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nowandforalways · 9 months

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"Never to change, ever to share...": An off-the-rails analysis of "Now And For Always" from the Lord of the Rings musical

Good day to you, my dears.

"Now And For Always" is my favorite song of all time and has been since I first heard it at age 16. With the revival of the musical giving us a ✨whole new arrangement✨ of the song, I decided now would be as good a time as any to analyze it as a whole and take a look at a few of the changes made to see how each version accomplishes exactly what it set out to accomplish with it's storytelling from a musical perspective.

A QUICK NOTE BEFORE WE START: While in the original production of the show, "Now And For Always" is clearly diegetic (that is, the characters in the show are actually singing the song in the world of the show), it's a bit more debatable in the new production. Samwise Gamgee is a wonder, but I find it hard to imagine him schlepping an entire guitar to Mordor - this ain't Hadestown, after all (the "Wait for me"/"And I'm coming with you" thing would require an entirely separate post 😉). Regardless, for the sake of analysis and also my sanity, we are going to say that the song is 100% diegetic in both versions of the show.

Key: NA = new/revival arrangement

OA = old/original arrangement

First lets take a look at what stays the same between both versions (which is most of the song, tbh) and see what can be seen. We're gonna get lightly music-y here.

This song is in 6/8 time signature, which basically just means that it's counted out in two groups of 3 notes each - 123, 456 - with a sort of slope-y feeling to it, like rising up to 3 and falling back down to 6. You can also count it in a very slow 2/2 (1, 2), with each of those being on the 1 beat and then the 4 beat of the 6/8 counting pattern. This time signature has the effect of making it slow and relaxing, but still sound Hobbit-y, in a rather country-ish way. This time signature could technically become a very fast waltz, and it does lean into a natural sort of swaying motion when you listen to it. Perfect for singing around the fire.

The rhythm of the song itself is interesting because it's very speech-like. If you try to speak the words out loud in rhythm, it doesn't actually sound that off from a typical English speaking rhythm. This makes it very easy to learn, and very easy to add your own words to, as its implied Sam and Frodo are doing as they sing it. Lassi Longren, the composer of the song, said that it wanted it to sound like an old song that the Hobbits all know and sing around the fire, and the idea of a song like this with a chorus that everybody knows and then verses that are improvised by individual singers makes a lot of sense (makes me think of, like, "The Campfire Song" from The Lightning Thief - a song that is also in 6/8 and with a very speech-like rhythmic pattern).

The chordal structure also contributes to this homey, comfortable feeling. The song is in the key of D major, which is a fairly middling key (it's the key that most pennywhistles are automatically tuned to!), and is constructed around just 3 chords, with 1 more thrown in there if you want the cadence on "strange and rare" to sound correct. This makes it extreeeeeeemely easy to play - like I can barely play guitar, but I can reasonably play this. For the music nerds, the chords are I, IV, and V, with a little vi for that one cadence I mentioned earlier. This is essentially the most basic group of chords ever created, and it seems very intentional to me - it makes the whole thing feel comfortable and familiar, like it's an old song you know, even if it's your first time hearing it (Fun fact: The Shire theme from the Peter Jackson films uses also uses this chord group!). The only this about the song that might make it tricky to sing along with is its range - it's more than an octave, which can be hard to span if you're not a practiced singer. But you know, sometimes you just gotta have that fun melodic contour. Song gets boring if it stays all within too small of a range. :P

Okay so that's all the basic musical stuff that's the same between both arrangements. Time for the differences.

The most major musical differences in the NA as I can see are: Frodo and Sam switching who is singing the higher vocal part and who has the lower part during the second chorus, different instruments being used for the solo instrumental lines, and the whole of Frodo's solo verse and chorus. These all serve the major thematic change in this moment in the NA, but I'll get to that at the end.

First, the vocal lines in the chorus. You all know how much I looooove that Frodo is always on the lower part in the original show (see this whole post I wrote about it here!), and I equally love Sam getting the higher part in the OA for this song. It fits his character and part in the song very well - he started it off, he's done the improvising bit; after one chorus of unison to make sure that Frodo has a handle on the melody, he can pop off. Young, dreamy, surprisingly poetical Sam, with his love for elves & beauty & all things that grow, gets the chance to soar, while Frodo stays lower, hanging onto the melody. It almost works like foreshadowing for their characters, with Sam audibly choosing to do so much while it seems like Frodo is just there, but Frodo's actually doing the arguably far more important part of carrying the melody.

In the NA, they are flipped - now Sam stays on the melody while Frodo pops up to the higher part, and it still works just as well. Frodo's actually been on the higher part for the whole show up to this point, cause that's just how Louis Maskell rolls (the one very significant moment where he sings a lower harmony to Sam's melody is right before he leaves at the Grey Havens, which I could probably write a whole 'nother essay about), but it doesn't screw with the character perception in the way I had initially feared. Sam starts the song, Sam's got the guitar, so Sam stays on the melody, to carry the thing through. This now leaves Frodo free to do his thing with Sam's support. And this is where I start heading into headcanon territory, but I can't help but think by the easy way he slipped into it that maybe Frodo has sung this part before. He canonically has a nice voice (the Breelanders like it so much that they make him sing "The Man In The Moon Stayed Up Too Late" twice in the book!), and it would make sense for a naturally talented singer to get enough experience singing that they are able to whip out a higher part just for fun - maybe, if they ever sang this one down at the Ivy Bush, or by the fireplace in the parlor of Bag End, this was Frodo's part. And speaking from the same character perspective, Frodo is also everything I described Sam as before - dreamy, poetical, sweet - he's just older and, at this moment, significantly more tired both mentally and physically. But, he hasn't lost his hope yet, so he can still reach down and bring out a past version of Frodo, one who could sing that part in the song.

Next, the instruments. This is pretty simple; there aren't a lot of changes, but the one significant moment is the use of a harmonica instead of a fiddle for the solo in the middle of the song. Both versions of the show have instruments associated with certain characters (harp for Arwen, whistle for Frodo, concertina for Gollum, etc.) but the NA has the advantage of having all the actors play instruments, so it becomes rather explicit. In this case, the harmonica is being played by and associated with Bilbo, and that's neat, because this is a continuation of a story that he was also a part of. The fiddle in the OA is more representative of hobbits as a whole, so it also works in context.

Aaaaand the last one, the arrangement of Frodo's verse and chorus. This one is a doozy, because this is where we will be involving my theory on the different reasons for Sam starting the song.

So, the first time I heard the NA "Now And For Always", I actually started yelling IRL "IT'S A HYMN" as soon as it got to Frodo's verse+chorus, because, well, it is. Lemme explain. The orchestrations shift from the guitar and strings of the rest of the song so that Frodo is backed primarily by the ensemble singing "Oohs" and some sort of drone bass note underneath that I can't figure out (probably like a cello or something). The tempo suddenly becomes a lot slower and a lot less "bouncy", so to speak - that 6/8 time rising and falling pattern that I described before is significantly downplayed, and there are a lot more complete rests in the music, and that gives the whole thing overall a much straighter feel. This all gives a very hymn-like effect, particularly the "ooh"s, because voices moving between chords like that in a homophonic way (that is to say, everyone changes notes at the same time) is common in chorale-style hymns, and the drone, because having something called a "pedal point" (one note held underneath multiple chords) makes the music sound a lot older and more solemn. This is in contrast to the OA, which has, while not the exact same backing in Frodo's verse+chorus (it does get slower, and more smooth and flowing in the instruments), certainly much less contrast between Frodo's bit and the rest of the song than the NA. They both do this, but the NA just a bit more emphasizes how serious Frodo is about what he's saying. It's also is a texture that we haven't heard yet in the show and won't really hear again, so it kind of demonstrates the changes going on in Frodo by this point, like he's becoming something not quite of the world (sort of like all those comments in the book about him being "clear" or having a light shining through him). From a practical standpoint, it's also because Sam had been playing the guitar this whole time, and now he has gone to bed, so no more guitar. But above all, the vibe that making it sound like a hymn gives it is reverence, and that is important for the next bit.

Hoo boy, it's extrapolation/headcanon time. I've done a lot of actual musical analysis, but there comes a point where you have to take all those things you've gleaned and start spitballing about what they mean when combined all together. Here's what I have landed in: The changes in the NA reflect a change in Sam's motivation for starting the song in the first place.

Lemme explain.

In the scene before "Now And For Always", the boys are discussing Frodo's realization that destroying the Ring means that the elves will leave, and that there will be no more magic in the world. It's as they reflect on these very big changes that Sam starts singing a song about how at least some things stay the same. NOW. In the OA, Sam and Frodo start off the song in much the same place, emotionally - they're both kind of moody and mournful, feeling shaken at the idea of everything changing in such a big way, and missing the days when they believed that stories always ended with things returning to a happy normal. Sam's line "We hobbits only really like stories that end just the way they started, don't we?" is sort of a rueful realization that they are both severely freaked out by all of this because they come from a place that values unchangingness so highly. Sam starts the song as a way to bring them both some comfort by reminding them of home. He then fills in the bit about Frodo during the second verse because Frodo mentioned special folk and great adventures, they're both so tired that everything's funny, and Sam genuinely adores Frodo and knows how brave and important what he's doing is. Frodo's verse about Sam, in turn, is sung almost like a lullaby, which makes sense, as lullabies are often directed at the person falling asleep. So Frodo sings to Sam as he falls asleep about how much he admires him right back, sort of returning the compliment, like in the book. The way he says "it's not me they'll remember, you know" just before he starts singing has this weird sort of regretful tone to it, as if Frodo has kinda always known that his would be a thankless task, and that Sam, taking charge and leading them around and taking care of them, will be the one who goes down in history as being instrumental. He has been seeing this whole time how much Sam has done for him, and he knows that in time, others will too.

In the NA, on the other hand, the vibes of the scene before the song are somewhat different. The lines do not change at all, but the attitude from each of them is different. Here, we have the exact same conversation, but Frodo is audibly more stressed about it (not to mention more audibly exhausted), and Sam, in response, is keeping his tone very neutral, almost lighthearted at times. That general vibe continues into the song, which I thought was weird at first, until I realized what Sam is doing. Frodo is very shaken by all the big changes that he sees coming, so Sam responds by reminding him about the songs that they used to sing the Ivy Bush - the ones where nothing ever really changes. He says the line from above about hobbits liking stories that end the way they started like he's reminding Frodo of a fun fact, which is that despite everything going on around him, there are still plenty of stories about heroes where things are allowed to go back to the way they were. In other words, while the OA of "Now And For Always" is two people trying to comfort themselves by singing something that reminds them of home, the NA is Sam Gamgee Is Going To Cheer Up His Best Buddy Or Die Trying, first by reminding him that plenty of things do stay the same, and then by getting a bit silly and describing Frodo as one of the heroes (who, I will remind you, are allowed to go home unchanged). He goes until he sees a sign that he has succeeded somewhat in his quest - remember my headcanon about Frodo singing the higher part being indicative of his old self shining through? That could certainly be a signal to Sam that his little idea worked. More likely, the fact that Frodo starts waxing poetic about plum cake (which is so valid of him, tbh) when a few minutes ago he had to be ordered to sit down and eat something is also a sign to Sam that Frodo feels better, at least for the moment. So he feels alright to go to sleep. And then Frodo sings his part. And THAT'S why the reverent tone I mentioned earlier is so important. Because it makes it seem like Frodo also realizes, in this moment, what Sam has just been doing, and what Sam has been doing this whole time. The pauses in the music make it seem like he's coming to awareness, step by step, of just how much Sam has done for him, and the only possible emotional response for something that earth-shatteringly loving is reverence. And THAT'S why the NA ending works so gosh darn well - it gets across everything that Frodo is thinking and feeling in this moment with the music as well as the lyrics.

So, yeah. I don't have, like, much of a conclusion for all this. These are just a bunch of things that I observed about these two songs and then my brain running absolutely buckwild with extrapolating conclusions from there. And a lot of this is my own interpretation of what I hear, so if you thought something different, that's totally fine! Also, this is entirely based on only being able to hear what's going on, so if you've seen the show and I got the vibes super off for part of it, please let me know. :)

Thank you for reading, and I hope to see you around! Heyday!

EDIT: The more I think about it and try to feel it in my body, I might call the time signature a very fast 3/4. Regardless, all my points still stand. Just wanna cover all my musical bases. :)

#lotr musical #lotr #lord of the rings musical #frodo baggins #samwise gamgee #now and for always #mary analyzes the lotr musical #i apologize for no cut but i'm only able to go on mobile atm and i really want to just throw this up #if i leave it in my drafts for any long i'll chicken out and never post it #this got a lot more headcanon-filled than i realized #oh well :P #if you saw a typo no you did not #thank you and heyday

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7grandmel · 5 months

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Todays rip: 18/11/2023

Whitty is still alive in our hearts <3 <3

Season 5 Featured on: Legends of the Western Sunset ~ The SiIvaGunner All-Star Summer Festival 2021 Collection

Ripped by Heboyi

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Feel like it's been a while since I covered a Friday Night Funkin' rip, huh? As far back as June with Satinpanties Symphony, to my understanding. I'll admit that its a bit of a blind spot for me as a listener, as most of my FNF knowledge comes *from* SiIvaGunner team's exceptionally high-effort rips of the game and its many fan-made offshoots. In a way, the spirit of the FNF modding scene comes from the same place as SiIvaGunner itself - taking the bones of an official work, and inserting any little thing one can think of with that same level of quality. And in terms of quality, it seems that no fangame is more revered than VS Whitty - a project whose titular character is effectively accepted as part of the main canon already.

