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 Jan 10 2021, 08:43 AM
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#37
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 I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929                
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Music
Mori Calliope - Dead Beats EP + Cursed Night It's not wrong to think about it, but I'll stop for tonight 'Cause we're immortalized forever in the songs that we write, ya' know? Mori Calliope, "Live Again" There are four songs on the Dead Beats EP, named after Calli's fanname, and they're all very easily repeatable bits of pop-rap. On release, Dead Beats was briefly #1 on iTunes WW, I spied her later release "Cursed Night" making its way into the top 100 in the US, and when she releases new music this year, I'm going to be watching eagerly to see where it shows up now she is starting from a fanbase - that these songs went so far when she'd just debuted was impressive enough! From featuring rather silly skits, at the end of them, to the more reflective ones sounding like an Eminem or The Streets ballad, they are great pieces of rap being done by a clearly very talented (and unfortunately rare) female rapper. I really don't think there are enough rappers like her, particularly given her interests, unlike most rappers, her... weebiness shines through as you get lines in Japanese running into English lines and yet still managing to rhyme like an expert. As they're being done in character, they do tend to make reference to her Grim Reaper persona as an anime e-girl and someone not knowing who she is might find that strange, but what good rap doesn't involve the personality of the performer? Excuse My Rudeness, But Could You Please RIP? I'm not asking for much: do me a favour and die Gomen shitsureishimasuga, shinde kudasai (lit: sorry it's rude, but please be dead) One of the first big things Calli did was host a remix contest for her signature song, which is also the song she plays at the start of most of her streams. Lots of people entered, as in, lots and the winner was Nhato (yes, that is a name I hope you recognise!), who got his rather fantastic remix used as the intro music for the next month of streaming. Since then she's been playing other remixes of it at the start, I really like the Eurobeat remix and I've seen a lot of people go creative in adding their fan touch to this song. It's obviously meant as an intro to Calli and well, it's a great intro to her character in one way and in other ways it isn't. She moved past this 'edgy killer' thing pretty early on and while bellowing out 'murder is so f**king kawaii' is the ultimate in cognitive dissonance, helpfully labelled by another line as 'fake-murder-shit' to stop you feeling bad, that's not really why I love this. Why I love it is that it is an ultimate fire of a track, breathing it in fact, in how well it manages to meld two languages together and make both of them sound absolutely breathless as she switches from one to the other. It makes sure to reference the starting aspects of Calli's character, that she's hard-working, takes no shit (lol, that lasted long), does a bit of rap posturing but mixes it up with quite a bit of self-deprecation that I've come to know her more often for. There's references to Kiara (Kusotori), references to Calli's overthinking nature, in that she puts down words that sound good into the rap, does it off the cuff but knows why they're there. The liberal sprinkling of basic Japanese words throughout works wonders, melding DIE with 'Daisuki' (love), using 'F**king Seiso' (Seiso being the state of pureness that idols are supposed to exist in), other words I barely notice at this point like 'shinigami' and 'kawaii', finishing the bridge off with that wonderful 'kudasai', the timely 'chotto henda' (that's a little weird) in the second verse. Actually, you know, I think I love every lyric in the verses. It's a perfect construction. The whole attitude and package of this song is one that demands repeat listens and while it does go a little basic in the 'hit it with the bass', there's enough pure hype, attitude and clever wordplay oozing out of this that I've never grown tired of it even when I hear it at the start of most Calliope streams I watch. Probably my second favourite song of 2020. or idk let's split this up and do the rest of the songs later because I'm still thinking of stuff to write for this help |
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Jan 11 2021, 10:51 AM
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#38
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Mori Calliope - Dead Beats (song) I'll f*** 'em up, Gucci If you could say Calli's music has a sound, because it doesn't, each track sounds very different, it's a lot more consistently like 'Dead Beats' than it is like 'Excuse My Rudeness'. As in, it's not so much hyper-weeb nonsense with heavy synths (not that there's anything wrong with that!) but more like hip-hop with a great beat/soundscape and only if you're listening carefully to the lyrics will you pick up her theme. I sort of expect her stuff to be more like this in the future and I'm very here for it, while I love 'Excuse My Rudeness', I think this style has a lot more longevity especially when it comes to repeat listens and for future artistic exploration. The point of Dead Beats is to set a model for the connection Mori has with her fans, 'a blood price to be paid but I promise it's worth it' (sign over all your free time bitches), 'we'll be best friends that's the end of it' (no wifing) 'dead beats cheer for me and cheer loud' (self-explanatory), 'to die by the scythe, that's the highest honour' (she wants to reap us and take our souls to the underworld). Pretty casual fan-artist stuff. The thing is it also ended up showing me a lot of her character in the way that made me certain I'd like it. The hook line of 'I'll f*** 'em up, Gucci' is the sort of hook that's said by rappers but the way that Calli does it is, while sounds strong, definitely comes across more of the 'saying this to be swag even though I'm not' kind of way, and I do want to see that kind of rap. She gets a bit of humour in as well with a take that on autotune 'two clicks beep boop, sounds like music' - not that she's above using autotune herself of course. I mean, as the song ends with, everybody likes self, depreciating, rap *she stops as she realises how lame a line of it is*. It's all very self-aware despite how hard she manages to go throughout the rest of the song. And it really is another fantastic breathless rap, great flow, using curse words 'because I am an amateur', though it absolutely works here. The ending bit is... something you have to get used to but given the rest of the song is so good you will definitely get used to it, and it's also not worth spoiling because you have to experience that one first hand for yourself. Mori Calliope - Reaper か Rapper? So for any people buying, f*** it, welcome to Hell I guess The one dud track on Dead Beats, though it's still enjoyable in its own way, it's just that 'Excuse My Rudeness' does everything it's trying to do far better, and it spends far too long being an introduction to Calli's character, though given it's billed as an introduction rap that's understandable. It gets slightly better in the second half after she skits pretending her manager wants her to keep going with a very scuffed rap, but it never really comes alive besides two lines, the highlighted one above which is delivered a bit better than the rest of the song and the final stanza where she says a Japanese phrase and then begins explaining that although it means "it can't be helped", if you pronounce it wrong, as she just did, it actually means, "there is no salt". "There is no salt" has become an occasionally referenced line out of that and okay that's about all