. All right, we're manifesting now.

He names his goals out loud, as one is meant to do when calling them in, mentioning things like how much he'd like to play the Redding and Leeds Festivals at sunset. Then he pulls up the Waterparks US tour schedule online while musing, "I want one of those big "Sold Out" things across all the dates. It's getting there dude. Yeah, actually, it's going crazy right now." In real time, he seems to discover that the banners that cross nearly all of the show dates do indeed read, "Sold Out". And then it's clear. Awsten Knight is lucky. But luck is really about preparation meeting opportunities and he has definitely shown up to the game prolific and prepared. Five albums in, it's clear that Knight and Waterparks have only just begun.

@waterparks

#i scanned this big ass magazine and photoshopped it back together after i found out you could buy this digitally so you better reblog #awsten knight #otto wood #geoff wigington #waterparks #i.zip #anyways story time #only reason i bought this is bc i saw this at barnes and noble at the mall and it was wayyy cheaper than if i got a physical online #$25 instore vs $30 online + $20 shipping which is INSANE but the fact that this is the size of my torso is even more insane #it's just some puff piece like the rest of the shit you'd expect from a rich people magazine that brands itself as punk #and that josh madden shilled his way into again lol

[foxes-that-run]

If I could fly

The TLDR is that If I could fly is about Harry being vulnerable with someone he is separated from by distance which is painful. Harry wrote it in February before the OTRA tour. When asked about it in the Track by Track, (1:52) Harry spoke about the album for 2 minutes, when prompted he covered his body language was closed before saying it 'kind of fell down, it was natural to sing it' then talked about Johan. Thank for sharing your music Harry.

When was it written

Harry wrote it with Johan Carlson and Ross Golan in Los Angeles. Johan said they wrote together several days a week over four weeks leading up to the On the Road Again tour, which started 7 February 2015. Harry wrote with Johan on ‘Just a Little Piece of your heart’, ‘I love you’, Maybe Someday and 'Stockholm Syndrome'. Johan said:

"He's such a good songwriter - it's an honour to write music with him. He's fantastic with the words and he can really put down lyrics that are very conversational and people can relate to. We're just having a good time."

Niall also said Made in the AM was written in January and February, before Zayn left the band in March. He also told Ryan Seacrest the bulk of the album was written before tour and recorded on the road.

Live performances

One Direction never performed it live and Harry hasn't since 2018. Harry included it in his first main setlist throughout 2018. He performed it on the B stage after Sweet Creature. When performing it live Harry paused, shushed the crowd with a finger for up to 2 minutes before saying "it's your turn" for them to sing the last chorus and "I feel it," both of which Harry led on the album.

What the band said about it

To Apple Music Liam said he got emotional listening to "the song Harry wrote", which is likely 'If I Could Fly' because his other writing credits were with 1D and/or 1D writers. Harry deflected answering what it is about but said it was a farewell (to a hoodie they had been joking about). The farewell is interesting to me as the lyrics are ambiguous to me, Harry sings of being apart from his muse, going out of mind and hoping they don’t run from him.

Julian Bunetta said to Rolling Stone:

“I remember when Harry first played it to me. That one I didn’t write, but I remember when I first heard it. We were in Westlake Studio for a week. I kept asking why he wanted to call it ‘If I Could Fly.’ It’s a great song, so it doesn’t really matter what it’s called, does it?”

The title is only in the first line, compared to 'for your eyes only' which is the main line of the chorus. If I could fly is a reference to the paper airplane necklace and Taylors Out Of The Woods "Two paper airplanes flying, flying, flying". It also sets the meaning of the song as about someone he's physically apart from rather than the band or fans.

Timeline

27 October - 1989 release, Harry and Taylor seen together again in November and December. (2014 timeline)

10 January - 4 weeks writing with Johan incl. 'If I could Fly'

16 January - The last time Harry and Taylor were seen together before the Exile BBMAs was Lily Aldridge's birthday. (WITW)

1 February - Taylor not at Harry's 21st birthday, in Nashville the next day, maybe broke up (Hunger and Coney Island).

7 February - ORTA tour start, end of writing period.

14 February - Style Music Video released and Two Ghosts written.

27 February - Harry posted the overgrown Winding Wheel.

7 November - Harry Tweeted 'If I could fly' before it was released. He had given Taylor the Airplane necklace on 7 November 2012.