Whitty is still alive in our hearts <;3 <3 celebrates the project and its fantastic music in a rather sentimental rip, as a mashup between lo-fight and Still Alive from the original Portal. The VS Whitty game has three songs that gradually devolve into madness and anger as Whitty gets closer to "detonating", and lo-fight is the very first one - the chill, pleasing back-and-forth at a steady tempo conveys no hostility between parties. And while I, to reiterate, don't really have much of an attachment to FNF beyond what SiIva has been doing with the game, its remarkable how the simple addition of Still Alive's instrumental and opening line by GlaDOS give the rip such a sentimental, bittersweet aura. The cherry on top is of course halfway into the rip, where Whitty and Boyfriend's vocal lead of lo-fight is broken up entirely for the two to instead duet the lead to Still Alive. A harmony between the two songs is reached despite having next to nothing to do with one another - and again, despite knowing so little about the FNF-verse and canon its hard not to grow a little emotional in the process of listening to it.

There's always a lot of ways one can take mashups, from jokes that make sense together thematically, to ones that feel as if they harmonize perfectly, to ones that would simply be funny out of absurdity (these are some of my favorites, shoutouts to Loopdeloop Griddy). Yet I also love rips like Whitty is still alive in our hearts <3 <3, that feel like there really wasn't much of a drive to pick these two songs in particular for the mashup. That is, of course, aside from the most important part - the ripper's own passion for the music and media they love, and the emotions they can bring out of their craft. Though seeming deceptively simple at first, Whitty is still alive in our hearts <3 <3 planted its hooks in me and has refused to let go.

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attheendoftheline · 1 year

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Hadestown is the show for callbacks and mirroring, probably the best example is the Groundhog Day esc ending in road to hell reprise. Though one of my favorites has to be Orpheus and Eurydice when compared to Hades and Persephone. I often see the comparisons being drawn Hades and Orpheus/Persephone and Eurydice but honestly I’m here to argue the opposite is really true. The only time these comparisons are really viable is when they’re personally being made (Epic III ‘was like me a man in love with a woman’ it really stops their comparison wise, and Persephone’s cut chant II verse directly to Eurydice ‘when I was a young girl like you’.)

If I raise my voice-

Persephone and Orpheus are a lot alike. This added to the fact that they are canonically some level of friends, he would have seen her since he was a kid and she general likes him etc. They both are the emotional , sensitive party in their relationship. Heart out on the sleeve— “I’ll sing from the rooftops of my love and I don’t care who here’s it I’m in love!” Types. Now Persephone has been working hard to…well repress herself. She drinks and drugs herself into oblivion trying to put up a persona of not caring just being fun and indifferent. She wants to give up but can’t! She’s doing all this because her heart aches, because hades became someone else entirely - and doesn’t accept she’s still the same. We see her wild and free in the mortal realm and her sort of speakeasy.

They both raise their voice. Orpheus has been beaten, cast aside, lost and confused and he still speaks out and raises a crowd, he still Carries some level of belief in that better world, in taking her home. Persephone has been beaten in another way and mostly by herself with her drinking— but the moment things get serious she stops. She yells at hades! This woman screams at the most powerful man around— she appeals to his emotion first just as Orpheus.

Now emotion isn’t weakness don’t even try to get that argument from this but both are very… heightened. Highs are highs , lows are low. Being a very gifted demigod and a goddess— yeah it’s gonna be larger then life. It effects others- Orpheus more literally with his voice being magic and Persephone as her moods are just infectious (if mamas happy everybody’s happy). Their first instinct is to fight and yell and protest when things aren’t right, call it out! God they’re so optimistic …even if persephone tries to make you believe she’s not, she’s a rebel. She runs a speakeasy as I said as well as actually seeing views out of the wall (confirmed in working on a song).. she wants the downfall, she wants a change, she wants spring just as anyone.

Keep your head low-

Hades and Eurydice aren’t any less emotional, they just bottle things up. They’re terrified to let anyone see the real them, see them vulnerable! That’s when the strike to kill happens… that’s when they get to you, whoever “they” may be. Eurydice hides herself behind her coat and by never staying long to begin with— stirred on by fate itself. Hades hides himself in his work, in his factories and walls- his iron fist is one so he may never show the flower within. They’ve been slighted one to many times. If they’re honest people will laugh, people will hurt them— the world is cruel! They are the pessimist to their lovers optimist. Seeing the worst of the world instead of the best.

I’m not saying Eurydice has the potential to turn into a fat cat industrialist, but I’m saying it’s interesting how much she aligns with hades and it humanizes him. Eurydice always had a greater potential to change and perhaps it’s because she’s younger- slighted but not scorned. She found the right person at the right time who broke so many rules of the world for her that it’s impossible not to become optimistic. She stands of what Hades could be/could have been. As even as Orpheus is close to making him completely change his mind and as his relationship heels he still! Falls back on order and his work. It’s a crutch, just like how running away is Eurydices.

I like when the characters themselves make a direct comparison- mainly In love to the gendered party but I don’t think it’s the one everyone should be making/setting as the standard. I just… hghhhh show has a lot going on and I’ll die for it. (Also look out for more bullet points I have a lot of stuff that can’t be full posts)

#hadestown #hadestown broadway #hadestown musical #meta #hadestown meta #orpheus hadestown #eurydice hadestown #orphydice #persephone hadestown #hades hadestown #hades and persephone #rambling #character analysis #character comparison #themes #mirror themes

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meme-streets · 8 months

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gbu playlists director's commentary

@trifoliate-undergrowth asked and now i am going to give the full track by track breakdown + general commentary because i have been waiting for someone to give me an excuse

(be warned before opening, this is long as hell)

overview

ended up making all of them 21 songs long–no particular reason for the number, it just worked out that way. i didn't originally intend for playlist times to matter, but when i realizes blondie's and tuco's could fit onto a cd, i fiddled with angel eyes's to cut down the length as well (specifically by dropping "riders on the storm" and replacing it with "people are strange"). i do definitely intend to burn these at some point; i'm thinking i'm going to start them each with the respective character's variant of the main theme and end them with the quotes i put in the descriptions. i structured blondie and tuco's by starting and ending each with a townes van zandt song. i had originally intended to do the same with angel eyes, but i couldn't find any townes songs i liked for him; i briefly considered starting and ending with the johnny cash songs instead, but i didn't like how that would've flowed, so i discarded the idea entirely. my main priority was getting things to flow musically well, but i did want certain themes in certain places.

breakdown: il buono

"where i lead me", townes van zandt: the opening verse especially. “where i lead me, i will follow / where i need me, i will call me / i’m no fool, i’ll be ready / god knows i will be / and in the meantime make a little money / and buy a little mercy.” really this is a blondie/tuco or even general gbu song, especially “or you can clench your fist, shake your head, and head to the country / i got no doubt about it, friends, that’s where they’ll find me” as tuco tracking blondie down for revenge. i felt the vibe suited blondie best.

"elements and things," tony joe white: mostly my joking reference to the clint squint with “i would, but the sun’s in my eyes.” that said, the music itself has the right vibe for him–makes me imagine him riding through the countryside–and the grandeur of it seems to suit him. “you lay back and think about things,” too.

“the changeling,” the doors: “i’ve had money, and i’ve had none, but i’ve never been so broke that i couldn’t leave town.” and also, blondie as a changeling, impossible to know or define or pin down.

“call me the breeze,” jj cale: a desert breeze, untethered, tied down to nothing? “i ain’t got me nobody, i ain’t carryin’ me no load”? that’s blondie to a tee (or he’d like it to be, anyway).

“spoonful,” willie dixon: a parallel with tuco, who has the howlin’ wolf version. “could be a spoonful of water, to save you from the desert sand / but one spoon of lead from my 45 will save you from another man.” this version strikes me as a little more romantic/sincere with the piano and dixon’s crooning vocals, and it also doesn’t mention gold like the wolf version, something i think blondie cares less about by the end.

“walk away,” tom waits: walking away, aka blondie’s favorite pastime. “i always get out of the trouble i’m in.” also, “a yellow dog knows when he has sinned” reminds me of him abandoning tuco and then being marched through the desert for it.

“secret intention,” the william loveday intention: blondie at sad hill specifically. the religious overtones of both song and scene especially. the ritual of it all. the treachery.

“dancing with mr. d,” the rolling stones: another sad hill song. it opens with “down in the graveyard where we have our tryst,” for god’s sake. playing with blondie as an otherworldly and sinister figure. “he never smiles, his mouth merely twists.” not entirely true of him, but evocative.

“calling card,” rory gallagher: “whatever you do, brother, don’t show that hurt.” i almost put this on tuco’s before ultimately switching it to blondie; he strikes me as being lonely deep down, and determined not to let on. if you like, think of it as him advising tuco.

“the spy,” the doors: “i know the words you want to hear / i know your deepest, secret fear.” finding out tuco’s secret(s). also, “a spy in the house of love” just feels right for blondie.

“fire of love,” jody reynolds: “the sun beats down with its fiery glow / knows i won’t see my love no more / i’m sorry for the things that i’ve done / forgive me dear, my only one.” the desert! also, the general idea of being burned/hurt by love strikes me as appropriate. i think it hurts him, in a way, that he loves tuco.

“waiting for the sun,” the doors: mostly vibes, but the image of “it’s time to live in the scattered sun” reminded me of him for some reason, and the “waiting for you to come along / waiting for you to hear my song / waiting for you to tell me what went wrong” made me think of him and tuco (every gun makes its own tune, the ending).

“written in your hair,” robert lester folsom: this one is mostly vibes, and also something something buried gold/golden hair, but also “you can’t do a thing if you ain’t there” reminds me of him.

“don’t let me be misunderstood,” the animals: pretty self explanatory; he’s cruel perhaps without always wanting to be. also, “no one alive can always be an angel / when things go wrong i seem to be bad” reminiscent of the missed shot and his subsequent ditching tuco in the desert. a sort of apology.

“all along the watchtower,” bob dylan: a very blondie & tuco song to me. the second verse especially. “there are many here among us who feel that life is but a joke / but you and i, we've been through that, and this is not our fate / so let us not talk falsely now, the hour is getting late.” tuco’s near hangings and blondie’s near death in the desert (but you and i we’ve been through that), and the exchange of the secret at the bridge (so let us not talk falsely now, the hour is getting late); ironically, blondie lies.

“hunger child blues,” townes van zandt: one of THE top blondie songs to me. i almost ended with this one for the “do you think that you know my name?” but it didn’t flow well. it’s ethereal, and a little threatening, like him.

“(ghost) riders in the sky,” johnny cash: also on sentenza’s, who has the ronnie dawson cover. i wanted to lean into the supernatural aspect, and “cowboy, change your ways today, or with us you will ride” felt apt. i actually liked the dawson version better for blondie but the cash version flows very well musically.

“wand’rin’ star,” lee marvin: from paint your wagon. if the title itself isn’t convincing enough, “i’ve never seen a sight that didn’t look better looking back.”

“don’t fence me in,” clint eastwood: pretty self explanatory. had to pick the clint cover for obvious reasons.

“state trooper,” bruce springsteen: “maybe you got a kid, maybe you got a pretty wife / the only thing that i got’s been botherin’ me my whole life” immediately makes me think of him. as does “hi-ho, silver-o, deliver me from nowhere” and the echoing cries at the end. the crushing loneliness of the open road.

“snake song,” townes van zandt: the other top blondie song to me. “you can’t hold me, i’m too slippery / i do no sleepin’, i get lonely / you can touch me if you want to / but i got poison, i just might bite you.” that’s blondie, baby. the line “lie in circles on the sunlight” is also very evocative and “i’ll be there when you start sinkin’” reminds me of the ending.

breakdown: il brutto

"lungs", townes van zandt: another general gbu song, but “salvation sat and crossed herself and called the devil partner” makes me think of him and pablo. “jesus was an only sun and love his only concept / strangers cry in foreign tongues and dirty up the doorstep” makes me think of his relationship with blondie, given their weird interplay as jesus and judas at various points. as a bonus, “seal the river at its mouth, take the water prisoner / fill the sky with screams and cries, bathe in fiery answer” gives me branston bridge vibes also.

"wanted dead or alive," warren zevon: pretty self explanatory just from the title, but i thought "all i'm trying to do is find a peaceful place / but they say i have an outlaw's face" is particularly apt. that, and the parallel of "fifteen states" to tuco being wanted in fifteen counties.

“do it again,” steely dan: “but the hangman isn’t hangin’, so they put you on the street.” any song with a noose in it is a tuco song to me, especially if said noose is escaped, but the rest of the lyrics fit well too–revenge, trouble with the law, water in the desert, seduction and lost love (the wives!), gambling, making money.

“black widow blues,” townes van zandt: “i got the hands, pretty lady, gonna make you grieve / and the lovin’ gonna make you mine.” a specific kind of drifting, hedonistic romanticism that suits him, i think. something something a wife in every town.

“ventilator blues,” the rolling stones: “when you’re trapped and circled with no second chance / code of livin’ is your gun in hand / can’t be browed by beatin’, can’t be cowed by words / messed by cheatin’, ain’t gon’ ever learn.” the line about “everybody's trying to step on their creator” and the opening verse about being agitated and beat down.

“goin’ out west,” tom waits: “they got some money out there, they’re giving it away” and “all my friends say i’m ugly, i got a masculine face.” i feel like the braggadocio and the musical sound of it suits him.

“highway chile,” jimi hendrix: “now you’d probably call him a tramp, but i think it goes a little deeper than that”–tuco calls himself a tramp on the wagon. “ain’t seen a bed in so long it’s a sin.”

“born under a real bad sign,” albert king: pretty self explanatory. “if it wasn’t for real bad luck, i wouldn’t have no luck at all.” that’s tuco, baby. i used king’s original over the cream cover namely because of the line “i can’t read, never learned how to write.”