this song is good for, moving on... see I can criticise her, it's just a bit too much self depreciation Mori Calliope - Live Again It's not the end of your Mori, 'cause every closed door is just the intro of a brand new story The nostalgia track and closing track of the EP, Live Again is probably the best pop record on here and it hits hard. Calli uses it often as the outro track for her streams to say goodbye, and I think there is a very high possibility it will make me cry very hard in the future. Most especially at some point, I hope a long way into the future, when she stops vtubing, but also at any intermediary temporary goodbyes she does. I think you might have to like her to really appreciate it in full, but a lot of these lyrics are really applicable to anyone who's ever considered human mortality and the pain of our existence one day finally ending, with the limited chances at human contact we have in the interim. So perhaps there is a wider reach there. Most of the character references in this one are consigned to Japanese lyrics chosen for their rhyming prowess so it could definitely find some audience who is looking for a track about things coming to an end, whether that end is temporary or permanent. 'the pain that's coming on once my old soul's finally gone, it's not wrong to think about it but I'll stop for tonight because we're immortalised forever in the songs that we write' is something that I bet any musical artist has considered at some point, that their songs give them a shot at immortality, if you only truly die when the last person alive forgets who you were, then musicians are creating their mark on the world by making songs that are being passed down - and through this EP, Calli has pretty much immortalised herself, her artistry will live on, even if it's behind a pseudonym. As with any good track that tackles this sort of thing, it also has a number of lighter notes about the strength of making life last in the moment, that and 'mortality's what makes life sweeter to taste', that time together is refreshing, that things are made better when people share memories together - whether that's from her perspective of sharing fun moments over livestreaming, or her friendship/coupling with Kiara, or in a more general sense between friends. She even gets her introvert status in by talking about (in a verse mostly in Japanese) how human rituals like 'bye, see you later' make her die inside before she goes on to sound very earnest with delivering Japanese pleasantries. Throughout this, while the lyrics are very sad, it sounds so happy, as if to say that many ends are not the end, and this one is also not the end, that there will very likely be another day and finding the happiness within it all will follow through if you are surrounded by the right people. I love it so much <3 It's the sort of good flowing emotional trigger rap ballad that basically any rapper should have in their discography as a weepy moment and Calli finding it early is why I'm so excited for more of her work, particularly as her first followup track to the Dead Beats EP also laid heavy on the feelings... Mori Calliope - Cursed Night welcome to my constant state of mind, like could you knock first? I keep comparing Cursed Night to The Streets, not because of the rapping voice of course, but because the backing and feel to Cursed Night brings to mind the same sort of 'city night' that so many Streets tracks give off, as does the spoken word stuff that Calli does throughout, again showing off her versatility, while this is again an emotional rap ballad, it's definitely not a repeat of 'Live Again'. Released as a special Halloween track, because the reaper Vtuber couldn't not release a song for Halloween, it's the one that inspired that Youtube comment that Calli wrote and I screenshotted in her main post. Because, as you might guess from the title, it's not a happy song, though it's certainly great to listen to, talking about how the days are blending together, how she's mentally being overwhelmed, it's a song about someone trapped in a state of mental anguish and given we've just come out of 2020, that might hit quite close to home for some. It certainly seems like it was written as an ode to when she couldn't think of writing and turned to some rather dark place, she can't open up to others and is just isolated in her sorrow. The character part is that the reaper, lonely from taking souls and never being able to experience what it's like for them is both excellent lore and yet also feels very real. In fact, so real that I am thankful she posted that comment that she is incredibly happy now, and this was a vent, which I can absolutely believe. "Shut the lid tight, it's complicated, could you not look inside, it's complicated" is far too real a lyric, among many, to not have some basis in reality. It definitely seems to be based, at least in a general sense, night or nights that happened to the real Calli, lyrics like 'Drunk, lost CalliP, wandering Rengoku-shi' (purgatory, but the way it's delivered, you could imagine a district name in its place), a 'sunk cost fallacy' is her giving into alcohol - part of her character is her drinking red wine on streams, but she herself admitted she made too much of that out of nervousness and now only occasionally drinks it on stream, advocating for water (by which her fans are only too happy to oblige). And then there's the final element in this story for this song, the fact that kindness is offered to her and she has trouble accepting it 'why is it that your kindness is making my chest unbearably tight?'. Generally, in the Vtuber community, the fans are very aware that while what they see is an anime girl, behind it is a real person working hard to entertain them and they're normally very nice about it - to the point where they end up donating a lot of money through superchats without being prompted, in fact sometimes if the Vtuber is protesting against it, the more likely fans are to send money. Early on, there were a couple of times where multiple people would donate huge, eye-watering amounts to Calli because of how relatable she was, which, as someone not yet used to receiving such fan love, she was very overwhelmed by. That definitely confirmed to me the genuine nature of her character, even now when she's more used to it, she never encourages anything like that, she tells people to stop donating if it gets too much, tells them to stop 'buying tickets' to her free karaoke concerts (which normally just results in them sending more money) - while she at the start tried to read every message from every fan she soon found that impossible, she still now tries to read the ones not accompanied by money in quieter moments on longer streams. 'Cursed Night' tells of not knowing how to deal with that love when at time of writing, I don't think she felt like she deserved it. Every time I listen to it I am reminded of all the insecurities she tried to alleviate by throwing them into this song - it sounds like that it helped her, it also helped me a little. |
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Jan 13 2021, 01:53 PM
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#39
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Anime