Lyrics

If I could fly I'd be comin' right back home to you

"If I could fly" is not an obvious title for this song, but was important to Harry.

The opening of Taylor’s vault track The Very First Night is “I wish I could fly / I'd pick you up and we'd go back in time”

It is one of Harry's last One Direction songs, he fly's (over an ocean and woods) in the MV his first solo song, Sign of the Times, which works as a through line. Harry said to Jimmy Fallon that he 'would have been happy with a green screen' which sounds like the flying was his idea before he got concepts.

Harry has sung about flying and the distance separating him from his muse many times, especially in One Direction songs. This title and opening lyric are clear the song is about someone Harry is separated from by touring and living internationally:

Fools Gold "You're the shining distraction that makes me fly home"

Half The World Away "Never gonna be the same / 'Cause you're half the world away"

Lay down "Hearts are divided / Now that we’re worlds apart"

Trouble "And you know that i’ll be gone in the morning"

Already home "You don’t have to go, but you’re already leaving" and "From aeroplanes to the bullet trains, summer skies to the pouring rain / All the future plans we will never make, from a beating heart to the farthest place"

Daylight "If I was a bluebird, I would fly to you"

Canyon Moon "I'll be gone too long from you"

Daydreaming "You know I'll be gone for so long / So give me all of your love, give me something to dream about"

Since meeting Harry while writing Red, Taylor has sung about flying in more than 10 songs about him, most closely in The Very First Night: "I wish I could fly, I’d pick you up and we’d go back in time"

Home is also an important theme in Harry's music, home being with the person rather than a physical place.

I think I might Give up everything, just ask me to

Here, in Maybe Someday and in Taylors 'The Lakes' they have both sung about being together after giving up their careers, Slut! and Gold Rush Also has a similar message.

however on Harry's House in Music for a Sushi Restaurant and As it Was Harry started to say he should be able to have both because 'he's not going to go broke' or 'you know it's not the same.'

Pay attention, I hope that you listen 'Cause I let my guard down Right now I'm completely defenseless

Harry guards his privacy carefully, he has spoke in the Behind the Album that the world knew everything about him in the band and he found he didn't like that. To let someone in is important.

For your eyes only I'll show you my heart For when you're lonely And forget who you are I'm missing half of me When we're apart Now you know me For your eyes only For your eyes only

I really love the phrasing of 'when you're lonely and forget who you are' it beautifully communicates how highly Harry thinks of his muse, but knows they don't see themselves as he does. This is quite similar to

Lay Down: "Two Hearts are divided / Now that we’re worlds apart, They seem so hard to take"

Satellite "I can see you're lonely down there, Don't you know that I am right here?"

Little Freak "I was thinkin' about who you are / Your delicate point of view"

I've got scars Even though they can't always be seen And pain gets hard But now you're here and I don't feel a thing

This verse gets me everytime. Harry is speaking about past trauma, which he also touched on with Rolling Stone discussing his parents separating and wanting to protect his mother, as well as internet criticism. Taylor Swift has a similar story in Seven, and in Cardigan "You drew stars around my scars"

I can feel your heart inside of mine I feel it, I feel it I've been goin' out of my mind I feel it, I feel it Know that I'm just wastin' time And I hope that you don't run from me

To me the outcome for the relationship in the song is ambiguous, as it may have been for Harry. He’s vulnerable, hoping the person doesn’t run from him, but is leaving and thinks he wasting his time. To me this reflects a relationship that’s complex, but clearly special. As we can see with how Harry didn’t want to discuss the song.

This verse reminds me of these lyrics.

