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geekgirles · 10 days

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Lady Echo: A Character Analysis

Before we dive in, there's something about me you should know. I'm a TV Tropes truther. That site is my Bible. If a piece of media interests me, then you'd better believe I have visited its TV Tropes page.

And because of that, Echo in particular is a character I've been meaning to talk about for a while now, because I get the feeling people tend to overlook what I feel is the true core of her character at the end of season 3.

As you can see, while other tropes go more into detail about her true motivations behind betraying Oropo, that part of her character ends up being reduced to being a Woman Scorned, and while that certainly applies here, I really don't think that's the trope that best encapsulates her character and her decisions at the end of the season.

A Woman Scorned is essentially any woman who has been wronged by the person she loves and seeks revenge or has at least expressed great anger. And it can go from being cheated on by a partner, or simply being rejected by their love interest and not taking it well. And both heroic and villainous characters can be the ones to break her heart. In fact, Arpagone too would be an example of this trope, as even if her feelings for Ruel are still there, most of her actions are motivated by the pain she feels for his decision to choose money over her.

As you can see, this all fits with Echo's actions and feelings at the end of season 3, but it's very general overall. Which is why, in my humble opinion, Echo is a better example of Love Forgives All but Lust.

This trope is essentially a deconstruction of tropes centred around the appeal bad boys have for women. The thing about women falling for bad boys is that those women tend to know they're bad news, and beyond a desire to be the ones to change them, the real reason that interest is born is because they're attracted to the idea of the bad boy being a jerk to everyone, but them. Love Forgives All but Lust is what happens when the woman is rudely awakened from that delusion.

In other words, when they realise not even they are safe from their partner's worst actions. And what is the best way to have a woman feel betrayed to the point of seeking revenge? Unfaithfulness.

Sure, they will forgive their partner if it turns out he's a serial killer, but if he cheats? Then he's the one who's dead.

And example of Love Forgives All but Lust is when the police is trying to get a mafioso's wife/girlfriend to testify against her lover, but she refuses to cooperate... until she discovers her husband/boyfriend has a lover, then she'll do everything to bring him down.

If you think about it, this is essentially what happened between Echo and Oropo after he revealed he only ever "loved" Amalia. Even if Echo is a much more active player in Oropo's machinations than simply being aware of them, having helped him carry over his plans for centuries as his second-in-command.

After he kissed Amalia and claimed Echo never meant anything to him compared to her, that's when Echo totally lost it. And her subsequent actions are a direct result of his betrayal. It never had anything to do with Echo seeing the error of her ways, as we all know.

Think about it, it wasn't until Oropo chose Amalia over her, after everything they had ever been through, that Echo truly struck. Once it became apparent her lover didn't care for her nearly as much as she cared for him, that's when Echo revealed his true plans: to destroy the gods, he must destroy the World of Twelve and deprive them of followers. In other words, he was willing to commit mass genocide for the sake of his dream.

Moreoever, the fact that she got to reveal the true extent of his plans at all already highlights that only she knew about them. All along, Echo knew what Oropo was planning, the consequences of his dreams, and she never once stopped believing in his cause. Their conversation in episode 6 even going as far as explaining Echo already believed in him and supported his dreams before ever falling for him, meaning she can't even excuse her actions by saying her feelings blinded her. Because she was perfectly aware of Oropo's plans all along.

And yet, that didn't stop her from loving him. If anything, it was only another reason she fell in love with him.

No, it wasn't until Oropo broke her heart that she ever went against him.

If you ask me, this all reads as Echo not minding Oropo's most questionable tendencies because she was convinced she was exempt from ever being at the receiving end of his worst actions. After all, she had been by his side the longest, witnessing how he got rid of demigods that failed to meet his standards or were no longer useful (going with what the show claims, I haven't read Ogrest's manga). It wasn't until he kissed Amalia and shoved her aside that Echo realised not even she was safe from him.

And it was because Oropo had had no qualms to screw her over that Echo decided it was her turn to screw him over. And hence, she revealed his plans to the Brotherhood of the Forgotten, not because she'd seen the error of her ways, but because Oropo had hurt her and she wanted to make him bleed in turn.

In the end, Echo's actions weren't fuelled solely by revenge or even jealousy, they were fuelled by the bitter realisation that she never meant as much to Oropo as he meant to her. It was about realising he had no qualms hurting her, not about how he had no qualms hurting anyone else.

It was about Echo not being enough for Oropo.

And for me, that's why Echo is a better example of Love Forgives All but Lust.

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newmusickarl · 5 months

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Top 50 Albums of 2023: #30-21

30. Everything Is Alive by Slowdive

I’ll be the first to admit that despite the heavy praise from the amazing Music Twitter community (I’m not calling it X, sorry Elon), before this year I had never completely bought into the Slowdive hype. Although I enjoy their 2017 self-titled comeback record, I had never taken to the shoegaze legends in the same way that I know a lot of my fellow music fans do. But I’m pleased to say with Everything Is Alive, I’ve been well and truly won over.