Science Fell In Love So I Tried To Prove It (aka. Rikekoi, after a shortening of its similarly long Japanese title) (sketch between two of the side characters to show off the comedy) A big show for me early in 2020, Rikekoi is a rather funny comedy show that trades off one joke and one joke alone - that smart people are not good at talking about love or sex. On that idea alone, it rests its case, and it's brilliant. Most shows that tackle this do so while falling into the trap of laughing at the pathetic nerds, as unlikeable or pathetic losers who may be working top jobs in science, but don't know the warmth of human interaction and when comedy is mean-spirited these days, I turn right off (I think you all know which show is springing to mind so I'll save having to mention such awfulness in this paragraph). Rikekoi avoids this by setting the centre of the action in a university science lab. Every character on screen is at least an advanced masters student. No one is outside of the bubble of academia, everyone is at least a little bit awkward socially, and most of the humour is derived from eccentric characters showing off their booksmart knowledge in one area while acting completely oblivious in another area. The set-up is a lot like Kaguya-sama, as both of the main two characters are clearly in love with each other from the start, but because of the pride of the pair, they won't start the relationship, so it got a lot of comparisons to that, and honestly, Kaguya is still the master of this sort of misdirection love battle comedy. However, the reason that neither of the main two, Ayame and Shinya, here want to admit their infatuation is that they don't believe in emotional reactions and the reaction to a declaration of love is met with the panty-dropping line 'yes, but how can you PROVE you are in love with me?' Somehow, don't ask how, these... PhD students... manage to convince their supervisor to conduct a scientific experiment to determine WHAT IS LOVE to discover if they are in fact in love. It definitely relies a lot on jokes with a very similar setup, but I love the idea of clueless nerds quantifying romance through science and they really get some good material to that end (e.g. pairing up kissing, pairing them up with other characters to check heart rate reactions) throughout the show with a good range of side characters to play off. Out of which the best is most definitely the silk-tights-and-gloves wearing lethargic gamer chick Ibarada (also a PhD student, IIRC) who has great chemistry with everyone else because of how well she's able to make them all squirm. It's great watching nerds being nerds. The setting in a university with postgrad students is also a real rarity in anime and seeing a bunch of different character archetypes, and advanced academic discussions, because of the advanced nature of the literature does make this one stand out. Weaknesses were its ability to really evolve as a show when it came to its later parts, it didn't feel like there was much beyond its comfort zone, there's a character introduced later who is pretty much entirely the author self-inserting to be an author to write about their scientific findings, which is a level of self-insert even I wouldn't do in my writings, it also just doesn't fit here. And there's also this side-panel thing directed by the show's mascot where it, a bear, will explain scientific concepts used in the show to viewers who might not know them (e.g. travelling salesman or even something as basic as the scientific method to help ensure no one gets left behind), however in half of these the bear gets tired of explaining a few sentences in and tells you to go Google it, which, well, I respect the power move but it kind of defeats the point of helping people learn by watching anime which was something else it was kind of billed as. this opening theme does have some fist-pumping chords so it's notable for that |
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Jan 17 2021, 05:59 AM
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#40
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Alestorm - Curse Of The Crystal Coconut (particularly Treasure Chest Party Quest, Fannybaws & Zombies Ate My Pirate Ship) I enjoy Alestorm a lot and have done for years, though I started listening to them a bit more in-depth this year, not particularly because I was in a pirate metal mood but they are definitely your go-to if you want Scottish shouty sea shanties and you know, some times that IS the mood one is in when you can't actually reach the sea from where you're stuck at. Obviously BJSC people will know that I sent their most... anthemic... track 'f***ed With An Anchor' because that's addictive, though that isn't actually from their 2020 album Curse Of The Crystal Coconut, it's from their 2017 album No Grave But The Sea (and because it's a crime to let an Alestorm post go by without mentioning it, their INCREDIBLE cover of Taio Cruz' 'Hangover' is from their 2014 album Sunset On The Golden Age, they have good album titles x). Anyway, the quick way of describing Curse Of The Crystal Coconut is 'more pirate metal nonsense' as it is for nearly all of their albums, and most artists I'd berate for not evolving, but then most artists don't start from the incredible niche that Alestorm have carved out for themselves. And there is innovation here, at least some things on Alestorm songs I haven't heard before. I won't go into every song on the album but it's all good, starting with "Treasure Chest Party Quest", which is classical Alestorm, the main exception to that being an inclusion of the lyric 'get lit, talk shit', which seems a bit zoomer for them, but a bragging song about how they're only on a journey to have drunken fun is the sort of thing that's cringey when it's a newly minted pop or rap artist but is expected when you're a pirate, plus there's some nice strings in the middle 8 amidst that glorious shouting. Then there's 'Fannybaws', which seems to talk of a bekilted Scottish pirate if the rather racy (assuming you like ginger Scottish men) single cover is any indication, I almost entered this one to BJSC instead, to make all the Scottish members feel even more seen but I thought the anchor song would be more accessible in the end, and I was probably right. "Fannybaws, he's the scourge of the seas... plundering, pillaging, spreading disease' is... fun and the song itself really goes off, I can't imagine what it'd feel like if I were actually Scottish though. My favourite however is the more, ballady, if that's a word that Alestorm can have in their discography, "Zombies Ate My Pirate Ship". What with undead and pirates often going together in popular culture this is far from unexpected, when Alestorm album covers have a person on them it's always a skeleton after all, though it's the first time I can recall them alluding to the actual existence of zombies. It's quite obvious what it's about, but to give you more of an idea, the main line is "those zombies ate my pirate ship, they are a bunch of undead pricks". The most interesting thing though and why it's my favourite is that after the usual Alestorm antics w/anti-necroism and a comparatively slow build for them , a surprise female vocalist appears to sing the second chorus instead of the main Alestorm vocalist, Patty Gurdy, a hurdy-gurdy singer who's done work with other folk metal bands including Faun. She absolutely nails it and this sudden sound switch really helps the rising tension of the song before they bring it to an almighty finish. Alestorm are usually at least a bit scattershot with creating musically... sound songs, normally going for fun instead of rigorous composition and fun is what I usually listen to them for, but when they want to go for something more serious, they absolutely can do that, and "Zombies Ate My Pirate Ship" is, while built around a comedic situation, one of their best examples of that in their entire career. |
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Jan 17 2021, 06:28 AM
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#41