Sweet Creature "Two hearts in one home"

Where do broken hearts go "Mind is running in circles of you and me"

Fools Gold "You're the raise on the waves that calm my mind"

#one direction #harry styles #haylor #one direction haylor

[seasurfacefullofclouds1]

https://x.com/louiestream/status/1728960764097261792?s=46&t=3v6fUO8HxEhcPbcR8Jxopg

this makes me so much more proud of louis than i already was (which is like. the proudest i have been ever of anyone) because yeah i do love his voice on mitam but he was clearly straining to reach this note on eotd and you can hear it. the whine/moan at the end is hot to me but if they had toured this album and he had tried to hit this note it would’ve hurt him. like, comparatively, the high notes in btm are very similar but sound worlds healthier and more supported.

i feel like that just goes to show how hard he’s worked to improve and utilize the unique aspects of his voice in a healthy way that’ll be better for his voice in the long term. and then if you compare that to H’s performances of toxic or hopelessly devoted to you - who has (imo) relied on his misplaced confidence in his abilities and lack of regard for the health of his voice instead of focusing on longevity. his vocal chords sounded like they were toast to me back in 2015 if he didn’t start caring and i think we’re hearing the ramifications of that now

I agree with you to some extent, and I’ll add a few thoughts, if you don’t mind. Here’s the audio.

The thing about laying down vocals for MITAM is that … I just don’t think they put that much finesse or care into the act of recording. They tried their best, they wrote the songs that they could, but they were writing while touring and recording in hotel rooms, recording in the middle of the night after a full concert, recording while mentally and physically exhausted, and at times drunk or hung over or high because they had zero down time.

Their voices also sound nearly destroyed. In the same song, End Of The Day, Harry sounds like he’s pushing high notes out of a throat that was fried to a crisp. The notes sound like they came from a tortured animal.

Louis’ voice in I Want To Write You A Song was literally two vocal cords beaten to a pulp, rubbing on a sanding belt. I bet it took him weeks to recover.

They wanted to finish the album so they could push out a release in November, a month for big sales. Harry wanted to start his solo career. The album was heavy on autotuning and Julian Bunetta’s overproduction. It sounds heavy and noisy. Drag Me Down’s lyrics, compared to Strong or Love You Goodbye, are perfunctory and cliched.

But the album still had some real gems because 1D is 1D; their voices sound good together.

To your second point— regarding deliberative work on vocal quality.

Louis had lost so much confidence in his voice between year 1 and year 5 of One Direction that he really had to work to dig himself out of a confidence hole. Vocal cords are muscles and singing is a sport, and much like golf or baseball, yips happen. You lose control of your voice and suddenly your falsetto is gone, your chest to head transition is crap, your intonation goes off the road.

Louis is still in the process of working it out, but here’s the thing.

Even while admitting that he’s scared out of his mind, that he’s shitting bricks, that he always second-guesses himself in the first 30 minutes of a concert, Louis is fearless.

Louis sings songs like Too Young and Bigger Than Me live, in an acoustic setting, at radio stations and on television, with no electronic amps covering up mistakes or second takes.

Louis never, ever lip syncs. It’s live, with live voices and live instruments, every time.

Louis shows us the process of rehearsals. He doesn’t have to do rehearsals, and he doesn’t have to take each concert seriously, but singing is a sport, and it requires a warm up, and he does it.

As I said, Louis is still in the process. He still has moments where intonation is off, but his voice is better than it was, it is more expressive and more theatrical. His recordings are better now. He is able to tour and do three consecutive nights of 100-minute shows without ruining his voice. 80 concerts this year, and more to come. If I know Louis, I know he will continue to strive for better.

[apureniallsource]

Niall Horan is not worried about turning 30. The singer-songwriter, who famously devoted a portion of his youth to One Direction, will be crossing that threshold later this year, and he wrestles with maturity in “Never Grow Up,” one of the best tracks on his upcoming album, The Show: “I hope we still dance like we’re falling in love/ Hope we still drink like we’re back in the pub/ Hope we grow old, but we never grow up.”

“I don’t care anymore,” he says of the impending milestone, chatting with Consequence over Zoom. “We speak about what happens from 16 to 20, and 20 to 24, but more actually happens between 25 and 30 than I thought. Your interests change, and things happen in your life — the kind of things you write about.”

According to Horan, it’s a “lovely day in London town” when we speak a few weeks prior to the release of The Show, out June 9th. He comes across as easygoing, humble, and grounded, but also seems very excited to talk about his music. The album’s two pre-release singles, “Heaven” and “Meltdown,” have provided listeners with their first window into The Show, an album that plays like a natural extension of his previous two full-length efforts.

It’s the hope of most artists that each project is their favorite to date, and the vocalist confirms that his personal anticipation for this release is high. “I feel like I’ve got my best work here,” he notes. “If you don’t back yourself, who’s going to back you?”