Their first album in six years, singles like kisses, skin in the game and the slab spiral into fascinating sonic territory and make you want to stay locked there forever. It was an album that completely blew me away on first listen, offering a completely immersive audio experience. One of those records where you just want to stick your headphones on and get lost in all these interesting textures being strung together.

Outside of the singles, shanty and chained to a cloud deliver mesmerising synths, big walls of guitars and the ghostly vocals of Rachel Goswell and Neil Halstead. Alife (or Alfie as I’ve been frequently calling it!) is another standout, whilst Andalucia Plays is just hauntingly melancholic. So not just one of the year’s best records, but a record that proves why I continue to trust Music Twitter’s recommendations - they never seem to steer me wrong.

Best tracks: alife, kisses, the slab

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29. This Is Why by Paramore

When immensely popular American rockers Paramore announced Bloc Party were the primary influence for their sixth studio album, This Is Why, my interest was naturally piqued. Where Silent Alarm offered a vital soundtrack for the post-9/11 youth back in the mid-00s, Paramore have now done the same for an apathetic generation of kids dealing with COVID lockdowns and ever-growing social and political divide. And whilst it isn’t quite Silent Alarm, this is unquestionably a brilliant indie rock record.

Firstly, the opening title track remains one of my favourite tracks of the last twelve months. With all the catchy, stuttering chords of prime Foals, along with some ever-impressive vocal acrobatics from enigmatic frontwoman Hayley Williams, the mid-song breakdown that ends with Williams’ cries of “I’m floating like a cannonball” is so gloriously cathartic, you can’t help but get won over. Big Man, Little Dignity is another strong favourite, which sees the trio take shots at powerful men not held to account for their deplorable actions (“smooth operator in a shit-stained suit”). Liar, arguably the album’s most subdued moment, is similarly awe-inspiring too thanks to some twinkly guitars and Williams’ graceful falsetto vocals.

At a concise 36 minutes there’s not a second spared, as the band channel their message through the sounds from indie rock’s past, breathing fresh new life into the scene and helping it to resonate with a newer, younger mainstream audience. So, if you are sat there wondering why Paramore are one of the biggest rock bands in the world right now – This Is Why.

Best tracks: This Is Why, Liar, Big Man Little Dignity

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28. Blondshell by Blondshell

An incredible self-titled debut that has lit me up in the last year is this amazing record from LA-based rockstar-in-the-making, Sabrina Teitelbaum – AKA Blondshell. Hugely accomplished for her first outing, it’s a sharp 32-minute listen packed with big choruses and some truly epic guitar work. Here’s what 5-9 editor Andrew Belt had to say in his brilliant review earlier this year which sums it perfectly:

“The nine tracks on her debut album capture uncomplicated rock tracks which could have been recorded live. Uncomplicated does not mean not compelling, however. Fusing influences from the likes of Nirvana, The Cranberries and Anna Burch, Teitelbaum wears her heart on her sleeve as she chronicles a difficult couple of years which spawned Blondshell. The self-titled record bursts to life with ‘Veronica Mars’ – a two-minute, verse/chorus/guitar solo blast with the TV show referred to in the title causing Teitelbaum to reflect on its impact on her when watching at an early age. Singing ‘Logan’s a dick, I’m learning that’s hot’, Teitelbaum laments the mixed messaging the show could provide to young minds, with the rock track melting away at the end via a red-hot unhinged, high-pitched guitar solo. The sound throughout is cohesive with Yves Tumor-producer, Yves Rothman, teasing out something quite impressive from Teitelbaum as Blondshell. Confessional, edgy, compelling, Blondshell is an accomplished offering belying its debut album status.”

Best tracks: Salad, Sepsis, Dangerous

Read Andrew Belt’s full review on 5-9 here

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27. Dream Big by Soda Blonde

Back in 2021, Irish indie-pop outfit Soda Blonde emerged out of the ashes of the excellent Little Green Cars, with the four remaining members of that band releasing their debut album under the new Soda Blonde guise. That Soda Blonde debut, titled Small Talk, would finish in my Top 30 Albums of 2021 and even receive a nomination for the Irish Choice Prize (the Irish equivalent of the Mercury Prize). Now with this sophomore outing, they have made the Top 30 again.

Full of confidence, Soda Blonde are sounding more assured in their new skin, with Dream Big presenting a stunning collection of songs full of breathtaking musical variety and killer hooks. The opening run of Midnight Show, Bad Machine, Boys and the title track is particularly mesmerising, as the band guide you through glorious arrangements full of strings, rhythmic guitars and clusters of memorable moments. In the back half, My First Name sees frontwoman Faye O’Rourke’s majestic vocals stand out amongst a magnificent collage of strings, bluesy guitars and stomping drums for one of the record’s biggest highlights.