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Sewerslvt - Pretty Cvnt, Mr Kill Myself and Kawaii Razor Blades When I go deep enough into the underground noise scene, sometimes it really does feel like you're in a sewer, but occasionally you can strike gold down there. Though she often makes depressive music, Jvnko, the producer behind Sewerslvt, is really good at making really creative feelings emerge from her music that only uses vocals when it's sampled. Breakcore, basically. Though there was enough anime imagery for me to be drawn in, all the feelings that she managed to conjure up, made me love all this, i don't even think that she's trying so hard to be edgy, because these do not really feel 'edgy' as such, more of a release of negative feelings, and as I've often said in the past, that's something I can recognise and respect. "Pretty Cvnt", though the oldest of these songs, is the one that I played the most in 2020, its sampling of an old anime ending theme is really uplifting, and brings to mind the best of this sort of downtempo dance, the sampled vocals struggling to rise above the noise as the song goes on, love it. "Mr Kill Myself" is a lot more grindy, and a bit longer, but a little clear in its distortion, while "Kawaii Razor Blades" is more along the nanobii style of candy-ish electronic music, with only the minimal bit of distortion to create a bright summery track. Sewerslvt has released a lot of stuff in the last 12 months, after getting a dispute with Spotify sorted more tracks seem to be coming out very quickly, and they show a bit of growth and change from someone young who seems to be growing with their music, already the titles at least seem more self aware and less sad. I need time to get acquainted with her other songs, but she's a very talented producer in the vein of goreshit that I'll be following for a bit more now. |
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Jan 17 2021, 07:24 AM
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#42
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 (✿◠‿◠)
Pronouns: new york
Joined: 26 September 2013 Posts: 5,353 User: 19,852 
     
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love love love this list so far - sewerslvt is a fav. vtubers are a genre I’m familiar with but I haven’t watched any aside from hololive so the analysis is really interesting~
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Jan 17 2021, 08:07 AM
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#43
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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QUOTE(Math! @ Jan 17 2021, 07:24 AM)  love love love this list so far - sewerslvt is a fav. vtubers are a genre I’m familiar with but I haven’t watched any aside from hololive so the analysis is really interesting~ <3 I was very happy that some people seemed to recognise the name when I entered her to BJSC, something about that sound and her aesthetic keeps bringing me back I've watched a few independents that I've seen good stuff from, but mostly I've just watched Hololive too, I just like getting real deep in that particular fanbase, you find some amazing memes that way that make sense when you know all the Hololivers/Holostars and staying in one of their streams for a while is always a great mood enhancer, no matter what they're doing. |
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Jan 17 2021, 05:37 PM
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#44
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 The owls are not what they seem
Pronouns: He/him
Joined: 11 July 2009 Posts: 37,096 User: 9,232
      
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Really loved Pretty Cvnt, it's such an intense experience and has a slight witch house vibe to it, really quite a heartbreaking DNQ, If all their stuff is like that, then I'd love if you could send another one of their songs to get justice x
I'm halfway through the Queen's Gambit (so Alma's just died :'(), I'm not clued up on chess and even now, I find it awfully confusing and I don't normally like period dramas either, but I'm really enjoying the show, the look and feel of it just looks so authentic, I really liked Anya Taylor Joy's performance in The Witch, but she is on fire here, and I like that it's as much a battle with herself as much as the times. There's no comically evil characters or antagonists, it feels refreshingly realistic. |
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Jan 19 2021, 10:22 AM
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#45
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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QUOTE(Chez Wombat @ Jan 17 2021, 05:37 PM) Really loved Pretty Cvnt, it's such an intense experience and has a slight witch house vibe to it, really quite a heartbreaking DNQ, If all their stuff is like that, then I'd love if you could send another one of their songs to get justice x I'm halfway through the Queen's Gambit (so Alma's just died :'(), I'm not clued up on chess and even now, I find it awfully confusing and I don't normally like period dramas either, but I'm really enjoying the show, the look and feel of it just looks so authentic, I really liked Anya Taylor Joy's performance in The Witch, but she is on fire here, and I like that it's as much a battle with herself as much as the times. There's no comically evil characters or antagonists, it feels refreshingly realistic. Actually I had been considering whether to give another sewerslvt track a go, maybe in a few months if I can select the right one, there's one on her new album which would be really nice but we'll see. That's really good with The Queen's Gambit, I like that it's set up that people who don't know chess can appreciate it, and even maybe begin to understand some of the terms used and why it gets so intense for those playing it, and it being set so well in the 60s is a really nice touch. (think I'm gonna finish my music posts first then focus on the anime) MUSIC & FILM Actually I recall there was one film I watched this year that I wanted to write about. Well, that's not true, I think my favourite film that I watched in 2020 was undoubtedly Parasite back at the start when it won its Oscar but this is why I don't really write about films, I have nothing really extra to say that wasn't already gushed over by many at the time and idk, I'm spinning a lot of plates here. However, Hamilton has the advantage of having a lot of good songs attached to it which is the main purpose of this post. A lot of good songs that I only really got introduced to by watching the film version. I like musicals for similar reasons that I like anime OPs, and songs attached to films and TV series, because there's something extra there, and Hamilton in particular covers a very interesting event in history, the war of Independence and the first days of the USA, which is a very interesting and admirable event even as a Brit. And throughout this musical, there's a lot of very good and listenable songs. And a very good retelling of Hamilton's career and filling in some of the gaps I missed not being educated in America and learning about all the Founding Fathers. I have to throw some appreciation to the quick-witted '12 Duel Commandments', the barbed anti-centrist 'Aaron Burr, Sir', the anthemic opener of 'Alexander Hamilton', but my favourite is the audacious 'You'll Be Back', sung by George III (Jonathan Groff), giving an anthem lamenting the lost colony of America, filled with the sort of lyrical satire against imperial colonies that I will eat up whenever it's presented. It also sounds pretty banging with a sing-along chorus that follows a line about 'sending a fully armed battalion/kill your friends and family to remind you of my love'. Hard to forget a song with lyrics like those. |
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Jan 19 2021, 11:11 AM
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#46