“laundromat,” rory gallagher: “what do you think of that? / i’m sleepin’ down at the laundromat” and the line about “come and meet my friends, they’ll be with me to the end” reminds me of his “if you work for a living, why do you kill yourself working?” scene

“who do you love,” townes van zandt: the morbid, boastful lyrics and themes of seduction suited tuco very well imo. i love bo diddley but i picked the townes cover as i felt it fit better musically.

“brown eyed handsome man,” chuck berry: the braggadocio and the romanticization of brown eyes fits already, but the line about the judge’s wife setting a man free especially caught my attention, because it seems like it would happen to tuco (or he’d make up a story about it, anyway).

“hate street dialogue,” rodríguez: the song’s about growing up in inner city detroit, but it fits well, i think, with tuco’s line “where we come from, if one did not want to die in poverty, one became a priest or a bandit.” also, “i’ve tasted hate street’s hanging tree.”

“snake mountain blues,” townes van zandt: the general lost love, “no one to care for me” thing, but also: “and it’s goodbye to this yellow-headed misery i’ve known.” remind you of anyone?

“should’ve learnt my lesson,” rory gallagher: never learning, and “my first mistake was when i thought that you’d be true / now i realize that was a foolish thing to do” as everything with blondie. “when you don’t fit, you know that’s the time to move.” “you must be prepared to lose if you choose to toss the dice.”

“just a bum,” michael hurley: a wistful, romantic take on the life of a hedonistic drifter. “just a tramp / call me what you like / see me travelin’ down the pike / and singin’ love songs / sittin’ by the fireside dreamin’ all night / makin’ love drunk in a meadow ‘neath the pale moonlight / travelin’ over land like a natural born man.”

“paper mountain man,” linda perhacs: the chorus, the line about “sewn by the love many ladies’ hands” and “you like delicate ladies with real fine skin / you’ll touch ‘em but you’ll never love / that’s the way you’ve always been,” the line about curly hair. “heavy-booted walk tappin’ low funk blues” also feels fitting for reasons i can’t quite describe.

“spoonful,” howlin’ wolf: also on blondie’s, who has the willie dixon version. this version mentions gold, which is apt, and i think the mentions of being satisfied with just a little love work more ironically here than for blondie. something about all this strife over a little wealth (before the gold comes along anyway...)

“driftin’ blues,” lowell fulson: “well i’m drifting and i’m drifting like a ship out to sea / ain’t got nobody in this world to care for me.” need i say more?

“get behind the mule,” tom waits: one of the best suited songs for him, imo. “i’m diggin' all the way to china with a silver spoon while the hangman fumbles with the noose”–sad hill! but also, the idea of “you've got to get behind the mule in the morning and plow” is about how it goes for him. he's just got to endure. blondie leaves him in the desert seventy miles from town and tells him to manage it, so he does. what else is he supposed to do?

“dirge,” bob dylan: this is the other peak tuco song for me. the verse that starts “can’t recall a useful thing” which i made a web weave out of, but also, “i’ve paid the pride of solitude, but at least i’m out of debt.”

“rake,” townes van zandt: i wanted to end on kind of a grim note because there’s something very tragic about tuco as a character to me. he ends the movie alive and with the gold, yes, but humiliated and abandoned by his partner. reminds me of his relationship with pablo, too: “have you accomplished anything but evil?” his drifting and hedonism can only take him so far before his past catches up with him eventually.

breakdown: il cattivo

"dead before dawn", vaguess: “please burn my rotting flesh / and don’t give me a grave / buy yourself something nice / with the money that you save / cause i’ll be gone”. sad hill!

"sinister purpose," ccr: THE angel eyes song to me. “burn away the goodness, you and i remain / did you see the last war? well here i am again.” specifically, angel eyes to blondie.

"big in japan," tom waits: this one's all about the "i've got the [blank], but not the [blank]" structure. as in, the cemetery, but not the grave–which could go for all of them, but i felt this fit sentenza best given he's trying to get both of these things; tortures it out of and forces a partnership on blondie since he suspects torture won't work on him. that, and the "i've got the whole damn nation on its knees."

"people are strange," the doors: a time-constrained replacement for "riders on the storm," which i felt would’ve really suited him with the sinisterness of it and the thing about the drifting killer. regardless, i think the idea of being cruel and apart from other people as a self-reinforcing cycle feels pretty fitting.

"thirteen," johnny cash: a song about a nameless killer. “bad luck wind been blowin' at my back / i was born to bring trouble to wherever i'm at” and “the list of lives i’ve broken reach from here to hell.”

"sympathy for the devil," the rolling stones: a song about a sophisticated devil? come on, that’s angel eyes for sure. i think “so if you meet me have some courtesy / have some sympathy and some taste / use all your well-learned politesse / or i’ll lay your sole to waste” is very fitting especially.

"whistlin’ past the graveyard," tom waits: this could've gone for any of the trio, honestly, but i picked angel eyes as this specific brand of sinister, supernatural braggadocio seemed to suit him best.

"i’m the devil," the william loveday intention: i feel like this one’s just self explanatory, to be honest.

"old judge jones," les dudek: one of my early adds; his (italian) name’s sentenza, after all, so i’m a sucker for pairing him with any song about judges/judgment. “old judge jones never gave a man a break / on his hanging tree the leaves don’t shake.”

"the snake," al wilson: the theme of accepting someone else’s help and then crossing them because “you knew darn well i was a snake before you brought me in” feels very right for him. something with how he betrays tuco. hell, this could be a blondie song too.

"money talks," jj cale: “you’d be surprised with the friends you can buy with small change.” the goons he hires.

"dead man, dead man," bob dylan: a tuco’s-eye-view of angel eyes, specifically. the lines about “the glamor and the bright lights and the politics of sin,” “the tuxedo that you’re wearing, the flower in your lapel,” and the choruses with lines like “pretending that you’re so smart” and “what are you trying to prove?”–all his false sophistication and arrogance covering that he’s just another lowdown coward.

"hoist that rag," tom waits: the horrors of war (specifically, the prison camp stuff).

"wolf teeth," jd mcpherson: “i leave a little magic every place i go” (the inhuman vibes of him) and “leave a little blood so the grass can’t grow.”

"rotten to the core," the builders and the butchers: while i initially listened to this song assuming it was about a guy who sucked, it’s about seeing the world as an inherently cruel and dangerous place–which, funnily enough, i think also fits pretty well. case in point, when he tries to justify his brutality to that prison camp official by claiming they have to have “respect.”

"bad seed sown," the bellfuries: “the kinda people hip to my kind of evil / are few and far between / it lurks, it lies, it feeds on cries / it’s sophisticated and mean.” self explanatory. additionally, “there won’t be omens or signs / just a smile and a line / then the swing of the axe”–betraying tuco.

"love of hate," st. john green: sad hill. this one’s partly just vibes. “shall die alone, without privilege of a stone” does fit nicely.

"riders in the sky," ronnie dawson: also on blondie’s, who has the johnny cash version, so i ended up using this for angel eyes. blondie may have changed his ways, but angel eyes doesn’t, and he strikes me as the type not to stay dead and buried. i just like the idea of him as a ghost.

"god’s gonna cut you down," johnny cash: the delicious irony of sentenza as a figure of judgment, and of him being then cut down by blondie (golden haired angel).

"the werewolf song," michael hurley: a slightly softer, sentimental take on the violence, if that makes any sense. vibes mostly. i wonder if he ever gets lonely.

"death don’t have no mercy (live)," hot tuna: reminds me very strongly of his intro at stevens’s place; “he comes to your house and he won’t stay long / you look in the bed and somebody will be gone.” felt this was a good, grim note to end on, and i felt the hot tuna cover fit very well musically.

#the good the bad and the ugly #dollars trilogy

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vienecash300 · 2 months

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Album: The State vs DeMerea Pasquale

Artist: Squalee 2x

Release Date: 13 February 2024

This publication has waited patiently for a complete project from the enigmatic Squalee 2x. By my count 3 years of teases and leaks and snippets have served to wet the appetite of the local listener. We hear him rap we hear him sing. What will the album be like? In a word. Surprising. A single conversation with DeMerea Pasquale will reveal that he is deeper than his often goofy internet persona. Struggles with substance abuse, family issues and relationship problems are worn on the sleeve of this artist like a badge of honor. “The State” is heavily reflective of these facts. The beats mostly guitar driven mostly lack driving bass with notable exceptions. on “The Second Crash Always Hurts Worse” a simple acoustic guitar moves the beat and a feature from local artist C Klip brings us into the heavily autotuned vocals of Squalee who’s crooning is made not only bearable but rhythmic and pleasant by the effects used in production.

Sticking to the guitar-driven but this time complimenting with snare Squalee gives us “Love Sick in Springfield” a break up song that runs almost systematically through the stages of emotion associated with relationship cessation. The hook is an earworm that finds Squalee alternating keys to a remarkably listenable song.

“Letter to my Granny” has Squalee sing-rapping with slightly less vocal effect applied. A heartfelt ballad /tell all “Letter” is an outstanding example of doublet flow that reminds me of Scarface…if he used autotune.

Squalee kicks what sounds remarkbly like a YFN Lucci song on “Perky Dreaming” This song comes very close to being a traditional rap song entirely excluding Squalee’s wailing drone instead opting for a rapped hook and verses.

Springfield heavyweight Junior Pasare lends his vocals to “Menace to Society” a snare-and-bass track. He releases a rapid-fire Rod Wave style verse that gives the song a back bone while Squalee provides the lifeblood.

“Perky Eyes” is on the surface a Lil Peep inspired drug ballad. In true Squalee fashion the song is deeper than that acting as a cautionary tale to anyone listening. The drugs in this song are not glorified they are a side note as Squalee states repeatedly “I don’t really do drugs anymore”.

SKYLARPENDERGAST features on “Broken Promises” Skylar has appeared in this publication before. His unique voice of reminiscent of 21 Pilots , pleasing to the ear and radio ready.

Finally Squalee enlists the help of Big Homie Hom one of this productions favorite artists. On “Water remix” Squalee comes out kicking dope ass ad-lib laden triplets. Hom steps on the track like a dead Newport his distinctive voice marinating the track for the producer to cook it to perfection. “Dior Cypher” rounds the project out with 4 quick rap-and-go verses over a trap style beat. C Klip, Montana 2x EgoDeath and Prince Cash each deliver nasty verses one after another leaving the listener no time to breathe between them.

Ok Squalee, so waiting 3 years was worth it. This album is firstly a full-length LPwhich in and of itself is a miracle in 2024. The album is easy to play all the way through notably because it’s like listening to three different projects. The spirit of Lil Peep floats over the first few tracks like a hip hop specter. RIP PEEP THO 💯. The next few songs are a trip into a late 90s early 00s mind trip with flows directly out of that time and beats quite similar. Finally the last couple songs inflect a newer dare-I-say trappier vibe with songs that would be right in place alongside 21 Savage or Lil Yachty.

This is a helluva project. The raw emotion of the first few tracks bleeds enough anguish for a Double album. The last track being a cypher is a great way to switch up and avoid monotonous droning. Squalee, take a bow. This shit Smacks. 💯💯💯

CKlip

Jr Pasare.

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someplayfromthepast · 1 year

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things no one talks about from the reunion concert

the event itself honestly was not that well organized and it took almost 2 hours to get everyone into the theatre. the good news is i was able to run around and meet some ppl there

also you could see everyone in the wings? jon and lolo were standing there for a good majority of the time before the show just looking out at the audience

GIDEON GLICKS OUTFIT WHY WAS BRO DRESSED LIKE HE WAS ON A JOG

and then once the show started it took so long for anyone onstage to even sit down. the time before lea sang the first note felt like an eternity

christine estabrook pronouncing wendla with a soft W at the beginning of the show💀

oh and then i sat and watched lea michele READ (Yes u read that right. I saw her read in real time) her first few lines. so

MAMA. WHO. BORE. ME. REPRISE. i have genuinely never heard a more electric version of this song. all the girls' voices have aged beautifully and yet it was still somehow the same as it had always been.

the absolute flood of spit that came out of jon groff's mouth every time he said "you waTCH me"

jbw smelling his hand after my junk?

THE UNDERSTUDIES ENTERING 💀 it was so funny for some reason. they weren't onstage until brian sang his verse in touch me. so weird

jbw and gideon all over each other during touch me

watching lilli and lauren sing the dark i know well was beyond unreal. i felt like i was in a different world watching them sing it. they were like 40 feet from me.

john gallagher jr did NOT remember any of the words to these songs My guy was holding his script for the entire show. How did u play this role for years and i know it better than u do by watching the bootleg like 30 times

vs jon groff performing the mbn choreo flawlessly (and me sobbing)

the jgroff lea michele making out action that was just there . Like guys this is just a semi staged concert why r u horizontal kissing at the imperial theatre on a monday evening

they showed a video during intermission that i've never seen anyone post anything from. i guess i should upload that somewhere

THE BABY CRYING DURING THE GUILTY ONES. WHO BROUGHT THEIR MF BABY TO THIS EVENT. i lowkey think it mightve been one of the casts babies but also Why did they bring the baby .

john. gallagher. jr. and the way he welcomed us back to moritz's world of neon lights and angst in a single beat. as soon as john started the chorus of dds that was it for me. i was back in 2006 and i was watching moritz, not john.

and also just in general how we (the generation who grew up on the bootleg rather than seeing the show for ourselves) never really saw what became of john's moritz. the last we saw of john in the role was almost a year before he left. it was very different from what i'd known of him. but never ever in a bad way i love you john.

john's chair sat empty for the entire rest of the show after dds which just kind of hit hard

how the theatre EXPLODED for the entirety of totally fucked. if you've seen the boots from any of the final performances you know. everyone in the theatre was cheering and screaming and weeping

jon groff singing to the girls in the front row during fucked oh my god i was so JEALOUS

the applause for totally fucked lasted a solid 5 minutes probably. totally fucked was never my favorite song until i experienced that

jonny b and gideon glick going at it during woybr . Rekindling an old romance i fear

gideon was trying not 2 laugh during reformatory scene. actually he wasnt really trying not 2 he was just laughing his ass off

i honest to god don't remember those you've known or song of purple summer. i was so in the moment that i just didn't take it with me, and honestly i am okay with that. it's the part of me i left at the imperial that night.

thank you forever spring awakening. i can't believe it's already been a year.