The Show‘s 10 tracks were developed with some of Horan’s trusted collaborators. He reveals that part of the project was written in Nashville, Tennessee — “What a town,” he says with a smile, shaking his head. He tries to make a visit to Music City at least once a year, he explains, and “Never Grow Up” was one of the songs that came from his time at Starstruck Studios, located on a block lined with songwriting houses, labels, and publishing companies.

“Never Grow Up” was co-written with Julian Bunetta, John Ryan, and Shane McAnally, the last of whom is one of Nashville’s true producing and songwriting gems. The sonic landscape of the song, and most others on The Show, is where Horan seems to be particularly comfortable, surrounded by acoustic guitar, truthful lyrics, and a reliable drum beat.

“If I’m sat still for even a minute, I’m always thinking of something to write. I write a lot of stories,” he says of his process. Narratives are always turning over in his head, both real and imagined. “I like to have an idea before I go anywhere near a studio or before I start to sit down and write something.”

While The Show slots neatly into Horan’s discography, this album feels different to him for a few reasons. For one, “There’s no heartbreak,” he confirms. That’s quite the contrast to his previous project, literally titled Heartbreak Weather, which dropped on March 13th, 2020 as the world screeched to a halt. Like many other artists, he felt inspired by the stillness that came with a global pause. “Stillness was something that actually was more thought provoking than I thought it would be,” he explains. “Reflection. My outlook, and feelings and emotions that I hadn’t really cracked into — they were a big, big part of what this album’s about.”

There hasn’t been an abundance of downtime for Horan recently, who also recently wrapped his role as a judge on Season 23 of NBC’s The Voice. Next, in support of The Show, Horan has mapped out an enormous 2024 world tour (find ticket details here), and the gears turning in his head while discussing the trek are practically visible. “My favorite thing about my career is being able to have an effect on people’s lives and create things for them to relate to,” he shares. “Hopefully we can just keep that going, and maybe gather some new people along the way.”

He describes himself as tied inherently to his artistry. When asked what goals he might have or what he might be looking forward to just as Niall the person rather than Niall the artist, he’s a bit stumped. “I just want to take it all in, because I feel like I’m so fired up. I haven’t toured and done shows in five years now, so I’m just more grateful than ever.”

For someone who has spent over a decade centered in the spotlight in a variety of ways, Horan seems to have his priorities quite clear when asked how he prefers to be seen by people. “I’ve been told if you’re a nice guy, that’s a good thing,” he jokes. “I love meeting new people and love chatting. To be told I’m a songwriter and a nice guy? I’d take both of them to the grave with me if I could.”

#niall horan #06june

[zot3-flopped]

I blame 1D fans from 2013-2015 for the way Louis thinks he's a great lyricist. They hyped him up so fucking much and gave him credits for 1D's musical evolution, to this day his fans say if it weren't for him they'd have made Up All Night-s for the rest if their career. They genuinely think he's the mastermind behind Midnights Memories and the sound shift. If it weren't for these fans he'd have known his fucking place by now.

The team responsible for the 1d sound change was the Three Js, led by Julian Bunetta. They also wrote and produced Heartbreak Weather for Niall, and you can hear the same classic 1d sound on that album in songs like Cross Your Mind.

Walls sounds nothing like 1d because it was written by a completely different team.

Louis Tomlinson doesn't have a musical bone in his body. He's been trying and failing to learn to play guitar for ten years now.

#louis tomlinson #louis tomlinson songwriting

[moonbythecabstan]

"Afterglow"

Written by: Luke Hemmings, Calum Hood, Sierra Deaton

"Alive"

Written by: Luke Hemmings, Sierra Deaton, Casey Smith, Zachary Skelton

"Baby Be Real"

Written by: Luke Hemmings, Ashton Irwin, Toby Gad

"Blacklist"

Written by: Luke Hemmings, Ashton Irwin, Ross Golan, Daniel Wilson

"Borderline"

Written by: Luke Hemmings, Calum Hood, Mike Lewis, Jamie Scott, Nicholas Squires

"Bury My Heart"

Written by: Luke Hemmings, Sierra Deaton, Mark Nilan Jr., Michael Pollack

"By Now"