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Temperance - Viridian (My Demons Can't Sleep) One of my favourite bands of the last few years has been Temperance, an Italian symphonic metal band that seem to be carrying on the traditions of bands that are beginning to age, like Within Temptation and Nightwish. Having some new blood to mix up the genre is very welcome, and so I got rather into their 2020 album, Viridian, which, even more so than their great album from a couple of years ago, Of Jupiter And Moons (which had The Last Hope In A World Of Hopes on it), provided a lot of operatic highlights. They also make full use of their multiple vocalists to create a great male-female harmonising routine that's lovely to listen to. First off, it's referring to a beautiful colour, Viridian's title track, a real highlight on a great album is an ode to that beautiful shade of blue-green replacing a world, a world that's ravaged by the Temperance of 'I Am The Fire' and 'My Demons Can't Sleep', two other highlights. Both really do well in the hands of the band's vocalists, but 'My Demons Can't Sleep' adds a sense of urgency by the vocalists melodically finding their way through a heavy guitar track. This is how you stop symphonic metal from becoming boring, both singers sound like they're fighting for control of the mic in a track that never lets up. It's not the only track they do that on, 'Start Another Round' also goes for it with a clear hook line, and you get more cold northern evocations with 'Nanook' later on the album. Honestly, all of this sounds pretty similar, a bit like a lighter Amaranthe, but it all sounds great. If you like duets with male and female rock singers and like the idea of them constantly one-upping each other to deliver lines that feel like biting against a wild natural world, then this is excellent. |
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Jan 20 2021, 03:27 PM
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#47
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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MUSIC
Katie Dey - MyData (Darkness) Laura Bousfield - Palimpsest (Clean Strategic Narratives With Relatable Messaging Murder Them Violently Make Their Children Watch) I'm including this pair of albums and phenomenal main songs I love off of the albums in the same post because I got them from the same source - some of the anime folk I follow on Twitter also happen to be excellent music geeks, and so I take notice whenever they post about some alternative album that I think looks weird enough for me to be listening to. This is how I discover music these days. Otherwise, while both of these are electronica, they're quite different. Katie Dey is an internet artist apparently located in Australia. I say internet because the entire album of MyData is about being lost in the technology and how feelings through technology are hard to express and master. And also because she seems about as online as I am. That's enough to make me a fan. But she does really well on this album by stretching her voice through distortion to give off this somewhat unsettling feeling of pop songs sounding distorted. It sells the idea of a disassociated presence reaching out to you, and it also manages to give me nostalgia for the pop I liked back in 2011, as it sounds like twisted machine-messed up versions of the bedroom pop I got into as a teen. There's a lot of rawness that makes it all feel real. Highlights are of course the fist-pumping 'Darkness' and the torturous 'Happiness', but every song on here twists pop in a new direction and it's well worth a listen, even if someone looking for perfect vocals won't find it all pleasant (and that's part of the appeal, I can majorly connect with her on this record). As for Palimpsest, this also takes the idea of making music uncomfortable to listen to and in doing so making it brilliant and memorable to listen to, though that's through excessive beat and track manipulation this time, as stabby noises permeate the entirety of Palimpsest to the point where you have to lean back in amazement wondering just what will show up next until you notice the thing common to the track, the underlying power of the vocal line slowly coming out from behind the sound effects to take over the track. It does this best on the track with the longest title here 'Clean Strategic Narratives...' but it also does it on say, 'If We Save One Child It Will All Be Worth It', or on the brilliantly titled 'Crawling Into A Fireplace Cackling'. It's a short listen at just 31 minutes with 13 tracks, so if you feel like your music should be attacking and capturing you, then this is absolutely worth a full listen. |
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Jan 21 2021, 11:52 AM
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#48
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Power metal and Avantasia I love power metal and I don't apologise for it, for the most part it just manifests as really earnest European rock that is heavy on the melody, heavy on the guitars and creates a bunch of memorable songs with good lyrics, even if they're often nonsense about fantasy lands. It might not have much subtlety, but it's a very fun genre and everyone involved tends to look like they're having the time of their lives, just look at the people in Gloryhammer's "Hootsforce" for example. Beast In Black, Twilight Force, Dragonforce, these are bands I'm very happy to have in my life. I turn to Avantasia, a power-symphonic metal operatic rock project thing, specifically because in my period of lockdown at the start of the year, I picked out Avantasia from among the rest to go through their back catalogue and familiarise myself with it, because Tobias Sammet's particular brand of making it a rock opera project he turns to whenever he feels he hasn't been flamboyantly pompous enough elsewhere makes it really appeal as a band with a consistent narrative, and concept albums, lots of concept albums, always my favourite type. Particularly falling in love with their most played song, "Farewell", from their 2001 album was a good experience, it's a great and ridiculous way to say goodbye or sayonara or whatever. Avantasia covers of popular songs are also always a highlight, "Lay All Your Love On Me" being of particular note. Avantasia's most recent album was the lunar Moonglow, as usual about some sort of fairytale fantasy, including a cover of "Maniac", but most about fey and lunar folklore. The best is the title track, a rock ballad duet between Sammet and singer Candice Night, with a beautiful set of dramatic backdrops against lyrics a magical moon that carries you with its light all the way to the other side, with great spoken interjections like the lyric 'in this enchanted magic night' to create a breath before the chorus. Best symphonic metal track I've discovered this year, it's from 2019, but it made up enough of my year by leading the charge of my Avantasia obsession. Nightwish - Human :||: Nature 5 years since the last album by my favourite band. Five long years to discover whether Floor Jansen could build on the brilliant start that she'd made with Endless Forms Most Beautiful. It would have been easy for Human Nature to be underwhelming, and it was a little, as it's the first time in 5 albums that the Nightwish album released in that year (2004, 2007, 2011 and 2015) isn't my favourite album released in that year. In part that was because of so much change in my life that old things went by the wayside a bit. But it was still very good, and showed a lovely progression from the scientific and biophysical concepts present on Endless Forms Most Beautiful to a more anthropological examination of the human condition. Which you might expect from an album with this title. I foresee tough times ahead for Nightwish, as early in 2021, male vocalist Marko Hietala left the band, I've always valued his vocal and guitar skills as central to the band, so he'll be tough to replace. But for now, this was a nice and much desired new entry into the voluminous Nightwish canon.  