#spring awakening #spring awakening reunion #jonathan groff #john gallagher jr.#lea michele

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takethistoyourstardust · 1 year

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Mage Ranks the JD2023E Map… Locked Out of Heaven

IT’S BLORBO TIME BITCHES. Um, I mean, we’re getting a bit dramatic now in our story line, as we meet Jack Rose, the flamboyant superstar son of our main villain!

MAP: Locked Out of Heaven - Bruno Mars DIFFICULTY: Medium EFFORT: Moderate JD+ NEEDED?: No SEASON: Base game/Enter the dancerverses playlist

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Category Seven Autism Event inbound under the cut! Seriously, though, this one is long, ramble-y, and overall just a big excuse for me to infodump the fuck out of this map. It might not make a lot of sense, but putting it all down made me happy, so I hope it makes you happy to read it :)!

I don’t need to tell you this song is good, right? It’s Bruno fuckin’ Mars, of COURSE it’s good! This song was actually pre-Uptown Funk, and it’s honestly one of his best songs from that time. I actually hated a lot of early Bruno Mars stuff (Grenade my beloathed), but now he’s probably one of my favorite vocalists. So yeah, I don’t need to tell you the song fucks! You already know that!

However, it’s the way that this song is used that fascinates me. The original context of the song is just “wanting to spend the night at someone’s house because they’re real good in the sack”, and the JD team saw that and went “But What If It’s About Parental Neglect” and ran with it. During the second verse, Night Swan’s face keeps taking over the background, that’s supposed to just be reflections of Jack dancing. And during that final chorus, after the first gold move where Jack is on his knees, and Night Swan Tower reveals itself, the jumbotrons that had Jack’s face on it are replaced by the tower’s visage, as the chorus sings “I’ve been locked out of heaven/for too long/for too long” and it fades back to his room, right where we started. Hell, even before that, he’s pointing to the audience during the lines “Can I just stay here?/Spend the rest of my days here?”, telling us in pretty fucking clear terms that his passion isn’t what he’s supposed to do, but what he wants to do - perform. He’s been locked out of heaven for too long, he’s been kept away from the love a mother should express for her child. And now he’s trying to find that happiness in his performance.

Speaking of, the routine! It’s fucking great! I think it’s ranked pretty fairly in terms of difficulty and effort, but if I can be honest, I found this routine shockingly easy. It’s not the easiest thing in the world, but after the technical nightmare that was Rather Be, and the (slight spoilers) upcoming technical nightmare that is Majesty, I would consider LOoH as almost a breather level. Almost, I say, if it wasn’t for the FIFTEEN SPINS you have to land. Seriously, between the one leg spin-hop, the full circle he makes during the chorus, and even the spin you have to do before the final Gold Move, there’s a reason a lot of people were joking that this song should’ve been called “Spinned Out of Heaven”. But maybe it’s the theater kid in me (it’s probably the theater kid in me), I didn’t find the spins all that difficult or demanding. And both the Gold Moves in this routine are fairly easy, with one being the jump you have to do at the start of the final chorus, and the other being the final move in the entire song, the hand raise that you started with. If I had to complain about one thing, I would say that I wish they had you “holding” the microphone in your right hand more. It’s easy for me to imagine holding the mic while doing certain moves, the bridge of the song being the most obvious, but most of the time it’s “in” your left hand when the game only tracks your right hand. It’s just a bit of a dissonance in my head, where it goes “wait, but i AM holding something in the right hand, why are you saying there’s something in my left?!”. But at that point, that’s just a nitpick.

The whole choreography tells us so much about Jack as a dancer. He’s flamboyant, he’s a showman, he lives for the dramatics. He knows how to work a crowd! His stage presence is amazing.

Speaking of! Jack Rose! The blorbo that has ruined my fucking life!!!

Quick note before I get into this... I’m not crazy when I say his name, Jack Rose, probably comes from the two main characters from Titanic, Jack and Rose, right?! No one else has pointed this out, not even the wiki, and I feel like I’m going fucking crazy. Like I know “Jack” is a very common guy’s name and “Rose” ties into the face his main color is red, but together? That’s a Titanic reference, baby! I’m not the only one who saw that, right?????

Anyways! Look at this man in his red suit, his stupid (affectionate) feather boa shoulder piece, his lipstick matching his hair, his gold glove, his stupid little microphone!!! All of this combined makes for one hell of a memorable character, at least for me. I love love love love LOVE monochrome character palettes, I love the mix of reds and blacks, I love it when random strappy things are on a character, I love a little pop of fur...

... wait a god damn second. Those are all the elements my ultimate blorbo of all time has!!!

(pictured: my ultimate blorbo of all time, aka my warrior of light in final fantasy xiv, ahrora, in her current outfit. note the reds, blacks, strappy things, and pop of fur. no matter what, she’s always gonna be my absolute favorite just because she’s my oc i poured so much into. don’t worry rora, you’re not getting replaced, you never could be <3) (it doesn’t help that her main class is quite literally dancer ALDFSKJAS;DFLKJASLD)

Okay, that’s a bit of a stretch, but I do adore red-coded characters, and honestly with the feathers it’s reminding me of one of my top 5 favorite characters of all time, Yamato Kazakiri from Animal Sentai Zyuohger, mostly because they’re both red and both give off Bird Vibes and not much else. But Yamato could sometimes serve this type of cunt. But now we’re getting twenty miles off from the topic so let’s get back the fuck on track.

Okay I’m sorry this is so much longer and more disjointed than the other reviews but this map makes me scream cry and throw up.

The map starts with Jack as a kid, dancing alone in his room. His mother, Night Swan, looks on, and motions in a way that says she’s disapproving of her son’s actions.

How it’s supposed to come off: Night Swan disapproves because Jack is supposed to be training to be the leader of her army, and shouldn’t have time for frivolous shit like “his own happiness”.

How it comes off to a lot of people: Night Swan disapproves because Jack is expressing his interest in a traditionally “feminine” hobby.

I’m not sure how many people related to that second interpretation, but I did see a LOT of people say that’s how they felt when they saw this cutscene for the first time. Personally, my interpretation was more like the first one; Jack wasn’t being absolutely perfect, and she thinks that if he’s not, he shouldn’t even bother. Of course, a bit of parental neglect never stopped anyone! It just traumatizes and yassifies you!

Honest to god, when I first saw this transition from his child self to his adult self, it made me gasp a bit, Even after his mother has expressed disapproval, he’s still going forward with being a performer. Sure, he is the main leader of her assimilated army, but he just wants to perform in front of people! And he loves it! And the audience loves him too!

But at the end of the day, the one person who he just wants to get some form of approval from won’t give it to him. He’s not good enough.

No, not good. She doesn’t care much for good.

He’s not perfect enough.

God, the love of performance and heartbreak over still not getting any love from his mother after all this time is portrayed so well by his dancer. Makes me feel extremely insane.

I think a question that’s fair to ask is “well if she wants Jack to follow all her orders, why not assimilate him, too?”. And I think the answer is twofold. One, she needs someone who’s able to make snap decisions outside of her own brain to lead her army successfully. If you’re left to your own devices, you may end up making a huge mistake you didn’t foresee. And secondly, no matter how much parental neglect she’s shown Jack, on some level she can’t bring herself to assimilate him because he is her son. She doesn’t care about his happiness, but she doesn’t want to lose someone who may potentially be the final tie to her life before Night Swan, since the dad seems to be M.I.A. And her disapproval of Jack being a performer might stem from her own insecurities of being a failed ballerina; she’s already gone through the pain and humiliation of trying to be a performer and failing, and she doesn’t want Jack to go through the same. Of course, there might be an element of jealousy there too. He IS a successful performer. He’s performing in front of an arena of people, for god’s sake! She’s seeing him live out a dream she couldn’t have, and wants to shut that down for him.

Many thoughts, head full, blorbo living in there.

Of course, by the end of the map, the Just Dancers make it through to where he’s staying...

But for now, that’s where our story must stop.

GENERAL RATING: THUMBS UP!!!!!!!!

SPECIFIC RATING: 10/10

Holy shit this is my favorite map in the whole game. I don’t give a shit. The choreography is fun and easy for a theater kid like me to grasp while still being genuinely challenging in a fair sense, the story of the map is told so well in less than five minutes, Jack Rose is just an iconic coach, everything about him just rattles my fucking brain like a cup of dice. Does he know how much I care about him!!!!!!!!!!!!!!!!!!!!!!! And to top it all off, he gets a song that already fucked hard and gets it recontextualized to be about an emotionally distant, neglectful mother, and how he just wants that closeness with somebody, anybody, and that he just wants to perform!

He just wants someone close to him to care about it, too!

... Is that really too much to ask?

THANK YOU for reading, especially if you actually DID read my absolute fucking brain rot on a page and didn’t just scroll down to the end. No shame if you did, I would do the same LMFAO. Next time, we’re looking at the penultimate song in the playlist, Majesty! There’s no obligation to follow me (especially not after the absolute thesis i just wrote), but if you wanna see my rankings of all the other JD2023 maps, please stick around! I promise they won’t be as long/disjointed/nonsensical as this one ended up being! Have a good day!

~ Mage <3

#just dance #just dance 2023 #jd2023 #jack rose #jack rose just dance #mage's rankings of just dance 2023 maps #danceverses rankings #i need a just dance tag #SORRY FOR THE WORD VOMIT IN ADVANCE. THIS DOESN'T MAKE ANY GOD DAMN SENSE.#the Mage rambles #i have a lot of thoughts about this man and i cannot succinctly word it to save my life #so you will have to be subjected to a glorified stream of thought #a lil behind the scenes here but i write these rankings late at night #it's almost 3 am on sunday and my brain is fucking BUZZING like crazy #also! cameo appearance from my most beloved oc ever! say hello to her or i will blow you up!#ANYWAYS THANKS FOR READING. I AM GONNA SCREAM MORE NOW <3

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renrenlady · 1 year

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Ranking Shaperaverse Songs from Worst to Best Within Their Album

First up:

24- Voodoopunk

Listen. I have listened to every single one of Paul’s albums. I’ve hunted each and every one down and listened to the ones I could get my grubby hands on. I’m very familiar with his work and his musical habits (he has a very particular set of trademarks ie: symbol crash to end a song, repetitive word/lyric use throughout albums to create a through line, etc) but one thing that just does not resonate, does not vibe with me are these very long winded instrumental songs interspersed with singing. I’m a huge lyric person, so I definitely have a bias and it’s not that the music itself is bad, but this song is always gonna be a skip for me. I’m just not gonna sit and listen to pretty much the same thing over and over again, although I would LOVE to see this performed live. I think it would be incredibly fun, but from a listening standpoint, there are much better songs on this album.

23- Edgar Builds a Business

There’s gotta be a worst and best, and unfortunately this lands on the former side of that scale. Despite me absolutely loving Kate coming in with the connective tissue, the central theme of the show (really, all of Paul’s shows if you think about it) “circles never stop themselves” it isn’t enough to get past the extremely repetitiveness of the song. One could make the argument that, because we are heading for a more industrious/business era it’s only natural for the song to be repetitive and maybe even a little boring. One could also argue that because Edgar is such a boring little evil incel bitch, perhaps he’s meant to have such a tedious song. Whatever the case may be, it has a lot of verses, lots of instrumental breaks and it usually also gets a skip, unless I’m listening for lore purposes. I have to admit that the second to last verse where he addresses the issue he has with Silof is my favorite part of the song, it really lets us peak into his head after the break up and is almost the epitome of his evil if not for the last verse/conversation he has with a recently divorced Fay over dinner. (Side note- I absolutely love the headcanon that Silof is Amelia’s father. I don’t know if that’s canon or been made canon, but it’s absolutely delicious and makes DoNA a complete circle with no loose ends.)

22- New Albion 3

The lesser out of the four. While it does tie up some storylines (or ties them up from the perspective of a first time listener) and it does have a humor to it, it’s extremely transitional and it shows. You might be thinking ‘well no shit it’s transitional that’s literally what the song does’ but when I say it shows, I mean that you can just feel Paul really wanted to write this song and be done with it. It falls into the unfortunate section of not being the last one as most of us in the western world are very used to a ‘rule of threes’ way of things. Particularly stories. But I did say it had humor and it ending abruptly with the sentient plant’s story coming to a close is some unexpected humor I enjoyed. (Also is the plant a post human? Did I read that right on the wiki? Is the fucking plant able to control reality? Somebody tell me, please.)

21- The Movement 2

So. The thing is I don’t think I like gen 3 all that much. It’s still interesting and Byron and Amelia are fascinating characters- also Jasper gets to really shine in this act! But it definitely has the more instrumental, bring me to church kind of songs. We get an interesting advancement of understanding the character dynamics with Amelia fully admitting to loving Byron who is never gonna love her back, but it just doesn’t make up for the repetitiveness of this song. Much like New Albion 3, I think this entire act suffers from not being the last to go, it feels very transitional despite it being arguably one of the most important acts due to the founding building blocks of Radio Hour being done within it.

20- The Movement 1

Much of the same critique of the one above this, but I will say what gives it more of an edge is the reestablishment of Edgar’s ‘business theme’ where Byron uses it for campaigning. It’s a bit of musicality that I really enjoy from Paul, connecting the characters through motif and parallelism. Byron hates his dad so god damn much, and yet still employs the same tactics he used when he was a young man looking for a purpose. McAllisters don’t fall too far from their tree huh?