Written by: Luke Hemmings, Sierra Deaton, Jon Hume

"Call My Name"

Written by: Luke Hemmings, Sierra Deaton, Mitch Allen

"Can't Keep Up"

Written by: Michael Clifford, Luke Hemmings, Ashton Irwin, Calum Hood, Mike Elizondo, Justin Tranter

"Dance Like We Used To"

Written by: Luke Hemmings, Sierra Deaton, Ross Golan, Luke Niccoli

"Dancing Through The Pain"

Written by: Luke Hemmings, Ashton Irwin, Sierra Deaton

"Dying Just To Breathe"

Written by: Michael Clifford, Luke Hemmings, Ashton Irwin, Calum Hood, John Feldmann

"Forgive"

Written by: Luke Hemmings, Sierra Deaton, Garrett Nash

"Gasoline"

Written by: Luke Hemmings, Sierra Deaton, Caroline Hjet, Jon Hume, Aino Jawo

"He Says She Says"

Written by: Luke Hemmings, Ashton Irwin, Toby Gad

"I Can Change"

Written by: Luke Hemmings, Sierra Deaton, Ross Golan, Luke Niccoli

"Let Me Go"

Written by: Luke Hemmings, Ashton Irwin, Sierra Deaton

"Like You"

Written by: Luke Hemmings, Sierra Deaton, Feli, Andrew Goldstein

"Manhunt"

Written by: Luke Hemmings, Sierra Deaton, Luke Perta

"Pretty In Ink"

Written by: Luke Hemmings, Ashton Irwin, Brendan Urie, Sam Hollander, Jacob Sinclair

"Rush"

Written by: Luke Hemmings, Ashton Irwin, Sierra Deaton

"Serious"

Written by: Luke Hemmings, Calum Hood, Nicholas Hodgson, Julian Emery

"She's The Only One"

Written by: Luke Hemmings, Ashton Irwin, Tom Danvers, Nicholas Hartman, Jamie Scott

"Sunsets On Fire"

Written by: Luke Hemmings, Michael Clifford, Michael Darcy, Penelope Phillips

"Twisted"

Written by: Luke Hemmings, Sierra Deaton, Roget Chahayed, Max Schneider, Imad Royal

"When You Dance"

Written by: Luke Hemmings, Ashton Irwin, Julian Bunetta, John Ryan

"Work My Way Up"

Written by: Luke Hemmings, Ashton Irwin, Justin Tranter, Anderw Goldstein

#and this is just a fraction of what you can find on there #and only what is registered with BMI or ASCAP #some of the titles probably aren't like official official obviously #but yeah #some interesting stuff #I want to hear it all #like now #gimme gimme gimme #Luke Hemmings #Ashton Irwin #Unreleased songs #5SOS #5 Seconds of Summer #Calum Hood #Michael Clifford #sierra deaton

[pcnmagazine]

WARREN ZEIDERS KICKS OFF 2024 WITH “HEARTBREAKER”

KICKS OFF 2024 WITH “HEARTBREAKER” LISTEN HERE Warner Records artist Warren Zeiders releases his first track of 2024, “Heartbreaker.”  Written by Zeiders, Julian Bunetta (Thomas Rhett, Niall Horan, Kelsea Ballerini) and Mags Duval (The Highwomen, Lindsay Ell, Teddy Swims), the song finds Zeiders heartsick, reflecting on his shortcomings in love as he displays a softer side of his signature…

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#WARREN ZEIDER

[isupportzaynxliamxziam]

Friday, 31 July 2015

One Direction releases Drag Me Down, the lead single for their fifth studio album Made in the A.M.