Nightwish are still very much aligned to the realms of astrophysics and the natural world with their song concepts, harkening back to a more primordial time with many of the evocations they use, but they went a bit more advanced here, the first track "Music" is a soundtrack extravaganza aimed at exploring the very concept of music itself. This follows directly into lead single "Noise", like last album's lead single "Élan" it's not the best they've ever done but is so much of an easy listen that I racked up loads of plays of it without even thinking about it. The best track is "Harvest", which follows their album tradition of providing a folksy song like "The Islander" on Dark Passion Play, or "My Walden" on Endless Forms Most Beautiful, always different but it works every now and again, and really does here. Again, with the Human Nature theme, this is early man in the Agricultural Revolution, though it's also about the meaning of life as a whole, as is the great and charismatic track "Pan" which follows it. The final half of the album is a big Nightwish half hour project "All The Works Of Nature That Adorn The World", but this time split up into separate tracks, as opposed to being one 24 minute song like last time. This is filled with great quotes, e.g. "I love not man the less, but nature more" and stunning string instrumentals to lead you through a long journey that I must admit I've only set out on a couple of times but will surely do more so in the future. The last part is named "Ad Astra" (or "To The Stars") and brings the best of this hopeful, evocative feeling on a long album to a close in an absolutely glorious way, making me feel complete while doing so. Human :||: Nature is very overblown and is probably not going to win Nightwish many new fans (those need to go start with Once or Dark Passion Play), but camp overblown feelings about just WHY we are here and what we can do with our limited time in the sun is why I've stayed on board this train through a long journey from fantasy into reality. There is no band quite like exactly them. |
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Jan 23 2021, 08:34 AM
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#49
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Clipping. I like rap groups, particularly if they seem to treat music as an exploration of their own interests/messages to give out, and in all intents and purposes act like a band that raps rather than sings. There's a direction behind clipping, and that solid artistic direction made me get on board with them fully in 2020, through their late 2019 album There Existed An Addiction To Blood and its 2020 companion peace Visions Of Bodies Being Burned. They have a high range, starting with highly creepy rap on "Nothing Is Safe", which is so unnerving as a track I'm often apprehensive about listening to it, there to violent floorstompers on "Blood Of The Fang" to the attitude of '96 Neve Campbell', to the haunting backdrop of "Enlacing", it's a lot of excellent hip-hop that you won't find a whole package of anywhere else. Particularly the flow done by rapper Daveed Diggs is very addictive, mostly menacingly lethargic but occasionally coming alive in a very frightening and energetic way. Both albums are very dark and pessimistic, downright horrific in the way it describes certain scenes at times, which I guess earns it the label of horrorcore. But that's only because it's clearly got a bone to pick with the societal position of hip-hop. "Blood Of The Fang" is essentially "This Is America" ground up and given an +18 label for violence, still on the ills of American society and their love of violence. But yeah, the idea is to make the listener scared, and I'm happy to say that they've succeeded, going in for a clipping. listening session is not something I take lightly, even though I love all of it. To sum it all up, I guess I will look at the lyrics of, I could pick many, but to keep it short, "Say The Name" off Visions Of Bodies..., which like its counterpart "Blood Of The Fang" on There Is An Addiction, opens up with distorted chanting of the album title. It quickly builds a picture of a tortured place, a mob demanding justice, references to Guernica and Scarface, a woman in an abusive relationship, it opens the album with a description of a devilish, occult ritual of bodies burned and the rest of the album is no less scary. Most clipping. songs describe something happening detached from the speaker, which just serves to make the whole enterprise more unnerving, this is abstract body horror demanding your empathy. Horrorcore rap with excellent background production and topics that occasionally makes reference to modern issues and with a great flow besides, I love this group. |
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Jan 23 2021, 08:51 AM
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#50
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 #38BBE0 otherwise known as 'sky blue'
Joined: 27 October 2008
Posts: 16,168 User: 7,561
 
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QUOTE(Iz 💀 @ Jan 23 2021, 08:34 AM) Music Clipping. I like rap groups, particularly if they seem to treat music as an exploration of their own interests/messages to give out, and in all intents and purposes act like a band that raps rather than sings. There's a direction behind clipping, and that solid artistic direction made me get on board with them fully in 2020, through their late 2019 album There Existed An Addiction To Blood and its 2020 companion peace Visions Of Bodies Being Burned. They have a high range, starting with highly creepy rap on "Nothing Is Safe", which is so unnerving as a track I'm often apprehensive about listening to it, there to violent floorstompers on "Blood Of The Fang" to the attitude of '96 Neve Campbell', to the haunting backdrop of "Enlacing", it's a lot of excellent hip-hop that you won't find a whole package of anywhere else. Particularly the flow done by rapper Daveed Diggs is very addictive, mostly menacingly lethargic but occasionally coming alive in a very frightening and energetic way. Both albums are very dark and pessimistic, downright horrific in the way it describes certain scenes at times, which I guess earns it the label of horrorcore. But that's only because it's clearly got a bone to pick with the societal position of hip-hop. "Blood Of The Fang" is essentially "This Is America" ground up and given an +18 label for violence, still on the ills of American society and their love of violence. But yeah, the idea is to make the listener scared, and I'm happy to say that they've succeeded, going in for a clipping. listening session is not something I take lightly, even though I love all of it. To sum it all up, I guess I will look at the lyrics of, I could pick many, but to keep it short, "Say The Name" off Visions Of Bodies..., which like its counterpart "Blood Of The Fang" on There Is An Addiction, opens up with distorted chanting of the album title. It quickly builds a picture of a tortured place, a mob demanding justice, references to Guernica and Scarface, a woman in an abusive relationship, it opens the album with a description of a devilish, occult ritual of bodies burned and the rest of the album is no less scary. Most clipping. songs describe something happening detached from the speaker, which just serves to make the whole enterprise more unnerving, this is abstract body horror demanding your empathy. Horrorcore rap with excellent background production and topics that occasionally makes reference to modern issues and with a great flow besides, I love this group. Love clipping! My route in was discovering “Nothing Is Safe” at Halloween in 2019 and I haven't looked back since. The concepts/ideas behind There Existed An Addiction To Blood and Visions Of Bodies Being Burned combine two of my favourite things (horror films and music) so I was always going to be on board. Finally: Donald Trump is a white supremacist, full stop. If you vote for him again, you're a white supremacist, full stop. 
