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#all distortions are intentional
joshydoesntknow · 1 year
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sick joke // neck deep
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nothnksfrthmmrs · 2 months
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…everyone here is a nightmare
Neck Deep - Sonderland
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musicmattersmedia · 3 months
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Don't miss out on the latest episode of the Music Matters Media podcast, where we explore one of our most anticipated albums of the year – Neck Deep's self-titled record. Listen as we discuss our thoughts about Neck Deep's return to form sonically, we dissect specific tracks, weigh the album's highs and lows, and reveal our least favorite and favorite tracks. Most of all, find out if this record lived up to our expectations following a four-year anticipation.
Visit Our Website: MusicMattersMedia.com All Music Matters Media Links: linktr.ee/musicmattersmedia Buy Our Merchandise!: MusicMattersMedia.com/Merch
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theselockscreens · 8 months
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when you know, neck deep.
like if you save; pics are mine, words are not!
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breaking-justin · 7 months
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neck deep definitely got me neck deep in my feelings
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francisabernathysgf · 10 months
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french exit by tv girl sounds like when you're high and everything is distorted and you don't what's real and what's not and you're so carefree and you're singing a tune. it's literally distorted reality as an album
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thisaintascenereviews · 3 months
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Neck Deep - S/T
Out of the current crop of pop-punk bands, Neck Deep is one of the few that I’ve had a hard time getting into over the years. Well, they really aren’t “current,” are they? They dropped their debut EP more than a decade ago, but they’ve had a bit of a transformation over their career. They started off as a clone of The Story So Far, and they slowly made their own sound, only to change their sound on their last LP from a few years back. They went into an indie / Britpop sound, ultimately abandoning the pop-punk sound they were known for. I enjoyed their last couple of albums, although it’s been years since I’ve listened to them, but I didn’t care for their last one, and I was apprehensive about this one. It’s telling that it’s a self-titled record, but I was still kind of curious about it. I’ve been surprised before, especially from bands I didn’t think I’d like their new album, including the new State Champs album from a couple of years ago. Vocalist Ben Barlow is featured on that album, too, so I thought I’d give the new self-titled album from Neck Deep a listen.
You know what? This record is honestly their best album yet, and it comes down to two things — their sound and lyricism. They went back to a classic pop-punk sound for this one, and that was a great choice, because they sound completely energized. They sound refreshed and ready to go, especially Barlow. His vocals are at the top of his game, as well as the lyricism. This album is interesting, because it’s a relatively generic record, but it does that thing I like where it just sounds great. The lyrics help to elevate it, too, because this is from a band that’s older and wiser now, and that’s the perspective Barlow comes from with them. The songs feel more mature, grown, and lived in, especially a song that looks at how one’s parents can unknowingly contribute to trauma. There’s another song I love about aliens hypothetically coming down to Earth and Barlow wishing they’d take him with them.
If there’s another thing that works about this record, it’s the hooks. This album is insanely catchy, and while it is pretty generic, it still works. Being that this album is really short and sweet, only 33 minutes, it goes by in a flash. This album breezes by, especially with having a lot of energy behind it, so it goes in and out without any issues. I have a lot of fun with this album, and it’s surprising how good it is. Neck Deep don’t reinvent themselves with this album, but they go back to their roots, so to speak, and make an album that speaks to who they are. This is a no frills pop-punk record through and through, and if you haven’t been a fan of their last few albums, I think you’ll like this. If you’re wanting more, you may not get it, but the lyrics have a lot of wisdom and age behind them, and they acknowledge that they aren’t the same band they once were. I really enjoy this album, for what it’s worth, and it’s a nice surprise that these guys delivered an album this fun and reflective at the same time.
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systemplaylist · 1 year
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kyokasuiigetsu · 1 year
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coisacoisa · 1 year
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TRIPLETS
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unironically one of the most fucked up endings to any manga ever i literally cried for like 30 minutes when I first reached the last few chapters of this
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lyricallymnded · 1 year
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telling stories // neck deep
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marblyso · 8 months
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every fucking time I look through the documented files there's new surprises
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You can understand why they removed this.
Shepherd and Collin obviously don't have this anomaly in the files, because they aren't replicable in the character creator, but strangely Bernard doesn't have them either. He was clearly made much later in development, as in text files, he breaks the internal naming scheme of the Rescue Corps - "Pilot" instead of "Normal#", which explains this.