It's a midtempo pop rock track written by Jamie Scott, Julian Bunetta and John Ryan, who wrote and produced several songs on One Direction's previous two albums

The video is directed by Ben and Gabe Turner and filmed at NASA's Johnson Space Center in Houston, Texas and premiered on Vevo on 31 July 2015. The video includes the band being put through their paces as though they are astronauts preparing for a space mission

#Friday 31 July 2015 #One Direction #single: Drag Me Down #Jamie Scott #Julian Bunetta #John Ryan #music video: Drag Me Down #Ben Turner #Gabe Turner #NASA's Johnson Space Center - Houston

[my-chaos-radio]

Release: March 22, 1985

Lyrics:

Welcome to your life

There's no turning back

Even while we sleep

We will find you

Acting on your best behaviour

Turn your back on mother nature

Everybody wants to rule the world

It's my own design

It's my own remorse

Help me to decide

Help me make the most

Of freedom and of pleasure

Nothing ever lasts forever

Everybody wants to rule the world

There's a room where the light won't find you

Holding hands while the walls come tumbling down

When they do I'll be right behind you

So glad we've almost made it

So sad they had to fade it

Everybody wants to rule the world

I can't stand this indecision

Married with a lack of vision

Everybody wants to rule the world

Say that you'll never never never never need it

One headline why believe it?

Everybody wants to rule the world

Songwriter:

All for freedom and for pleasure

Nothing ever lasts forever

Everybody wants to rule the world

Chris Hughes / Roland Orzabal / Ian Stanley / Julian Bunetta / Caroline Ailin / John Ryan / Joel Little

SongFacts:

👉📖

#new #new music #my chaos radio #Tears For Fears #Everybody wants to rule the world #music #spotify #youtube #hit of the day #music video #video of the day #youtube video #good music #80s #80s music #80s nostalgia #80s video #80s charts #1985 #pop #new wave #alternative indie #rock #synth pop #pop rock #lyrics #songfacts #898

[thesinglesjukebox]

TEDDY SWIMS - "LOSE CONTROL"

Harkening back to a time when music made you shake, rattle, and roll...

[3.79]

Will Adams: Must be love on the brain. Or maybe just water in my ear. [4]

Ian Mathers: When will The Black Keys be held accountable for what they have unleashed upon the world? [3]

Jacob Satter: "He began playing instruments including piano and ukulele, and watched YouTube videos of singers to help develop his vocal technique. [4][5]" -- Wikipedia [4]

Thomas Inskeep: Oh, yay: another big-bearded, face-tatted white boy who thinks he's somehow "soulful" because he heard a Stax record once. And much like Post Malone and Jelly Roll before him, throw him on the burn pile. [1]

Scott Mildenhall: A great audition: four chair turns and a message from Rag'n'Bone Man. All theatrics are plausibly deniable, but the vocal capabilities are conspicuous, with there never being enough of a song to intrude on them. A strong message to the detractors of treading water in the natatorial world. [5]

Nortey Dowuona: The history of soulful white boys is long and strained. The Righteous Brothers are one example, but they never got more than one big immortal hit (only one did: Bill Medley). There's Michael McDonald, Bobby Caldwell, Tom Jones, and, of course, Fucking Drake. Each time a soulful white boy appears, he does appear acceptable, but only up to a point. Once that point has been breached, his existence becomes an anchor -- not a boon -- receiving enmity and bitterness for both his success and his inability to possess the skill demanded from truly soulful singers. As time has gone on, the five-alarm church runs that once ran R&B have gone out of style with the youngsters, unless coated in patiently brush-stroked Autotune. Even though live performances are a crapshoot with many of them, their excellent songwriting kept them aloft. Sometimes, their voices were so pretty that their lack of range didn't bother us. Now, another soulful white boy who possesses the runs (with scalpel-level Melodyne on them) has risen to the top. The worst part is that his song is well-produced: done by Ammo and Julian Bunetta, a trained jazz drummer whose heavy-handed soul drums anchor the thin mix. The plaintive keys shuffle against the tambourines gently, as Bunetta's bass lopes below and follows the key of the keys. But the songwriting from Mikky Ekko drags down this fantastic effort, leaving a held-back guitar solo by Bunetta bashing its neck against the withholding mix of Serban Ghenea. If only Brent Faiyaz was writing this... [6]

Tara Hillegeist: Oh, this is a very passably lovelorn piece of uptempo romantic angst, the kind that sounds like it could just as easily have dropped off the back of Cee-Lo Green's tour bus, circa "Fuck You." But it's not so passable that I can't help but have my main response to it all be "Wow, your man's such a tatted-up white lad, looks like he belongs on the set of a Guy Ritchie film, innit?" And now I've had that thought, I have to ask myself: when's the last time I heard something like this from someone who didn't, whose name wasn't T-Pain? And now I've asked myself that question, I have to wonder: should that question still matter? [6]