19- Annabel Has a Doll

The origin of Kate’s ‘circles never stop themselves’ motif and it’s haunting beautiful when you go back and listen through. It essentially sets up the theme of every album following the first and is, what I think, the central part of what Paul is trying to convey. I could get into the philosophy behind his work for hours, like make a whole video essay on it but for now- this song. It’s on the lower end due to the fact that even though it is a hilariously frantic and manic bop, it can get really grating after the third verse. Like getting hit by a hammer over and over again with the constant and loud and insistent melody. Like I said, there has to be a worse and best, and I just think there are better songs on this album. Oh also- the beginnings of the Elysium theme? Fucking brilliant.

18- We Bid the 1st Generation Adieu

This is a brilliant way to introduce the concept of time jumping and also not getting too attached to the characters we see. It’s exposition without it feeling like exposition and Kate is always a delight to hear. It’s just that it’s a very short, transitional song and it’s. Yeah. That’s kind of it. We bid adieu to this review and move on to the next.

17- Bonfire of the Dolls

This song is a doozy in the best way possible. The climax of gen 3 and it completely delivers after creating such a delicious amount of tension between the living, the dead, and those who stand in between them. It’s the culmination of a society finally ready to snap and it is displayed so beautifully through a kick ass score that evokes such a frightening kind of emotion. A mixture of fear and pain and loss and somehow, love. Byron calling for Jasper in a desperate attempt at saving the one thing he only truly selfishly cared about gives me chills every time I listen to it. What this song suffers from however is the large amount of instrumentation. Don’t get me wrong, it sounds very good and the way Paul creates the ‘screaming doll’ sounds is so incredibly cool. But this would definitely benefit from having a visual element which is a problem I see across pretty much all the albums. Now that I call it a problem, I feel as though it’s a harsh word to use. I think it’s more like the show doesn’t need such long musical breaks if it’s never going to be staged. Still have the breaks, but perhaps shorten them? My mind can only supply so much imagination before I’m just replaying moments over and over again in my head.

16- The Ballad of the Gambler and the Monk

Full disclaimer I think this song is a fucking bop. I think it’s a certified, fun to sing along to jam. I love how this is the interlude of the story, reminding us of how exactly we got to this point of societal collapse by showing us how everyone was doomed from the start essentially. The music too has this old, nostalgic feeling to it which makes you feel like you’re being transported back to somewhere else, away from the chaos and the death and relentless evolution of New Albion. The only issue I have with this number is that for most of it, we already know the story due to it being explained to us. The opening lines of this show are telling us the story of the gambler and the monk. They only go more into detail about what happened at the end of the game, introducing us to the concept of reincarnation with incredible subtlety, but I really wish we had gotten more of a glimpse into just who these two were, and more importantly, who they were to each other. Now that’s a big wish considering it might’ve been difficult to have some establishment for these characters before Paul knew he was going to make Janissury, but some more detail to an already known story would’ve been nice considering a whole song was dedicated to it.

15- Edgar Gets His Heart Broken

Oh Edgar. Edgar you silly stupid bitch. You silly stupid bitch baby boy. Your song is objectively hilarious to listen to and I enjoy hearing your heart get broken every time. Although his incel anger does backfire on…well, New Albion for the rest of its existence, it was pretty funny watching it happen in a musical number. Lime pie//dying inside? Instant classic. Also the origin of the ‘one day you will learn’ theme and it’s honestly one of the best motifs Paul has ever written. It’s a perfect reprisal line and can be interpreted in so many ways, it just open to possibility. I don’t really have any critique for this one, it’s a concise and well paced story that gives us exactly what we need to know about gen 2 and it’s a bop. There are just better songs that come before this.

14- Annabel Raises the Dead

God damn does this song kick. These cats are cookin. When that piano/xylophone/I don’t even know what fuckin instrument barrels in with that tight ass arpeggio. The instrumentation is gorgeous, it’s evocative as all hell with its frantic nature and atmospheric sounds. The sole reason this isn’t further down on the list, is because I have this (most likely) singular issue with the actual notes themselves. Specifically the notes Annabel sings. Now, we’ve heard Laura Osnes sing, and I mean sing but what I can’t figure out is why despite everything being so incredibly frantic and high energy, are the notes she singing fall so…flat? And I don’t mean flat as in pitch I mean flat as in it just doesn’t match the energy. Annabel is a mad isolated scientist, why wouldn’t her melody line be an insane roller coaster? Why does it continue on in this sort of monotone way? It does get better at the end, with the bridge giving us insight into what the actual fuck is going on. But overall it leaves me wanting more in regards to a dynamic musical experience. Annabel’s part in the song holds the whole thing back with its sort of awkward melody where she’s singing these low, honestly uninteresting notes when the music is kicking all kinds of ass. Love this song, but I wish it was different.

13- Fay Considers Edgar's Proposal

Get his ASS Fay, make him eat shit. With his own musical motif of course. This song gives me chills when I listen to it, never a skip. For this entire time Fay has been living outside the main narrative, the sole reason why our easily corrupted protagonist gets…well, corrupted. To many, some may resent Fay in the beginning of gen 2 due to her somewhat vague couple sentences of break up. We have no context for how she feels or what her motivations are besides finding someone in a better financial/status position in life- but then this song comes on. Then we understand Fay really and truly did love Edgar. Filled with school-girlish, young love, Fay was head over heels. She fell in love with a young man who was most likely just as much in love with her. And during this song, Fay no longer sees that young man anymore. She feels betrayed, wondering how exactly she became a piece in Edgar McAllistair’s game of business and commerce. Wondering where the young man went and when he got shot out the back and replaced with the miserly and revenge ridden capitalist sitting before her, having taken everything from her. And then to top it all off with offering her late father? Her explosive ending is a stroke of genius and my only complaint is that this song is too short.

12- New Albion 4

This is the first instance of us hearing a more dieselpunk sound, the roots of Radio Hour beginning to grow into the cobbled ground of New Albion. It is haunting to listen to the second time around and frightening the first. Times are changing and by the sounds of it, for the worst it seems. Kate introduces us to a new kind of city and paints a very geometric and drab image in my mind where a dark cloud looms over a frightened and paranoid people. We are introduced to Soldier 7285 and the origin of one of the slappiest songs Paul has ever written, ‘the day we come’ motif. It is evocative of Javert from Les Mis, a solid and clear cutting tune that constantly comes in like a thick wall, impenetrable. You can basically hear the brainwashing going on and it’s honestly a great example of police/authority indoctrination. The words are empowering 7285, making him feel like he is justice, he is an important extension of the law and the law is just. It is unwavering. It’s an incredible piece of music and it was really difficult to decide to put it at twelve.

11- We Bid You All Adieu

There’s something about this number that breaks my heart in the best way possible. Like the way you felt when the children accidentally left Narnia or seeing Frodo Saul away to the Lands of the Undying. There’s still more story to be had, peoples lives still go on, but we are no longer viewers. The characters will live on as will we and…that’s that. The song is a perfect button finish to the mad and frightening escapades of the McAllistair family, bringing us not a sense of closure but drawing us in even more as to wonder what happens next in and to New Albion. I love the way it makes me feel, the only reason it falls here, just short of the top ten is because at this point we have heard this musical refrain many, many times and while that isn’t necessarily bad, repetition isn’t always the best choice, though perhaps in Paul’s case, the easiest when creating a new show every year.

10- The Suicide

Coming in at number ten we have our girl Amelia signing out! I have very similar thoughts to this as I did with Fay, getting the context of Amelia’s life is extremely heartbreaking. Also the discordant, chaotically violent way Paul displays abuse from a father is unfortunately accurate and phenomenal. Every time I listen I get so incredibly uncomfortable and displaced when that part comes and that to me is what makes this song a success. And then the twistingly sad nature of Elysium getting a reprise through Amelia’s epic goodbye to life just ties the whole thing together so neatly. Amelia is also a huge perpetrator, much like my blorbo Annabel in creating a chain reaction of events that will eventually lead to some crazy ass shit. I admire what this song contains and what it does.

9- New Albion 2

Full disclaimer, I love all of Kate’s parts and solos. I adore this one because of the charm we still have with this narration convention as well as development of the background characters! I want to hear more about the two women, the albatross Simon and the brilliant mouse Sam! It gives the city so much more life whereas the first one is an intro to help us build the world and the others lose a bit of charm after a while. This one I think is the most fun and I really enjoy listening for what are essentially clues/future callbacks for the future albums.

8- Priscilla Contemplates

I had no idea what Miss Priscilla was saying the first time around and if I didn’t take the time and effort to really listen to the words, this song probably would’ve been in the twenties. But after thinking it through and really tasting the words, I think this is one of the best poetically written songs Paul has ever wrote. It’s gorgeous in writing, describing such an odd and strange feeling from a girl who is living such an odd and strange life. And the way it ends with the phone call? Chills. Can you imagine being Jasper in that moment? This is a scene I would kill to see staged because of just how raw it can be. Priscilla is the best of the McAllistairs- as though reincarnation finally got it right this time.

7- The Day They Come

Not a ton to say about this one other than the fact that the rising panic is kick fucking ass to listen to. The way the music portrays Jasper and Priscilla arguing yet still desperately trying to be quiet. The inevitable way Soldier and the others are proudly and dutifully singing their vows. It’s short but it’s a riot, also RIP Byron and his trophy wife I’m pretty sure they die in this one if not died way before.

6- The Old Trunk in the Attic

I don’t know what the wide, general opinion is of this particular song but it, to me, absolutely belongs in the top ten. It’s strength is that it completely stands out from the rest of the discography. When Paul takes that moment to just create music from poetry, evoke feelings from us that we’ve never felt before. The delicate way the melody and instruments are done, the nostalgic yet unfamiliar list of items we all have a collective (but not real) memories of seeing going through our relatives belongings before. It’s what is a great representation of what makes the Shaperaverse so special. Just these moments of singularity, of importance when to the characters it’s just a Tuesday night. There’s so much gravity in this one song, I think we all forget just how much the rest of the discography relies on this specific moment- save of course for Annabel’s breakthrough. It’s beautifully sung by Kate and I put it on loop all the time.

5- Annabel's Lament

Humanizing our mad scientist with a ‘where did it all go wrong/how did I get here’ song is brilliant. One could argue it’s a verse too long, but to that I say the word ‘opera’ is in ‘pulp opera’ which is how Paul describes his works so. Yeah it sounds like a verse too long cause it’s opera. Anyway Annabel, like the logical thinker she is, lays the map of her life bare as she is finally ready to face the grotesque music she has composed entirely for herself. She’s trying to find the source, the answer as to why, why she cannot seem to escape this deep pit of loneliness she has been stuck in ever since her father set the high expectation of ‘be a success, then you’ll be happy’. And y’know what the crazy part is? I don’t even think she really figures it out in the end! Isn’t that wild? Yes she sets Jasper free because she loves him and on some level realizes his suffering- but the main reason she lets him go is because HE was supposed to be her success and, confoundingly, she still. Isn’t. Happy. Annabel doesn’t understand why this didn’t solve all her problems, why despite having worked for years and years, pushing everyone and every opportunity for social interaction away she still can’t get what she wants and this is the beauty of Paul Shapera’s works, but especially highlighted in his first. Annabel is trapped in a cycle, a circle. And the great tragedy is that she is the first act- there was no way her story was going to end happy. Instead she begins (or if you think about it, just another in a long line) a curse which takes four generations for her lineage to break. But the greatest tragedy of them all is that Annabel didn’t just curse her family tree, but the entirety of New Albion as well. Or perhaps- it was already cursed from its conception? I could keep going about Annabel and her lament, but overall this song feeds the story and lore part of my brain that is never satiated and the music has the intensity that I was looking for in Annabel Raises the Dead. It builds and builds until Annabel is screaming at an inanimate object, tragically missing the point of her own sad story as her ax flies.

4- New Albion 1

Where it all begins. The set dressing done in this song is brilliant in two ways. The first being that as just a listener, it’s like a pop-up book is opening and unfolding in your brain. Like a DM just before the beginning of a long, long campaign setting up the most intricate and alive world you’ve ever had the pleasure of stepping into. This is how musicals should be (something I’ve noticed is that immersion is distinctly lacking in modern day mainstream shows) where they entice you, guide you into a story before plopping you right down into the action. It’s exciting to hear what’s around every corner of this intensely strange city. The second is that when this is staged, despite imagination not being all that necessary, it is as though Kate is conducting the city to come to life herself. Set pieces gliding in from stage right, the one eyed red haired dwarf strolling onto stage tossing a pair of silver dice in the air, the city itself rising as Kate builds upon it. New Albion 1 works because it is not complicated, it tells you things as they are because what they are is already a wonder to imagine or see. And the continuous line of ‘and Annabel McAlistair is raising up the dead’? Brilliant intrigue, instantly letting us in on the score. More stories should try this method, after all why do people like Hamilton or Hadestown or Heathers or Natasha Pierre and the Great Comet of 1812 so much? Their intros lay it out and we get to sit back and enjoy the spread. Also of course, this is the origin of the New Albion theme, the one all the narrators use. It’s just beautifully simple and strange and it makes me emotional whenever I hear it across the albums. Even when I’m all the way in the future, watching Jane fight for her life and Han Mi struggle with creating her own narrative, I hear that familiar tune and think about where it all began, with a sad lonely blorbo trying to bring back to life her own blorbo.