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Jan 23 2021, 08:56 AM
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#51
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Demondice - Alkatraz (album) (bonus: Séyetana collaboration) Somehow, though I discovered it in November, "Alkatraz", the song, became my most played song of 2020 just as the turn of the year happened. I think it's fair to say I'm a little obsessed with it and DEMONDICE in general, as there's very few artists like her. She's another rapper, but unlike clipping., her discography is almost entirely fun - though she's certainly a weeb and involved in the Japanese rap scene more than the American rap scene (I can tell because there's occasional Japanese sprinkled throughout her songs and some of her early songs talk about her move to Japan), some of her early work also laments the general bad situation that America is in (particularly her 2018 album and opening tracks American Saikoro). The album that she'd put out when I found her and the one I got most attached to was Alkatraz, where, clearly in honour of the 20s coming back around again, she went down an electro-swing direction and added plenty of sax, swing and jazz influences to this short mini-album. And that really created something unique. Alkatraz as a track is brimming with attitude and charisma, telling a story through its music video of criminals sent to max security Alkatraz, then having to sell their soul to a demon (DEMONDICE herself) in order to escape. I can't stress enough how much I love her flow on this track, fast and with unusual INCREDIBLY verbose rhymes ("hell's unbroken stallions, valiant swing rapscallions", "he who runs a circus tends to be nefariously merciless", the insane "hide your claws obey their ridiculous laws and mimic their dance, be reverential soldiers until we get that chance", the unintentionally cute "I'm gonna make it out alive with or without you, man", I just really feel her personality all through this track, the incredibly boppy electro-swing backing helps elevate it and it's one of my favourite songs I've heard in a long time. Fortunately, she's far from being only as good as one song, even if we're just limiting it to this album, and I shouldn't really. Well worth listening to a short 30 minute album if you want some modern sounds of the 1920s in your life. "Sick Outta Fashion" is a downtempo ballad that digs deeper into her clashes with people's expectations of a musical hip-hop artist and her own beliefs in people being themselves, stop complaining and being a "sad boy", "Raging Ray & Jin" goes further with the swing theme, telling a classic 1920s story about an eccentric couple, rapped very fast by a talented demon rapper, while "You're An Ace, Kid", the closer, is a classic pick-me-up encouraging someone down on their luck to step up and keep going. I would normally suspicious of motivation songs like this, but it's delivered so brightly I can't help but find it inspiring. More than anything, I find this style of pop rap where the focus is on lyrical flow more than anything else, but with everything else sounding bright and peppy so not a bad thing, absolutely addicting to listen to and I'm playing the shit out of all of Demondice's discography right now. She's so good. |
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Jan 23 2021, 08:59 AM
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#52
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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QUOTE(Doctor Blind @ Jan 23 2021, 08:51 AM) Love clipping! My route in was discovering “Nothing Is Safe” at Halloween in 2019 and I haven't looked back since. The concepts/ideas behind There Existed An Addiction To Blood and Visions Of Bodies Being Burned combine two of my favourite things (horror films and music) so I was always going to be on board. Finally: Donald Trump is a white supremacist, full stop. If you vote for him again, you're a white supremacist, full stop. I found "Blood Of The Fang" just over a year ago, that and "Nothing Is Safe" got me hooked for life. Oh yes, I almost referenced "Chapter 319" but forgot to, I often overlook it because it's not on either album but that's probably one of their best contributions to popular culture by going direct out and saying what is more in subtext in the rest of their songs in favour of horror stuff being more front and centre - both of course absolutely based ways to deliver music. |
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Jan 23 2021, 09:34 AM
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#53
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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I'm making this the penultimate music post, as the one after that contains what I've decided is my favourite song of 2020, but for this one, it's time to actually talk about a Buzzjack fave: Music Rina Sawayama - SAWAYAMA I had had Sawayama on my radar for a little bit, particularly because "Alterlife" back in 2017 was so good, though I'd also have a renaissance with it this year to the point I think even better of it now. But I wasn't really prepared for her to put out perhaps the best Western pop album I've heard in a long time. And I think the principal reason for that is Very proud to be a Pixel. I used to not hold with fan names but between Mori Calliope (Dead Beats) and Rina, I think they're growing on me. Sawayama is a fantastic album, and I'd call it my album of 2020, it's everything I want from pop, it really feels like a real record made with care by the artist, put out to say something, that it is her statement to the world about who she is, straddled between two worlds, and using the opportunity of that to forge one's own path and make life your own beast. "Paradisin'", my favourite optimistic track on the album, pretty much says as much. Not that it ignores the issues either, with "XS" being about late stage consumption, making a traditional pop refrain of 'give me just a little bit more' sound sinister, "Commes Des Garçons" being about the rejection of traditional gender roles, or my favourite, "STFU" going absolutely HUGE and hard with a heavy rock backing - this was the first track that signalled to me that something was up with the latest Rina era, and it's awesome, like a lost Grimes song. I think every track on this is great, from the rest, there's the melodic "Bad Friend", "Who's Gonna Save You Now?" has great momentum after the chorus, and I can't not love her crooning out TOKYOOO on "Tokyo Love Hotel", as well as admitting that 'it's just another song about Tokyo'. Ultimately what's different with Sawayama in comparison to other albums like it is the lyrical skills and complex genre influences that Rina used on here, that hold my interest for the opening part of the album to loving the rest of it, to the point where I'd call her a generational talent. It's not starting a new genre, it's just taking the best of British and American music in the last 2 decades and putting all of that into a very personal record that could only have been made by the artist who did it. *on this: Eastern pop is generally quite different and I tend to like it more for reasons of chords and classical influences (which is basically why I'll take anime songs over whatever is in the charts most of the time), this counts as modern Western pop (and so is an exception) because it's in the Western pop tradition of other indie-pop artists, nothing to do with her ethnicity and while that made me take initial notice of her, it's obviously got nothing to do with me loving her now or I'd have been stanning her with "RINA", which, Alterlife aside, was only okay. |