Joshua Minsoo Kim: This is a good time to admit that I always thought Gnarls Barkley’s “Crazy” was a terrible, plodding song. This sounds like a mellower, simplfied version of that. I find the almost-rapped verse kind of sweet, reminiscent of Ed Sheeran if he had a bit more soul, but then the guitar solo arrives and makes me feel disgust. It is not lost on me that this isn’t so far from Portishead’s “Glory Box.” The difference is that it all feels so rote, the elements already pre-packaged with an understanding of their meaning and import, and they don’t ever come together to bring the track to a greater whole. [4]

Hannah Jocelyn: Does nothing new in this type of song (except for the weird keyboard warble, which I'm not convinced is a good innovation because it sounds like "Dance Monkey (slowed + reverb)"), but the production from Julian Bunetta is phenomenal -- incredibly warm, but with enough muscle that what's probably just a drum loop from Splice sounds massive. Teddy Swims is very much in the Rag'n'Bone Man/Jelly Roll vein of gruff belters, but there's a warmth in his voice that prevents him from coming across like Mr. Roll or, worse, Oliver Anthony. [6]

Jacob Sujin Kuppermann: I get no enjoyment at all from listening to this. Every pained vocalization, every flanged guitar stab and demonstrative snare hit feels empty to me; whatever feelings Swims has do not survive transit. And yet, I feel a certain perverse respect for "Lose Control" despite all this. Perhaps it reminds me too much of the soul revival tracks that my high school pop ensemble teacher favored, the Fitz & The Tantrums-alikes that I dutifully jammed out to for four years. It's not a style that moves me at all anymore, but as I listen to "Lose Control," I can almost conjure bass tabs and keyboard charts to memorize and devote myself to (and can imagine the students of a semester from now who will be playing along to teenage takes on Teddy Swims' adult melodrama). [4]

Alfred Soto: The echo, horn blasts, and Soulful White Man vocal evoke a pop climate at least a decade past obsolescence, a reminder that a certain overstatement will always serve as a crutch. [4]

Wayne Weizhen Zhang: This song makes perfect sense if you just picture the woman he’s singing about standing next to him the entire time.  [3]

Leah Isobel: This man said "problematic" like he's on the Tumblr dash in 2011. [1]

Katherine St. Asaph: Thoughts and prayers for anyone persuaded to fuck to this song. [2]

[Read, comment and vote on The Singles Jukebox ]

#teddy swims #music #pop #pop music #music writing #music reviews #music criticism #the singles jukebox #Youtube

[foxes-that-run]

Walking in the wind

Harry Styles has a gift for answering a question and not answering it at all at once. In the Made in the A.M track by track he said WITW was inspired by Paul Simon’s song Graceland.

I love how Harry's solo work draws modern inspiration from his diverse music tastes and he encourages his fans to broaden their tastes. Hindsight being 20/20 you can see where he went with his debut in that short video and this song.

When Simon wrote Graceland he and Carrie Fisher were divorcing and his relationship with Art Garfunkel was bitter. Simon said Graceland was a metaphor for the journey to mend a broken heart. Much like 2015 Harry who had broken up with Taylor and was on tour as One Direction ended. Simon also went to Africa to make this album, much like Harry went to South America for debut.

Timeline

Made on the AM was written in Japan in February 2015. Harry talked being able to just write 'good songs' because it wouldn’t be toured which made space for a song like this. WITW was probably written between February and May 2015. Harry and Taylor had been close at the end of 2014, it was over on or by his 21st birthday 2 February 2015. His smile when he saw her at the start (0:29) of BBMAs showed no animosity, but it’s unlikely WITW was written after the BBMAs in May (Woman). He also started looking even sadder live then.

To rolling stone Julian Bunetta said:

“That title was born in Japan. Just the title of it and the idea of it. Everyone’s different experiences of what they’re going through, whether it’s this or that, I’d like to think that these songs can apply to more than just [one instance].”

Lyrics

[Verse 1: Harry] A week ago, you said to me "Do you believe I'll never be too far?" If you're lost, just look for me You'll find me in the region of the summer stars The fact that we can sit right here and say goodbye Means we've already won A necessity for apologies between you and me Baby, there is none

The relaxed and happy tone depicts their romantic friendship that continues. I think they genuinely cared for each other, are nice people who both prioritised their careers. To me, “the fact we can say goodbye means we’ve already won” shows that mutual respect for each other.