3- Priscilla and Jasper Play Cards

This song is disgustingly good. It’s a final act showdown, an earned epic moment in the narrative. Finally everything that has happened in this fucked up city is reaching a head in Byron McAlistair’s basement of all places and it is beautiful on delivery. The reprise of so many important motifs, my favorite being Jasper saying ‘be my angel’- the chills I get every time I hear him use that line is outrageous. Now I’m not sure who is right, but my interpretation of Jaspers line in that moment is that he’s asking Soldier to be his ‘angel’ by shooting him and finally, y’know, letting this man fucking die. But then I saw someone else say Jasper is saying this to Priscilla, begging her not to do this for him as he has finally accepted being alive again and doesn’t want her to die due to finally loving a McAlistair. Whatever the interpretation, canonical or not, it is a rip out your heart kind of moment. Sacrifice, duty and love all culminating to finally end the cycle of madness started so long ago in an epic trio of fantastic vocals. And when Priscilla finally can hear the music, the message Kate has been trying to get through, it’s breathtaking. You have to wonder how Kate feels when this happens, when she’s actually listened to. And just when you think it’s over…

2- I Will Bring You Down

…A new hero starts the cycle anew. This song is so fucking dramatic, so very end of an action movie sounding song and yet it works. It works because this is a relatively new character who is now able to think for himself, not just rehash the creed which will haunt this city for generations to come. And his thoughts (the music) sound incredibly unique to everyone else and that is a sign of so much care and attention from Paul. It’s a call to action, a sign of a new age coming whether the city and its people want it or not. It’s the beginning of a new story placed squarely as this shows finale. Finally, when the dust settles it is not a McAlistair who ends the tail in triumph, but a random soldier who kicks of another set of events. Circles really do never stop themselves.

1- Elysian Night

It’s hard for me to express what I feel when I listen to Elysian Night. Usually when I’m talking to people about it I end up struggling and stuttering and start spouting about something ephemeral leaving the person I’m talking to trying to decipher my words. What can one say about Elysian Night that isn’t already felt when you listen? Much like The Old Trunk in the Attic, it stands out amongst the rest of Paul’s works while somehow being the golden center of the sewn together quilt. It’s honest, it’s raw. It’s all the thoughts Jasper has been desperately trying to say after three generations of living. Picking apart other songs on the radio just to craft this one that will hopefully (tragically and inevitably fly over peoples heads) send the message about how he and every other doll in the city has been robbed of something that can barely be described. How do you not love this song? How do you not feel every emotion Jasper has raging on inside the machine that is his body? It’s close to one of the best songs Paul has ever written and I’m grateful to be alive in the time I am to be able to listen.

Thank you so much for reading if you’ve gotten this far! I’ll probably do another one for Radio Hour as it is my favorite of all the albums and we’ll see where this all goes. If you have any questions or would like to share your own opinion about the songs or have a bone to pick with me about the order they fall into, feel free to send me an ask or use the comments on this post. I never really get to talk about the Shaperaverse with people in real life and despite the discord community being amazing a full of incredible people, I find it hard to interact so I lurk most of the time. Thanks again for reading and happy listening!

#the dolls of new albion #Dona #shaperaverse #paul shapera #album review #ranking #song rankings #lady renaissance song rankings

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my-jokes-are-my-armour · 2 years

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No word that I've written will ring quite as true as "burn!"

Burn Butcher Burn is in my top list of favorite songs from The Witcher, because of the meaning, the passion, and the storytelling.

When I first watched that scene, I was like 😃🥰 because Jaskier was back and then 😳🥺 because this was a goddamn heartbreak song. And then, there is the alternate scene of the song with Rience's point of view before he kidnapped our dear bard and… burned him. And I was like : "wait a second".

Apart from the scene itself (that still makes my heart ache, months later), I was shocked by the level of storytelling it holds. I mean, on screen, the song scene is just 1min20 long, and it gave us: the emotional state of Jaskier, his current fame in comparison of his first introduction in season 1, and foreshadowing.

Yeah yeah, foreshadowing.

We don't have the alternative Burn Butcher Burn scene with Rience for nothing. Yes it was to make us understand he was in the room but that was way too long for just giving us that information. We have the entire last verse and in the end, the camera focuses on Rience when Jaskier finishes with all the "burns" and the sad "watch me burn all the memories of you".

The version in the former verse is even more accurate: "watch me laugh as I burn all the memories of you"

Because this is what happens… quite literally. It applies so well to Rience and what he is going to do.

Because Rience wants to know what Jaskier knows about Geralt, his memories in a way. And Jaskier gave us the key to understand what was going to happen because all the song is about burn - so many burns.

And...

No word that I've written will ring quite as true as "burn!"...

The song hurts even more when you think about it.

Jaskier is heartbroken because of Geralt. He wants to forget him in response to that. But he is famous because he sang the White Wolf for so long and presumably he continues to sing about him. He has a 22 years repertoire on the subject. He can't forget him because it's his life and his heart is beating for him.

And then, there is this psychotic fire mage torturing him especially to know about the thing that is already hurting him the most. Trying to burn out his knowledge about Geralt.

His look when he says that Geralt has no friend... For 22 years he tried… and was never acknowledged as such. It's hurting him so bad just to say it out loud. He is burning for him, figuratively and literally.

Oh god everything hurts now… 🥺😭

#the witcher #jaskier #rience #burn butcher burn #am i analysing too much ?#joey batey #why did you have to write those songs #it's killing me #god he knows how to tell a story #i love these bards so much (jaskier and joey)#my gifs

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heartsoulrocknroll · 2 months

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Piano Man Ranked

This was so hard for me, because I love every song on this album. These rankings are based primarily on the album versions, but if I was unsure, the position was ultimately determined by my favorite live version. I firmly believe that you can't truly appreciate how great the songs on this album are without hearing them played live by the 1976-1982 Billy Joel band.

1) The Ballad of Billy the Kid

I am so obsessed with this song. I think it's one of the greatest songs Billy has ever written, from the excellent instrumentation and arrangement to the fanastic storytelling lyrics. I love the album recording. The clip-clop of the horse hooves. The campfire harmonica. But the back and forth between the band (especially when the strings come in) and those ICONIC piano riffs does something to my brain. I freak out every time I hear it even though I've heard it repeatedly for 12 years. And the piano work throughout the entire song is just phenomenal. The live versions obviously don't have the strings, but the post-1975 live versions with the core Billy Joel band have a whole different energy that make the strings unnecessary. I have to mention the 1976 University of Connecticut live performance of this song, because that particular combination of Billy's vocals, Billy's kickass piano playing, and the band's pure energy literally makes me the audibly-yellin', hand-wavin', object-throwin' kind of insane.

2) Somewhere Along the Line

This song reminds me a bit of James Taylor in parts, but then those big backing vocals and piano riffs come in and take the song in another direction. The melody is great, the lyrics are some of the best on the album, and Billy just goes nuts on the piano, especially on the break after the third verse, during the fourth verse, and on the break that closes the song. I love the album recording, but this is another song that really comes to life in the live setting with the slightly higher tempo, the more prominent guitar riffs, Liberty on the drums, and Billy singing and playing like the world-class singer and piano player that he is.

3) Worse Comes to Worst

This song rocks so hard and blends so many musical styles. The signature guitar riff is super funky. The pedal steel guitar makes another appearance for more country undertones. The background vocals provide a gospel flavor, while the steel drums come in later on for a bit of a Caribbean feel. But even still, this remains distinctly a rock 'n' roll song. The album version is great for the aforementioned reasons, but the live versions rock so much harder. I love the 1977 CW Post live version more than life itself. I know I never shut up about it, but my god, Liberty's drumming adds so much drive to these early songs, and Billy sings the hell out of this song live.

4) Travelin' Prayer

I love absolutely everything about this song. The brushes on the drums, the bass, the opening piano, the banjo, the fiddle, the lyrics, Billy's vocal, the psychotic tempo. This is just a fantastic country/bluegrass song that takes what is great about those genres and improves it with the incorporation of Billy's brilliant piano breaks, especially the piano solo during the first instrumental break, which just rocks. This song doesn't have as strong of a country feel without the banjo and fiddle, but the live performances with Liberty's energetic drums, Richie's sax additions, Doug's driving bass, and Billy's piano improvs are incredible in an entirely different way.

5) Ain't No Crime

The soulful, gospelly vibes of this song really do it for me. I LOVE the use of the organ, and the piano riffs slap so hard it ain't funny. This is another song that needs to be heard live to be truly appreciated, with Liberty on the drums and Richie adding some sax. Billy goes crazy on the piano and does such a fantastic, soulful vocal on this song live.

6) Captain Jack

This is just an epic song. Billy's piano parts in the intro and the verses are beautifully done. The combination of Billy's organ and that legendary guitar riff in the chorus is so dramatic and really gives the song its epic feel. The lyrics are a great commentary on how people can have everything and still be overcome by the aimlessness and hopelessness of life. I like the album version, but this is another song that really takes on a whole new life in the live setting with Billy improvising on the piano and singing so incredibly well, while Liberty adds the dramatic opening cymbals and the ridiculous driving drum transitions from the third and fourth verses into the third and fourth choruses. 😭😭

7) Piano Man

No matter how many times I hear this song, I will never stop loving it. It's popular for a reason: it's great. That iconic opening piano riff gets me every time. The harmonica parts are great. The piano break after the third verse rocks on the album, and rocks even harder live. These are some of the best lyrics on the album. They are excellent, immersive, storytelling lyrics with a great rhyme scheme.

8) If I Only Had the Words (To Tell You)

This is a gorgeous melody with a distinctly beautiful opening piano riff, more beautiful piano work throughout the song, and some nice strings toward the end. This is also one of those songs that really makes me go, "Damn, that guy can sing." I am a freak about singing, and there is a live version of this (supposedly from Carnegie Hall in 1974) in which Billy gives a vocal performance that brings me to tears if I focus on it too hard. Billy may not like the sound of his own voice, but I'd give anything to sing like that.

9) You're My Home

This is a great, country-sounding song. It's one of those classic, beautiful Billy Joel melodies. The album version isn't very piano-heavy, but there are a few nice piano bits in there. And the instrumentation is great nonethless, from the finger picking on the acoustic guitar to the pedal steel guitar. Billy's vocal here is really beautiful as well.

10) Stop in Nevada

This is a beautiful song with a great melody and a great build from the quiet piano and pedal steel in the verses to the big, full choruses with the backing choir and the strings

#billy joel #piano man #personal

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jeju-tangerine · 2 months

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my top 10 kpop songs of 2023 :-)

after putting much too much thought and time into it, i have finally sorted out and written a list of my favorite kpop releases of 2023 ^_^ this was such a great year for kpop in my opinion, for full albums especially, and i hope 2024 will live up! in creating this, i decided to only include 1 song per artist, so as not to have the whole list be just one group. the songs often stand as representations of the entire albums, though. now here's my list :-)

a very special honorable mention goes to: "WOULD YOU RUN - Original Version" by TRI.BE, "LEFT RIGHT" by XG, "welcome to MY world" by aespa, and "loving me" by fifty-fifty (released in 2022 but i only got into it in 2023, but it's a masterpiece and deserves a shoutout)

NOW!!

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10. super shy - new jeans i'll tell you one simple trick to ensure that you never grow to dislike a song from it being overplayed on tiktok: don't use tiktok. "supershy" is THE song of my summer. it's light, it's breezy, it's fun, and its repetiteveness only lends itself to it being so incredibly catchy. despite their questionable background as a group, newjeans and their team keep delivering music that feels like a breath of fresh air in the k-pop landscape, and i'm glad for it.

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9. i want that - g-idle g-idle dominated this year with "queencard", which is not on MY personal list of favorites, but i would never deny its impact. however, though "i want that" was less successful, it hit so much harder for me - probably because of its actually enjoyable and catchy english lyrics (especially the verses), the dark undertones of the song, the dark… well, overtones, of the mv, and the masterful combination of the intense beat and the sweet bridge, nailed by miyeon's lovely vocals.

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8. bye my neverland - kiss of life the initial soft, sugary, fairytale atmosphere of the song is soon elevated when a distant sound of a bell leads us through the prechorus right into an explosive chorus - not unlike the clock striking midnight and forcing cinderella to leave the ball. the emotional impact of this entry for me lies not really in its musical qualities, but in them being combined with the lyrics. "bye my neverland" is titled perfectly. it's an ode to making hard choices and to refusing to stay in your comfort zone, even if it seems crazy to throw it away - and at the same time, the song acknowledges that doing this is difficult. there's a sense of deep melancholy in it, but also comfort and hope. i guess that's growing up.

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7. bouncy (k-hot chilli peppers) - ateez i am not a noise girlie at all, but i could not escape the siren song of ateez this year. "bouncy" goes so damn hard it's kind of ridiculous. every part is a joy to listen to, the members' deliveries are energetic and full of genuine passion - or sometimes nonchalant, when they should be -, and their live performances impressed me immensely. i might have to look more into their discography after this. "bouncy" doesn't need much description - it speaks for itself.

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6. but sometimes - boynextdoor this is FUN music. i mean this more for this song than any other on this list: every single line, every sentence is deeply enjoyable and memorable. you know how some songs are nice and have pretty choruses, but when you try to remember what the verses sound like, you somehow just can't recall much? this is the opposite of that. such an incredibly fun song structure - and it's not even especially unusual. still, it's skillfully written in a way that seems to follow the phases one goes through after a breakup (or at least a teenager would). i also adore the choreography, and i'll be paying a lot of attention to boynextdoor from now on. especially jaehyun and his frankly insane charisma on stage.

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5. mine - ive ive was my top artist on spotify this year, and for a good reason. in my humble opinion, they DOMINATED 2023. their first full album was absolutely killer, there is not a song on there that i dislike and "i am" is a masterpiece of a title track. however, because this is a deeply subjective list, i decided to go with "mine" as a representation of ive on here. it's my favorite track on the album, it was my 3rd most listened to song of the year as well and i love it so much. it scratches such a specific itch in my brain with its rhythmical tempo and dreamy soundscape. this song just sounds like what love feels like.