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Jan 23 2021, 10:16 AM
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#54
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I'm a paragon so don't perceive me
Joined: 3 February 2011
Posts: 37,403 User: 12,929
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Music
Sufjan Stevens - America, The Ascension, My Rajneesh Another artist that I really started listening to properly for the first time in a big way in 2020 was Sufjan Stevens. Prior to this, I'd enjoyed Chicago and occasional scattered songs that I'd heard fans of indie-pop recommending me, Christmas Unicorn, Impossible Soul, the like. I'd never really listened to a full album, though I'd been impressed with his artistry. Somewhere along the way I changed that, including one particular part, having to write about Carrie & Lowell for a Buzzjack Ultimate Album post, made me change that, though in truth I'd already been changed by the single he released in the middle of the year, and I'd listened to whatever "Aporia" was when it came out, so I'd been primed into becoming a huge fan. But I've been loving playing Carrie & Lowell so much since I did that, it's an awesome indie-folk album. I bet a lot more sophisticated commentary was written about it in 2015. But it's hautning and beautiful and hold on, let me go find what I wrote about it for that Ultimate Album post: QUOTE 76 – Sufjan Stevens – Carrie And Lowell – 93 points As with other albums I’ve written for, my first thought on seeing ‘Carrie & Lowell’ is ‘this isn’t my favourite album from this artist’. That’s not to disparage ‘Carrie & Lowell’, it’s still good, even great, but the only track from it that I’d personally call a Sufjan fave is ‘Drawn To The Blood’. Though I’d also say that I’m in the process of exploring his discography a lot more lately, so this is subject to change, and the relaxed nature and underlying emotion of ‘Carrie & Lowell’ certainly give off the impression of an album that grows on you. Released in 2015, ‘Carrie & Lowell’ is a lot more lo-fi than a lot of Sufjan’s work, with limited instrumentation, and to its credit, it does show off Sufjan’s wonderful voice very well on most of the tracks. Named after Sufjan’s late mother and her husband, it does feel a lot more personal than the others of Sufjan’s albums that I know. Considering I know him a lot more for really weird experimental tracks from The Age Of Adz or the more bombastic stuff from his latest album, to hear a whole folk album from him now feels the unusual experience. It’s a good one though, Sufjan is well worth getting interested in, I think he’s starting to really, finally, cultivate a good fanbase on Buzzjack and the appreciation of albums like this is at the cornerstone of that. Knew it was something blasphemous! I disavow! It is my favourite Sufjan album right now! Hell, "Fourth Of July" I began loving barely a week after I wrote that, "In The Shade Of The Shadow Of The Cross" and "Should Have Known Better" are also now in my favourites. The description of the relationship of his mother and stepdad that he goes into such detail writing beautiful lyrics for, following it up with gorgeous instrumentation, and given it's following his mother's death... I'm very late of course, but it's incredibly heartbreaking and so good for those reasons. Anyway, his 2020 stuff. Got sidetracked. "America" was something I heard when it came out, I am very attracted to songs that are clearly about the sickness of American culture. Not because I hate America but because it so clearly can be better than what it is, and this song knows it too, lamenting what's happened to American culture as something that shouldn't have happened. Then The Ascension released, and that's yet more amazing indie-pop, with songs like "Run Away With Me", "Ativan", "Ursa Major", the choral bits of "Lamentations", the outwardly demanding nature of "Make Me An Offer I Cannot Refuse", there's a lot to love on this grand appreciation of most of Sufjan's styles that I've heard from him over the years. Great album and great entry into the canon of 2020. But in all that, there was something else that stood out from the pack, that combined everything I love into a single 10 minute track. Melodic undercurrent, voice straining with emotion, lyrics with symbolic representation, lyrics based on a real-life story. When I thought about it, I don't think there's a 2020 song I love more than "My Rajneesh", something that makes me go on a beautiful journey every time I listen to it, that I HAVE to turn the volume up to lose myself in the crashing soundscape, that I've made a regular start to my playlist on my walks to the subway station because it's the right length and right form of exuberance for me to enjoy walking. Something was up with "My Rajneesh" from the moment I heard "They gave us names, they said my name means war, Dwelling in song, the lion and the lamb were restored". Lion and lamb indicates something religious, something dominant, and the note of 'giving names' indicates someone inducted into something they probably shouldn't be. Without actual knowledge of what Rajneeshpuram actually was prior to this, my first thought was British colonialism in India, but reading up about this 80s cult movement and terrors it did give the song a new level of menace, something it always had but now a little less divorced. There is no way that lines like "and now we are blessed by the righteousness of the Lord" are anything but pointed satire, though Sufjan certainly plays the part very well as the song builds to a crescendo. And what a crescendo it is. Beautiful deliberate lyrics, huge walls of sound with multiple instrumentation, it's a perfectly layered song that makes me feel alive. Now that I know it's about a cult leader and the devotion that his followers had to him, it hits even harder with the feeling of elation. "Stare at the sun to see the sublime, forgetting the light that makes you go blind" is a perfect lyric for both the tunnel vision that members of a cult have, and for losing yourself in the beauty of this song. Ultimately, it's powerful. Very powerful. In all senses. Best song of 2020. |
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Jan 23 2021, 03:14 PM
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#55
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The owls are not what they seem
Pronouns: He/him
Joined: 11 July 2009 Posts: 37,096 User: 9,232
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Great write-up for Sufjan, glad there's another big fan of My Rajneesh here, it got me interested in the topic as I had never really read much about it before! The album as it was was great though, America & Run Away With Me were special highlights. I shamefully haven't heard his other albums yet, I should really change that!
Blood on the Fang did really grow on me throughout the year even though I didn't point it at the time, I started appreciating alternate/experimental hip hop a lot more this year (listening to some classic albums of the style definitely helped). |
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Jan 23 2021, 07:29 PM
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#56
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Buy yourself a car, and a house in Devon
Joined: 6 May 2016
Posts: 23,863 User: 23,247
   
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I've heard a few Sufjan songs this year but not any of the ones you've listed I don't think. Giving Run Away With Me a play now, whilst it's not the sort of music I would generally listen to it is sounding quite nice, the soft vocals are nice and the piano adds a nice touch as well.
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