This is a phenomenal record from start to finish and if you haven’t heard of Soda Blonde before, now is the time to get yourself acquainted.

Best tracks: My First Name, Boys, Going Out

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26. When Will We Land? By Barry Can’t Swim

If you’ve listened to the October episode of the 5-9 Album of the Month podcast, you know this debut from rising electronic superstar Barry Can’t Swim was one of my standout records in what was a month full of incredible new music. Taking elements from all my favourite electronic releases of recent years, Barry crafts a vibrant collage that binds together cohesively for an essential and astonishing listening experience. Describing this album better than I ever could, here is what friend of the blog Kiley Larsen had to say in his review for Check This Out:

“When Will We Land? is everything you want from an electronic album and more. It may pull from all of Barry Can’t Swim’s influences and serve them in eleven distinct ways, but Mannie’s vision is clear and never wanders from the bigger picture. While the record should be taken in as a whole when possible, each song is so distinct and fully executed that each is tailor-made for playlists (or mixtapes, if you’re keeping them alive). ….When Will We Land? finds Barry Can’t Swim doing what he’s done best over the past few years by harnessing the energy of that big night out while colouring it with organic instrumentation and a much-needed reminder of the universality of the human experience. For music writers, the year is full of anticipated albums. Sometimes, they match the internal hype, while often, they fall short. When Will We Land? was unquestionably at the top of my list, defying expectations and more. Barry Can’t Swim proved a true talent with his EPs, but this debut album is a colossal next step. Even if you’re not typically into electronic music, this is still worth diving into, as there are few albums this year that successfully convey a complete vision with what should be universal appeal.”

Best tracks: Sunsleeper, Woman, I Won’t Let You Down

Read Kiley’s full review on Check This Out here

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25. Did You Know That There’s A Tunnel Under Ocean Blvd by Lana Del Rey

A woman who needs no introduction at this point, one of the most hotly anticipated releases of the year was Lana Del Rey’s eighth studio album released back in March – Did you know that there’s a tunnel under Ocean Blvd (which we can all agree is a peak Lana type of album title).

Having delivered her undisputed magnum opus Norman Fucking Rockwell (NFR) back in 2019, Miss Lizzy Grant has not rested on her laurels since, quickly following up with two more albums in 2021 – Chemtrails Over The Country Club and Blue Banisters. Whilst both records had their moments, the former more so, neither quite came close enough to the theatre, majesty and sheer perfection of NFR. However now back with her fourth album in as many years, Lana once again hit some career best highs.

Opener The Grants welcomes the listener with some gorgeous gospel vocal harmonies, before Lana herself takes over with her inimitable vocals, exquisitely sharing memories of her family. The title track is then even better and already one of my favourite Lana tracks, with its stirring strings, anguished vocals and heartbreaking lyrics of self-loathing (“Open me up, tell me you like me, Fuck me to death, love me until I love myself”). As Lana is joined by a choir for the swelling “Don’t Forget Me” refrain in the song’s outro, you’d have to be cold hearted to not be greatly moved.

An album that is definitely in the top half of her discography, and the first half of this record in particular is as good as anything she has ever done. I also admire the work ethic and frequency at which Lana is delivering new music and I’m not going to complain too much about having a mountain of music from her over the last few years. The fact she’s been so productive and still served up some of the very best work of her career, really it can only be admired.

Best tracks: Did You Know That There’s A Tunnel Under Ocean Blvd, A&W, The Grants

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24. Javelin by Sufjan Stevens

Another of the year’s biggest releases came in early October - the tenth studio album from highly acclaimed singer-songwriter, Sufjan Stevens. In the days following its release, Sufjan dedicated Javelin to his “beloved partner and best friend Evans Richardson” who sadly died in April of this year. With that added context, it made an album that already felt emotionally shattering hit that much harder.

From the moment the cymbals crash and the synths reverberate around Sufjan’s cries of “You know I love you” on opener Goodbye Evergreen, you know you are in for something quite special yet also heartbreaking. Over the next run of tracks Sufjan continues to astound with his unceremonious yet majestic songcraft, as the uplifting instrumentation twinkles around Sufjan’s devastating penmanship on tracks like A Running Start, Genuflecting Ghost and Will Anybody Ever Love Me?