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4. menow - fromis9 another perfect album of 2023 was in fact fromis' "unlock my heart". it seems like fromis have a fully realized musical identity now, and it's lovely to experience. there are better songs on the album, namely "attitude" (man that goes crazy), but "#menow" is still the heart of it, in my opinion. it feels genuine, fresh but cozy. there is a deep yearning for living life authentically to the song, and authenticity is one of the very main themes of the full album as well. "attitude" is phenomenal, but it lacks that wonderful casual girl-next-door vibe that fromis' body of work has to it, in my opinion. "#menow" captures it so well - while still being extremely fun! that prechorus? come on. other standouts on the album: "bring it on", "what i want", "eye contact".

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3. rising - tripleS now here is my number 1 most listened to song of 2023. tripleS have released some super interesting-sounding stuff. i'm a big fan of "new look", and of "girls' capitalism" too, despite the title, but "rising" dominated. that second verse absolutely kills. i also love the first title-drop in the first verse, for some reason. the song is really catchy and fun, the mv looks kind of silly but gets you in the right mood, and i'm especially enamored with the last 2 lines. some songs have weak or underwhelming endings, but this is the opposite of that - i LOVE the very ending. what more do i need to say about tripleS? they were literally so right when they said la la la la.

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2. farewell neverland - txt maybe i'm cheesy for it but i cannot resist a good acoustic guitar, especially when it goes as hard as it does in "farewell neverland". such a beautiful, beautiful song. deeply emotional, deeply mournful, DEEPLY atmospheric. AND it was the culmination of a gorgeous EP, which also featured such bangers as "sugar rush ride", "devil by the window" and "tinnitus". i don't know how to express how much i love this song. it's tragic, it's regretful, it's intense but measured. it sounds stunning and it is aging like a fine wine.

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underwater - red velvet it's so difficult to pick just one song off a red velvet album. "chill kill" is perfection, everything i could expect from my favorite group and more. they never disappoint - they just keep surprising me with their music's longevity instead. among flawless bsides, "underwater" managed to slightly stand out. from first listen i felt there was something transcendent about the song, so it is here representing red velvet on my list proudly. there are few tracks that embody the 'velvet' of red velvet as completely as this one does. sensual, ethereal, a tiny bit dangerous. "underwater" gets you simultaneously submerged in the deep end and levitating in the air. i won't stand for ignoring "chill kill" the title track, though - it's perfect as well. the more positive-sounding melodies elevate the uncanny mood and really make it a classic red velvet title. and, okay - let me talk about the mv quickly. killer. literally. so creepy, so disturbing, so hopeful, so artfully made. and the vocals on the entire album are stunning, by the way. one other bside standout for me: "nightmare" - it literally has a musical structure which corresponds to the experience of having a nightmare and freaking out and then waking up and realizing it's all okay and it was just a dream. my GOD!!!! i come back to their music all the time, and the reason is simple: noone else does it like red velvet. they are a one of a kind kpop group and i'm so thankful for them.

thanks to anyone who's read this and have a great rest of 2024 guyz ^___^

#veltalk #red velvet #ive #fromis 9 #Youtube

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sternbilder · 4 months

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Ranking my favorite 2023 K-pop comebacks

I feel like 2023 was a year where I followed kpop comebacks especially diligently bc of my newfound interest in dance, and since it's 2024 this means an entire year has passed now of This

here's a list of my 10 personal favorite title tracks this year, happy new year all!

The Top Ten

1. Monsta X - "Beautiful Liar"

listen. when I said

in january of last year I meant it with my whole ass and I stand by it an entire earth year later. this song fucks So hard

firstable Yes I'm sad this is their last cb with most of the group in a while but also jesus what a banger to go out on

I love the guitars, the looks everyone is serving, the funky little twist in the song structure after the second verse, plus thinking always about lovemelovemelovemetellmetellmetellme + the chains + kihyun with a literal goddamn whip + the gunshot sound effects punctuating joohoney's verse. chefs kiss

2. Taemin - "Guilty"

god taemin is back and you can just feel the catholicity through the screen. the haunting vocals. the delicious string textures throughout (the way the arpeggios shift to pizzicato for the second verse!). the 6/4 time (the only choreo I learned this year that was not to an 8 count). the fucking through the shirt grab. the bridge which they extended in the MV specifically to squeeze in Even More Yearning™.

this is a perfect cb and I will say the rest of the album is also flawless and my favorite out of this list. honestly this probably would have been first if not for the fact that I personally just liked beautiful liar so goddamn much. thank you taemin. no notes.

3. SHINee - "HARD"

aka the song I previously described as "2 baddies, but Good" (no really, they have same key signature & near identical song structure. listen to them side by side with HARD on .95 speed if you don't believe me)

anyway, like 2 baddies this is SM-flavored af but I love the old school hip-hop vibes in HARD soooo much. I've had some people tell me they found it weird and off-putting but to me it's effortlessly cool but also earnest and just. fun? (not only the music but also the visuals? hello? the fashions in this MV) def gotta be one of my most played this year

4. Lee Gi Kwang - "Predator"

ok now for a dark horse pick. I feel like in the borderline 5th gen landscape nowadays older groups are often forgotten (even though hello! 2nd gen bgs are back from the military now and are having a Moment) so people perhaps understandably overlooked this one but god this song is a bop.

is it just criminal by taemin part 2 but less sexy and with a lower budget? yes. but the song is an absolute bop and the choreo slaps in its own right so imo it's a very worthy homage especially given it captures its exact gender of "pathetic sadboy making horny mistakes and needing to dance abt it" so so perfectly,

5. Exo - "Cream Soda"

tbh not what I was expecting from an exo comeback and I was surprised that I ended up liking this so much given I didn't really care for the prerelease tracks, but the more I listened the more this grew on me?

ofc it's an exo track so the vocals are 100 emoji but the chorus and melodies are simply addictive and the choreo for this one is also just a ton of fun (the sexy little head swipe,)

also I love the outfits in this MV (everyone keeps saying this is the Weed aesthetic but honestly? with korea's whole Thing? this is exo's macklemore-style thrift shopping and/or raiding grandma's attic for hidden midcentury treasures phase. to me.) but thank u @ the universe specifically for giving us back silver haired baekhyun. bless.

6. VIXX - "Amnesia"

another underrated release tbh! this initially gave me guilty vibes w/ the abundant use of pizzes since they were released around the same time but I also just independently love this song

I feel like it's a very mature song that takes itself seriously but not in an overly self-absorbed or cheesy way (another comparison I might make is to leo's losing game from last year), the chorus is poignant and hits hard because it's so earnest—maybe especially so since they were down to 3 with this cb—but man that melody is just so gorgeous, like it haunts me

7. Dreamcatcher - "Bon Voyage"

ok if I'm gonna be real it wasn't a great year for my faves—while I liked OOTD and reason they weren't top 10 worthy for me, mx had 1 excellent release before having most of its members yoinked by the military, and I didn't love either of oneus's cbs this year

that being said! I did still like bon voyage! while I preferred the first 2 in the trilogy it still felt like a good and fitting finale, bittersweet and full of equal parts regret and hope

in many ways it feels like a harkening back to classic dreamcatcher with the Big Anime Opening Vibes™ but more somber and grown up, an unexpected summer anthem from these queens,

8. TXT - "Sugar Rush Ride"

it's been a busy year for txt and while I'm not super familiar with them and their releases are sometimes a bit hit or miss for me, when they do hit they HIT

I actually considered chasing that feeling for this list too but despite adoring the take on me-ness of it I ended up nixing it after adjusting for recency bias

sugar rush ride though, I feel is a bop that stood the test of time with its catchiness and surprisingly dark undertones, and is also one of my favorite choreos I learned this year by far like. come on. it's the epitome of Boy Group Hot.

9. Taeyang - "Vibe"

this song lived rent-free in my head for MONTHS, god it's so catchy

I actually missed when my local studio taught this song but I liked the choreo so much I learned it on my own which, predictably since it literally features 2 main dancers, was not easy but extremely worth it bc just like the song itself it's just really fun

other than that what can I say. the MV is nothing special but otherwise it's just a really solid song with Big feel good energy.

10. Kiss of Life - "Shhh"

ok,,,,,,,I don't really follow rookie groups that closely bc generally I don't feel like I'm the target audience but. out of this year's new groups I did especially like kiss of life's debut!

the MV doesn't do much for me tbh but musically it sounds uncharacteristically mature to me, in a good way—it has a subtle confidence about it that I like plus excellent vocals, and is (possibly hot take?) what I was hoping to get from newjeans this year as a continuation of their debut last year tbh

Honorable Mentions

Jungkook - "Standing Next to You"

this one just felt like cheating bc it's technically an English single and there's probably some recency bias here but I can't not mention it bc I simply love this track. I'm not even a BTS stan but it's just a jam with great vocals and instrumentals (the big band notes and MJ influence! please!) and the choreo is also SO ridiculously fun, both the chorus and the dance break

BTOB - "Wind and Wish"

this is just a wholesome song that makes you feel good, like is it a lil bit cheesy? yeah, but it's also Good Vibes Comma the Song, wearing its entire heart on its sleeve in the most endearing way. it's nostalgic and mellow and full of love for its friends and a zest for life

also special shoutout to the bridge, which in such an otherwise lowkey song did not have to go that hard and yet it Did?? that harmony gives me chills, 100% certified vocal kings would cry again

Shownu X Hyungwon - "Love Me a Little"

this is a pathetic meow meow song in the best possible way and was sadly beat out by the other slightly better pathetic meow meow songs on this list (guilty, predator, amnesia) bc it was just a really good year for them but I still think it deserves a mention bc first of all yea boi @ my mans shownu being free from the military but also the instrumental/dance break at the end is dark as hell and also SO fucking tasty

Infinite - "New Emotions"

another 2nd gen group that quietly had a renaissance this year! this song is simply a bop and while the song itself is not as memorable as some in the top 10 the choreo is actually really fun

also myungsoo looks really ridiculously fine as center in the first chorus and that's the last thing I have to say about this song,

Key - "Killer"

honestly I really liked both of key's cbs this year but I feel like killer was slept on somewhat, it's got a hint of sadboi but it's tempered by the upbeat 80s pop style, plus the grungy mullet and beret outfit from the MV was a fucking Look and a Half

And my favorites per month

January: Monsta X - "Beautiful Liar"

February: Purple Kiss - "Sweet Juice"

March: Onew - "O (Circle)"

April: Lee Gi Kwang - "Predator"

May: Dreamcatcher - "Bon Voyage"

June: SHINee - "HARD"

July: Exo - "Cream Soda"

August: MAMAMOO+ - "dangdang"

September: Key - "Good & Great"

October: Taemin - "Guilty"

November: VIXX - "Amnesia"

December: TVXQ - "Down"

#cam thoughts

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why-so-serious-lucifer · 4 months

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K-pop Discography Deep Dives: Chung Ha

Chungha first debuted in 2016, through the temporary group I.O.I., which also launched the careers of soloist Jeon Somi and actors Kim Sejeong and Kang Mina. As a soloist, she debuted with Why Don’t You Know in 2017 after I.O.I. 's disbandment.

Here are my credentials: I’d consider myself a casual fan of Chung Ha, who I know mainly through her friend Sunmi. I’ve heard a decent amount of her title tracks, and a few b-sides, but I’m looking forward to hearing more of her songs and forming a more accurate opinion of her work as a whole.

Why Don’t You Know is surprisingly chill with its acoustic guitar and lighthearted whistling effects, but has a calm kind of tropical summer catchiness that’s honestly pretty effective. It’s not an instant classic, as it does sound a lot like other tropical-inspired songs, but I did like it, minus the rap, which felt a bit too harsh for a song like this. (Also, can I say, I love that yellow, green, and red cardigan she wears in the MV! It’s stunning.)

From the EP, Hands On Me is a jazzy little opening, and I wish it was longer. It reminds me of a 9Muses track in the best way possible. Make A Wish continues that jazziness with a self-assured, smooth Chicago-esque showmanship that I really appreciated. It’s definitely a shoulder-dancing song, if you know what I mean. Cosmic Dust is a pretty traditional ballad, but provides a nice showcase for Chung Ha’s vocals.

Roller Coaster is pretty minimalistic at its beginning, and I was a bit worried that it’d be boring, but it turns out that those worries were unfounded. By the chorus, it spirals into an engaging dance floor bop that had me nodding my head. My only gripe is that I wish it took its high points a little higher, with perhaps more vocalizing or more of a cathartic point at the end of the chorus (a la TXT’s Chasing That Feeling), but overall that’s a small critique.

From the EP, Offset, I wasn’t the biggest fan of Do It at the beginning but I grew to appreciate its energy. I liked Bad Boy a lot, though I enjoyed the fast-paced verses and pre-choruses more than the chorus. Its last minute got me, though, and it became a solid hidden gem of mine. It was a bit of whiplash, though, to go from the fun of Bad Boy to the abject heartbreak of Remind Of You, a good lesson that not every album necessarily needs a ballad if it doesn’t fit in.

Love U is a song that I hadn’t realized I’d actually heard before, since I’d only heard the chorus. The opposite of Roller Coaster, its intro starts with a hard-hitting trap beat, while the song itself feels more like Why Don’t You Know with its bright summery energy. I enjoy the background vocalizing and the underlying drum beat too, though I feel like the chorus is a bit too empty for me to like as much as I did Make A Wish or Bad Boy. From the EP, Blooming Blue, I enjoyed the bright call-and-response of “I’m in love, I’m in love” from Cherry Kisses and the bass guitar contrasted with Chung Ha’s high voice in Drive.