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chryzure-archive · 2 years
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naiad!chrysi and jacks(normal fate) flirting via jacks trying to kiss her because he thinks it would be beautiful to watch a water nymph die to his curse and chrysi trying to drown him because she’d love to keep a pretty fate as a drowned trophy with her underwater. then they end up actually falling in love and it’s a bit of a problem, since now they’re both mortal over it ://
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Neck Deep - All Distortions Are Intentional In the world of pop-punk, at least modern pop-punk, there have been a few different “waves,” so to speak, and I think we’re in the midst of the “third wave.” The first wave was what I would consider to be the OGs, including Yellowcard, New Found Glory, Blink-182, Jimmy Eat World, The Movielife, Fall Out Boy, The Academy Is, and many more bands from the late 90s and early 00s (there were other punk bands from the 70s and 80s that kind of bled into proto-pop-punk territories, but I’m talking about the modern wave of these bands). I was pretty young when the first wave of modern pop-punk bands came up, but I was there for the second wave, which I’d classify bands like Broadside, Real Friends, State Champs, The Story So Far, and the subject of today’s review, Neck Deep. The third wave is what’s happening now, and I would consider that to be the resurgence that’s happening in the mainstream, including Demi Lovato’s new record, the new MGK stuff, Huddy, Jxdn, the new Avril Lavigne, and all of that stuff that’s really, really popular for whatever reason. Whether it’s good is another story, but it’s interesting how pop-punk is making a comeback, especially when I remember the mid-00s and early 2010s when it really blew up in the underground. There was a period where Tumblr, pizza, flannel, snapbacks, and the phrase “defend pop-punk” ruled the alternative scene. One of the bands at the forefront of that scene was the British band Neck Deep. In fact, their debut EP, Rain In July, just turned ten years old this year, and it’s crazy that it came out a decade ago. My feelings on Neck Deep are kind of complicated, because I’ve gone from really loving them to disliking them to enjoying them again. I was one of those cliche “pop-punk kids” in the early 2010s, and I really enjoyed their first EP, but I didn’t like their debut very much, probably because I was just getting out of that phase of my music fandom when their debut came out a couple of years later, but I ended up getting back into them a bit when their second album, 2015′s Life’s Not Out To Get You, came out. I also really liked 2017′s The Peace And The Panic, as they went more into this pop-rock / alt-rock direction, but I never listened to their most recent record, 2020′s All Distortions Are Intentional. I mentioned why in my review of the last Four Year Strong album, 2020′s Brain Pain, as I just didn’t listen to a lot of new albums that year, so this album went under my radar for the last couple of years. I’ve been on a bit of a pop-punk kick, so I thought I’d finally check it out, just to see what I’ve been missing. These guys are one of the biggest bands in the scene from the last decade, including the likes of State Champs and The Story So Far (their last records are easily among their best; the new State Champs album is one of my favorites of the year, and I’ve just listened to the last The Story So Far album, and it’s surprisingly great), so how does this album hold up compared to their prior work? All Distortions Are Intentional is a really good album, especially when you compare it to their earlier material, but it’s not exactly perfect. That’s not to say there isn’t a lot to like, because there sure is. For starters, this is the catchiest and slickest this band has ever sounded, because they lean very much into a mainstream-friendly sound. The instrumentation on this thing is fantastic. A lot of these songs are utterly catchy, and the instrumentation rides the line between pop-rock and pop-punk. They lean on the “poppier” side of pop-punk, which I tend to like, and this album is no exception to that. The instrumentation is incredibly solid, but that leads me to one of my biggest issues with this record -- this album is catchy, slick, and a lot of fun, but it’s honestly kind of bland in a lot of spots, too, especially in regards to its hooks. I really enjoyed the first time I heard it, and every subsequent time I played it, I wasn’t as crazy about it, because there just wasn’t as much to make me come back to it as I originally thought. Not that there’s anything outright bad here, but its sound is a bit bland and not as interesting when you compare this record to the new State Champs album, for example. Yeah, sure, Kings Of The New Age is pretty bland, too, but the hooks are incredible, the vocals are great, the lyrics are solid for what they are, and it just comes together in the perfect way, whereas this record is catchy, fun, and slickly produced, but the hooks aren’t really that memorable, minus a few songs. The hooks are fine, but they don’t come close to other bands in the scene. Maybe that’s partially because vocalist Ben Barlow has a voice that can get really annoying, especially if you’re not in the mood for it. His voice is good, especially for the harder-edged pop-punk sound, but when it comes to the catchier alt-rock / pop-rock, his voice doesn’t always work as well. He doesn’t have much of a vocal range, even though his voice isn’t necessarily bad on its own. I think that’s the brunt of why this album isn’t as great as it should be, even with the catchier and more pop-friendly sound. It’s still a good album, especially when you look at its sound and when you look at the lyrics, which are that of a concept album about two characters named Jett and Alice in a place called Sonderland (the track of the same name which opens up the album, sort of explaining the concept). The concept is pretty interesting, although there’s no sense of story or cohesion within the lyrics. I like the lyrics on this album, don’t get me wrong, but there’s nothing that suggests that this record has a concept to it. Overall, I think All Distortions Are Intentional is a good album, even if it’s not necessarily a great one. Barlow still sounds good on here, even if his voice doesn’t completely suit this kind of pop-rock / pop-punk, but the real star of the album is its sound. I really enjoy its catchier and more pop-rock-leaning sound, and that’s easily the best part of it, but I’d like to see the band move in this sound even further. Hopefully Barlow can make his voice work with this sound even more, because this sound is really good, even if it doesn’t quite rival some of the other biggest bands in the genre, but it still works pretty well for what it is. There’s nothing outright bad here, it just pales in comparison, mainly for Barlow’s vocals not being up to par with other vocalists that do this same style, but I’m glad that I heard this finally. I can’t say I’ve been going back to it much, but I still kind of enjoy it.
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