However as great as the first half is, it is the back stretch that left my jaw firmly on the floor. My Red Little Fox is a heartfelt, flute-laden hymnal whilst lead single So You Are Tired is a brutally beautiful, piano-led, string-drenched lament. Shit Talk is then without a doubt one of the songs of the year, a near 9-minute masterpiece centred around a strikingly simple assembly of raw acoustic instrumentation, resonant human emotions, gorgeous choral harmonies and refrains of “I will always love you…I don’t wanna fight at all.” Utterly breathtaking in every single way.

Best tracks: Shit Talk, So You Are Tired, Will Anybody Ever Love Me?

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23. Struggler by Genesis Owusu

When it comes to an album, two things I tend to look for more than any other - an eclectic mix of sounds and a strong thematic concept to hold it all together. Very few artists achieve both elements these days, but when you do find an album like that, it’s like finding the musical equivalent of the holy grail. Enter Struggler from Ghanian-Australian artist Genesis Owusu, which made history back in August by becoming the first album to gain the coveted maximum 15 points on the 5-9 Album of the Month podcast.

Struggler is an album that takes you on a journey, both through the lyrics and sonically too. At the heart of it, you’ve got a narrative arc that tells the story of “The Roach vs The Old Man”, a conflict which acts as a metaphor for humanity vs uncontrollable higher powers, both natural and political. Then musically, this record has a little bit of everything - punk rock, hip-hop, funk, soul, all wonderfully blended together to forge a vibrant mesh of sounds.

In terms of favourite tracks, Leaving The Light and The Roach are both propelled by these great synth lines that bounce off thrashes of guitars. Tied Up is then possibly one of the catchiest songs of the year, a track which sucks you into its groove and refuses to let you leave. Stuck To The Fan closes the record perfectly too, offering a really sombre, bluesy send off.

More carefully curated and refined than his debut outing, Genesis Owusu proved himself to be a very special talent to me in 2023, delivering a record that works as a collective whole but doesn’t stay in a single lane either.

Best tracks: The Roach, Tied Up, Stuck To The Fan

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22. ROACH by Miya Folick

It seems there was something with Roaches in 2023 as we had another incredible album artistically indebted to those pesky insects. This year, American singer-songwriter Miya Folick made the difficult second album look easy with this hugely impressive record, titled ROACH.

Essentially an extension of her previously released 2007 EP, ROACH further builds out the narrative with a deeper dive into her relationship with God, her mother and her own self-esteem. Featuring some of the best songs of her young career, highlights include the hedonistic indie-pop of Bad Thing, brutal break-up anthem Get Out of My House and the tussle with adulthood on the falsetto-kissed 2007.

That said, make sure you stick around for the second half of the album as that’s where Miya Folick’s exceptional songwriting really starts to shine for me. Tetherball is a real stop-you-in-your-tracks moment, with some wonderful ambient electronics backing Folick’s soft vocals to create a gorgeous sound reminiscent of Natasha Khan of Bats For Lashes. These synths then shift into the uplifting pop of So Clear, before Shortstop offers an utterly stunning piano-led finale that you’ll just want to hear again and again.

A fantastic second album that has been on repeat ever since it dropped in the first half of the year.

Best tracks: Tetherball, Shortstop, Get Out Of My House

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21. PRAYERS & PARANOIA by SIPHO

Just missing out on the Top 20 then, we arrive at an outstanding debut album that I may have missed altogether if it wasn’t for friend of the blog, Andrew Belt. The 5-9 Album of the Month podcast has been my musical highlight of 2023, introducing me to a ton of great new music this year. So I just want to take a moment to give kudos to both Andrew and Kiley for steering me in the right direction over the last 12 months with their fantastic taste in music – cheers lads!

Now Birmingham-based R&B star SIPHO was Andrew’s pick for the podcast back in October and it turned out to be a mightily ambitious first outing that stormed to victory in our most tightly contested Album of the Month battle yet.

With each track anchored by his incredibly powerful vocals, SIPHO remains the star of the show amdist a gorgeous sonic world built on funk, soul, R&B and even a bit of rock on tracks like GLUE. Much like the Genesis record, it is an album that takes an eclectic listening experience and majestically morphs it into a cohesive single piece of work. Listening front-to-back, every song segues seamlessly into the next one, with the track list so intricately stitched together its quite astounding. For SIPHO to craft a record as accomplished as this at the first time of asking is even more remarkable.

The songs have a timelessness quality too, Elevation pulls you in straight away whilst Chemicals boasts spacey synths, bluesy guitars and SIPHO’s incredible falsetto. However it’s all about the final stretch of songs starting with Run For Your Life, which sees just SIPHO and Shae Universe’s voices take centre stage over a minimal piano backing for a track that is just hauntingly beautiful and goosebump-inducing.

An album that I went in to with no real expectations, there was few records that managed to blow me away in 2023 quite like Prayers & Paranoia.

Best tracks: Run For Your Life, Glue, Prayers

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This weekend, we enter the final Top 20 of the countdown!

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