Gotta Go is a single, and intrigued me right from its unique flute-meets-trap sampling, that matches with Chung Ha’s signature synthy background. The chorus is very interesting, because it both is and isn’t an anti-drop; it doesn’t exactly release the tension of the song, but it doesn’t let it fall away either. Instead, it’s a little like a Taemin track in that the tension never really goes away. I do like the high note before the last chorus, though I wish that there was more of a bridge. I’m not entirely sure how I feel about this one. It’s not a favorite, but I don’t hate it, and I don’t think I’d skip it if it showed up on my shuffle.

Snapping picks up similarly to where Gotta Go left off, with a beat in the middle of a lot of k-pop; not a super invigorating one, but not boring by any means. I’m glad that the anti-drop was left until the end of the chorus, as if it was the entire thing, I would be disappointed. I do really like the “now I let you go.” As is, I don’t mind this one, and I wouldn’t skip it, but I wouldn’t search it out either.

From the EP, Flourishing, I had a clear standout in Chica. Clearly taking influences from Latin Pop and some Spice-Girls-esque feel-good-you-can-do-it-babe Girl Power, it’s hard not to smile when you hear it, especially at the “chica, chica, see you’ve got it all; chica, chica, see you’re beautiful!” All in all, it’s a delightful addition to my playlist. I also liked the song Flourishing itself, especially its pre-choruses.

Now, we start Chung Ha’s 20-song epic Querencia, which has four sides, Noble, Savage, Unknown, and Pleasures, and each has a title track. Side A, Noble’s, is Bicycle, a sing-talk track that leads with a trap-beat background and melds K-pop girl crush with Ariana Grande-esque lyrics. I…really do not like this song. I have a very low tolerance for “I’m cooler than you” music in general, but when it’s pared with such an empty chorus and feels like a recycled Blackpink b-side? Yikes. Sorry, Chung Ha. From Side A {Noble}, I liked the subtle Latin-pop influences and interesting percussion of Masquerade and the great, chugging beat that’s so great at leading Flying On Faith (a rare completely English song that I loved).

Stay Tonight is Querencia’s second single, and thankfully returns to her signature synthpop. The verses had me nodding my head—a huge improvement from Bicycle—and had me excited for the chorus. But, after the great high note in the pre-chorus, the chorus itself didn’t feel like enough of a payoff, instead feeling more meandering and unengaging. While I absolutely liked it more than Bicycle, it’s not in my top 10 of her singles.

From Side B {Savage}, I enjoyed the way-too-short a-capella section at the beginning of the choruses and the “don’t make me, don’t make me dream of you” in Dream Of You (another English language track I enjoy). I also liked the breathy vocalizations in both Bother Me and Chill, Chill especially.

Play is the third single, and embraces a more playful and upbeat sound that harkens back to Why Don’t You Know, Love U, and Cherry Kisses. Though the subject isn’t that different from the other two, the genuine fun that its chorus is when it explodes and the excellent interpolation of reggaeton (in both the beat and the choreo) and brass makes this one something special. The chorus here absolutely delivers, with several parts all coming together to form a very satisfying payoff. Definitely my favorite single so far.

Demente is also a single from this side, and shockingly, it’s all in Spanish. It’s not unusual for K-pop idols to release songs with Latin pop inspired beats, or even in different languages, but this is definitely a rarity. Demente (which means “crazy” in Spanish), is honestly a really solid, catchy pop song, and (though Spanish isn’t my first language) if I didn’t know that she wasn’t fluent in it, I wouldn’t have guessed. As I’ve mentioned on my blog before, I’m a linguistics major, so this was a delight to listen to. Genuinely, kudos to Chung Ha, and to Guaynaa, the featured artist, who has the distinction of having a rap that I thought really added to the song. From Side C {Unknown}, my hidden gem was the acoustic guitar and piano led, comfortingly slow Byulharang.

X is the final single from Querencia, and is a more emotional, stripped-back performance that Chung Ha dedicates to her mother and the work that they both put in to achieve her dreams of becoming an idol. Filmed entirely in black and white and featuring an enormous, Godzilla-like Chung Ha wandering through a tiny, closed-off city fighting against her, it’s a great example of why soloists should write their own tracks. It’s imbued with a lovely sense of pathos and feels like a fitting way to end a magnum opus of an album. From Side D {Pleasures}, I liked the restful album closers in Everybody Has’ traditional ballad structure, the calmly catchy Comes N Goes, and the instrumental Querencia.

Killing Me is another single, and while it’s similar to Gotta Go, it feels sleeker and more streamlined, focused on achieving the goal that is its chorus. Because of this, it’s quite short–under three minutes–and, though it’s not the best of her singles, it doesn’t overstay its welcome. Another perfectly fine track that I wouldn’t skip but wouldn’t search out.

Sparkling feels more like Roller Coaster than anything from Querencia, which had me excited right away. It has, well, unsurprisingly, a sparkling quality to its instrumentals, and would be right at home on a dance floor. It’s delightfully bubbly, tip toeing and tap dancing all over the place with delight, and that energy is infectious. As always, I wish it had a more defined chorus, but I really like the lead-in in both the bridge and pre-choruses.

From the EP, Bare & Rare, Good Night My Princess caught my ear immediately with a sense of warmth that’s unusual for a ballad, and I loved it even more when I found out that Chung Ha wrote it as a thank you for all the sacrifices her mother made for her to be able to grow up and pursue her dreams, similarly to X. The song features Chung Ha’s voice at its most lovely, and it made me tear up a little, if we’re being honest. I also enjoyed Bibi’s feature and the excellent sense of drama in Crazy Like You, the celebratory mood in Louder, and especially the crying-on-the-dance-floor vibes of Love Me Out Loud (which gets more addicting with every repeat).

I’m glad I did this! I enjoyed Chung Ha’s work more than I thought I would, although I shouldn’t be surprised as a big fan of Sunmi and synthpop in general. I learned that she writes many of her own songs, and that she speaks some English and a little Spanish, so color me impressed. I found a bunch of songs I enjoyed—mainly b-sides—that I added to my playlists. So I’d say you could consider me at least a fan now!

My Top 5 songs are Play, Love Me Out Loud, Chica, Cherry Kisses, and Flying On Faith, with Good Night My Princess as an honorable mention. Chung Ha gets an 8.25 out of 10 from me, which is about what I expected. I think that where her songs often falter for me are the choruses, which unfortunately is one of the most important parts. When she pulls it off, she’s made some excellent tracks. But more often than not, I find myself loving the buildup but being disappointed by the pay-off. There were very few tracks I didn’t at least enjoy, and this isn’t me saying that I think her work is bad. But with just a few changes and a greater sense of pay-off, she would have a pretty unbeatable discography.

Next time, we’ll be starting a two week series on a pretty huge girl group, and we’ll be having a boy group supplemental next week. Tschüss!

#ioi #ioi Chung ha #chung ha #K-pop #K-pop soloists #k pop girl groups #discography deep dive #review #sparkling #why don’t you know #play #Demente #love u #querencia #Spotify

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blackhiil · 2 years

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blackhill: songs i associate them too (part 1)

coming down - halsey

i don’t know i just think it’s apart of them especially “now we’re lost somewhere in outer space, in a hotel room where demons play. they run around beneath our feet, we roll around beneath these sheets” definitely makes me think of them meeting up at different hotels/safe houses while nat is on the run

dark red - steve lacy

the entire first verse makes me thing of them. also “don’t you give me up, please don’t give up. on me i belong, with you and only you baby” it brings a certain soulmatism to them that i can’t explain.

everything i wanted - billie eilish

see with this one, it’s about who’s who in the context of the song. “i had a dream, i got everything i wanted, but when i wake up i see you with me” you could say this is nat or maria in a bad place and having a nightmare “…if i could change the way that you see yourself, you wouldn’t wonder why you’re here. they don’t deserve you.” this part is either of them comforting another after said dream

heatwaves - glass animals

honestly this might be my favorite song for them because the chorus itself gives such endless possibilities for fics. “sometimes all i think about is you, late nights in the middle of june. heatwaves been faking me out, can make you happier now.” this could nat during infinity war thinking about maria then it could maria during endgame thinking about nat. also can be them if they broke up at one point but miss each other, just endless possibilities.

the shining- the neighborhood

it’s just so them, but specifically it’s from maria pov. especially “the way that you glow, everybody knows you’ve got a heart of gold and mine is always broken, so i’ll just paint it chrome. i’ll just paint it chrome, so you’re not alone” honestly the whole song is just so them

flaming hot cheetos- clairo

to me, this is them early in their relationship, jsut trying to find their footing. “girlfriend or girl that’s a friend? it’s easy just to pretend that we don’t have something real, it’s just how we feel” they fee something for each other but don’t know how to label it just yet.

somewhere only we know - keane

a song that’s perfect for them but i can’t really tell you why, it just is. i definitely think they have a place they only know about where they can just be together.

rhythm of love - plain white t’s

domestic blackhill domestic blackhill domestic blackhill!!! this song always makes me think of them dancing lazy in the morning or even just singing it together and being soft.

#blackhill #maria hill #natasha romanoff #lesbian natasha romanoff #lesbian maria hill #blackhill song association #martasha #maria x natasha #marvel wlw

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questioned-quetzalcoatl · 2 years

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30 Days of OTP: Day 22, In Battle - Side by Side

Rating: K

Verse: DVA (Call me Satan Darling Au)

AN: I really wanted to make this based in the 'Call me Satan, darling' universe with Satan!James and Kainga battling out a pack of hungry Hellhounds out in Hell's wastelands. Whether this is a part of canon or not, I dunno, but I always love to flesh out this Au as it's my favorite one ever uwu

A quick side note, this fic is inspired by the song 'Mary On A Cross' by Ghost, which is absolutely amazing and I defiantly recommend a listen to it. The vibe of it goes super well with this Universe.

He should've learnt his lesson by now, this wasn't the first time James had encountered the beasts that roamed Hell's wastelands. The reason he's in such a predicament is that Satan, being Satan, is a massive show off, especially to his future queen. He just had to pick a fight with an entire pack of hungry Hellhounds in the midst of a storm.

There was a few dozen of the giant hell beasts, circling them both like prey. Their grueling snarls echoing against the rumbles of thunder above that spat out it's acidic tears to the ground below, he finds peace in the fact that the creatures had no eyes and were completely deaf otherwise they'd be in a lot more trouble. Instead, the pack hunted them down using their prodigious sense of smell. He should be used to these kinds of situations now, they were completely surrounded by the Hellhounds that snarled, sounding like the grinding of bones and moist flesh. A truly ear piercing sound.

What was worse was the lack of preparation, James thinking and insisting to him that a simple pistol from Earth was enough to take out one of these beasts. Oh how wrong he was. Kainga's first shot is with his pistol, that sends the whole pack sprawling and lunging towards them, the bullet barely scathes the molten flesh of one of the Hellhounds, going straight through it's face with seemingly no impact. Oozing flesh started to contort around the wound where the bullet had entered, healing itself with pieces of skin flaking off it like bark on a dead tree, some form of liquid seeping from it like sap. Sure it sent the creature back and it was physically wounded, but Hell was no place to start praying for his life.

Apparently he was supposed to trust Satan and his predictions, he couldn't help but scoff a little at how ironic it all was.

Soon bucking his ideas up when another bigger Hellhound pounced at him, scraping it's teeth across Kainga's flesh as he just managed to dodge out the way of it. Dazed with the sickening smell that was emitted from the beasts, he lay on the ground like easy prey. James soon stood over him protectively, James has the demon knife in one hand and he’s cutting and stabbing without hesitation. The Hellhounds taking a much fouler hit with the blade as apposed to the sleazy bullets Kainga had in his pistol, every slash of James's wrist across their bodies would leave deep gushing gashes that didn't heal over as well. Only six of them break away from the circle to deal with them and the others are twitching and convulsing, laying half dead to rot away in the crimson undergrowth. Throats and chests slit open as they continue to discreet that pungent clear and deep red liquid, Kainga came to the conclusion, that must be their blood.

Kainga doesn't move from the ground until he’s out of salt packed shotgun shells. It keeps the moving Hellhounds back and down long enough for James to get at them with the knife. James still stood over him for better advantage from all sides, the pack surrounding them now lessened in numbers yet were closing in tightly, James didn't know how long he could keep fending them off for. Having only picked off the smaller runts of the pack only the bigger and stronger beasts remained to battle including the alpha. Two times bigger than the rest of the group, ones that only the pack would listen to, they didn't even take orders from Satan himself.

Thunder rattles the sky, it happened to quickly. Distant at first it grew into a sound so catastrophic it shattered bones and ruptured organs, metallic rain falling upon them that burnt and punctured, the storm only got worse. James screamed at him to seek shelter against the clattering of the storm around them, loosing his focus on the pack was a mistake of a fool who cared too much for his Queen below him. Sharp claws dug into the turned back, ripping at the flesh as if it were clay with large keratin scythes that were its claws. The knife falls from his reach as there's an agonizing scream of pain as his flesh is ripped into by the beast on his back, drowned out by the carnivorous guttural snarls as more of the creatures were alerted to his misfortune and the crashing of the storm around them.

He didn't remember what happened, only the screams of James to tell him to seek shelter. Bloodied trails leading back to where he had left him, there was no Hellhounds, only James once it was finally all over. He didn't know what had happened or how in God's name he managed to fend them all off but he knew it was something beyond the James he already knew. Who knows what Satan was truly capable of, making Kainga regret not watching him finishing off the entire pack of beasts. He didn't question why James was practically steaming like he'd just been on fire, no matter as James was severely weakened. The screams of his Queen telling him to stay with him start to drown out as he looses his consciousness, leaning up against him as his breathing grows hoarser.

No matter what James had done that day, he knew he'd be forever thankful. The deep gashes down the unholy mans back only served as a reminder of that.

#fic: call me satan darling #30 days of zeaonga #hetalia #aph new zealand #aph tonga #aph #hws new zealand #zeaonga #hetalia oc #hws tonga #ao3 fanfic #30 day otp challenge

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