To me “Do you believe I’ll never be too far” is agreeing to be apart while they focus on being massively famous and together in the future.

In the context of their later work about being end game, the 1, sushi is about having only a piece of your persons life, in as it was and golden he sings about it being time or feel her taking over.

Harry does not have anyone that would never be too far in a literal sense, and although at that time he was always with 1D they have spoken in interviews that year of that not being good.

[Pre-Chorus: Niall] Ah-ooh, we had some good times, didn't we? Ah-ooh, we had some good tricks up our sleeve Ah-ooh, goodbyes are bittersweet But it's not the end, I'll see your face again

Taylor has a similar lyric in The 1 “But we were something, don't you think so? / Roaring 20s, / tossing pennies in the pool / And if my wishes came true / It would've been you” this is about appreciating the relationship.

[Chorus: All] And you will find me Yeah, you will find me In places that we've never been For reasons we don't understand Walking in the wind Walking in the wind

Where their earlier work on Red and other 1D albums sung about always wanting to be together and coping in their career by Made in the AM and Reputation onwards they started singing about being connected but apart, on faith they’d come back together.

[Verse 2: Louis] Yesterday, I went out To celebrate the birthday of a friend But as we raised our glasses up to make a toast I realised you were missing

This may be referring to Lily Aldridge’s birthday where they both were. Harry’s 21st birthday was 2 weeks later but Lily and Taylor were in Nashville. In Hunger he sang about making her cry on his birthday, if it was for Debut the 1 year to 2 timeframe line up for that. (Hunger also sings of “your stuff” as in music, doesn’t taste the same, as in Two Ghosts)

Later on 27 February he posted the overgrown winding wheel and she started dating CH.

[Bridge: Harry] And I know we'll be alright, child Just close your eyes and see I'll be by your side Any time you're needing me Oh, yeah

The bridge is similar to Fine Line, which also ends on “we’ll be alright” in Fine line he’s reflecting on being friends with someone he’s in love with. Here he is asking his muse to have faith that although they are not together he’s there for her. Also Sign of the Times "Just stop your crying / It'll be alright"

I just wanna love you leak

In September 2023 a leaked song, I just wanna love you referenced WITW with “A week ago you said to me: "We've started running out of time" / Crying over memories that we lost and cannot be found / Why don't we stop talking now? / (I just wanna love you)” which to me, in the sound and this lyric is the sequel to WITW, he’s saying it’s time. It also refers to Late night talking, and The 1 and Question…? Where they explore friendship with someone they love, in WITW they seem to agree to leave a live unresolved, on Harry’s House and Midnights they are contemplating that unresolved love.

#Youtube #made in the am #haylor #one direction haylor #one direction

[notoriousbeb]

hello! so I was re-listening to FOUR, and "Change Your Ticket" started playing. I read the lyrics and I guess I just never realized that it was so haylor-coded, but maybe that's just me. (it is written by multiple people so it's probably unlikely that it's about them but eh) anyways, what do you think? :))

hope you have a good day//night.

Hi there, @stvrligghtt!

You’re right, even though Harry isn’t credited on this one, it’s extremely Haylor coded. (Although, Taylor doesn’t need to have a plane ticket, thanks to the private jet and all. Lol).

Julian Bunetta was one of the writers, who often worked with Harry on One Direction songs, and some of his solo stuff, so he is certainly clued into the Haylor of it all. Could very well be an influence!

#ask #change your ticket #lyric analysis #haylor

[seasurfacefullofclouds1]

We don't know the details but it's pretty obvious that something happened in Louis and Harry's relationship that year. I can't imagine how Louis must have felt at that moment having to continue acting as if nothing was happening at the peak of the band: continue singing the songs, maintaining good appearances, being overworked, seeing someone every day of your life that you don't want to see at that moment, it's a huge emotional and psychological drain for someone so young at that time.

Louis also had to think about writing an album that 1D might never tour, and watch Julian Bunetta et al. cram MITAM with Harry Styles solos in preparation for his solo career. All the while trying to reassure fans that all was well.