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Lamp, broken circa 1988

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Posts posted by Lamp, broken circa 1988

  1. My immediate family has a lot of the things that makes this thing a killer

    me: asthma, history of pneumonia

    brother: asthma, diabetes, high blood pressure

    mother: diabetes, high blood pressure, pre-existing lung conditions, over 65

    so uh yeah we're holed up, good luck to the rest of y'all

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  2. 5 hours ago, Johnny Sorrow said:

    Well, now we have a mystery of who came up with the only dumb name I've never gotten used to. A mystery that makes me hate myself for spending time on.

    here's an easy way to tell which one is more likely true: Not The One Bruce Pritchard Said

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  3. On 2/4/2020 at 10:57 AM, Tabe said:

    As if there was any doubt.  Yeah, the mascot - at a public meet & greet - ran across the room and punched a 13 year-old kid and there's no witnesses and no video?  Yeah, seems legit.

    honestly, I preferred imagining that yeah, he did do that, but the kid was being such a shit that everyone simultaneously decided "that's cool" and no one rolled over.

  4. Kentucky Route Zero Spoilers:

    today I learned there are three small exchanges in the course of the game where, if you miss them, you do not have access to the epilogue. I learned them because a friend of mine told me about an epilogue in the game and I said "yeah act 5 I know" and he said "no it seems to involve carrington" and I was like "what is a carrington." So, uh, if you don't have access to the epilogue, go back to Act 1 and when you get out of the mines, go back to Equus Oil.

  5. Part of the reason I love post-punk so much is because some of those bands were so ahead of everything that it felt like they had every great rock idea possible, and then everyone just gave up trying to top it. Gang of Four was definitely one of those bands, and Andy Gill's playing is a HUGE part of that. His guitar sounded like glass shattering and it was the perfect compliment for That Rhythm Section. They damn near stole the entirety of Urgh! A Music War with this performance of "He'd Send In The Army." One of my friends said he played guitar here the same way that the first Godzilla feels. RIP.


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    I am writing this as I am still processing Act 5, because I feel I will need to do that for quite some time. What I can say in this waiting period is that, having taken the day off to play through the entirety of it again, it is an outstanding achievement in narrative for video games, and even as it takes time for me to sit with Act 5 and "What It All Meant," every moment I remembered as being impactful in the prior 6 years (I came in on Act 3 in 2014), and it adds up to one of the first great tragedies in this medium. The only reason I would say you shouldn't play it is if you get irrationally angry at reading, to the point where you endanger yourself or others. I recommend it to literally everyone else.

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  7. Yeah, rise and shine, you're fine, man
    Even if you're feeling kinda wonky on your legs
    If you're wondering who woke up, you woke up
    We just have not figured out which you yet
    You ain't dreaming, that means what's not you is beyond you
    You'll see only what it represents
    But now you've gotta get up
    'Cause time is nagging more than ever
    Like a dog humping your leg, so get up

    Get up, get up, now
    Get up, get up, now
    (Get up) Get up, get up, now
    Get up, get up, now

    So get dressed, get out, the worst is over now
    You picked an odd time to start feeling strange
    And when all's said and done, you're just a massive cunt
    So stop acting like your problems all jumped out of a cake
    The sun is blazing, man, it's too bright to see
    What washed ashore past midnight on Victoria Street
    So we're gonna buy some shades and keep it under wraps
    Not making eye contact with Pikachus or money cats

    And I remember a time when life was simple like a glass of water
    Simple like a glass of water
    And now it's crystal clear as any bathroom mirror
    Crystal clear as any bathroom mirror

    You're like a snake with its arse up its head, man, stop thinking
    It's enough dealing with this heat and stink
    School bus, street pus, the crushed skulls of watermelons
    Flowing down a drain the colour of Indian ink
    And there Marcel snoozin' after doing some boozin'
    Having one them dreams where you're losing your teeth
    He's sleeping in the door of what was Thy Thy
    Snoring 'neath a sign saying it's up for lease
    And then a tram thunders along, going ding-ding-dong
    The driver staring through the windscreen in a trance
    The hours are way too long, but then the pay is shit
    I hear he's saving all his money for a hair transplant

    The hours are long, but
    The hours are long, but
    The hours are long, but
    The hours are very, very long

    Look at that gack-head chew, high as a Panzer crew
    Some soccer mummy's introduced him to the pigs
    Her horse is higher than a junky's
    But like everybody else here, she's just buying everything on tic
    And there's Veronica, waiting on blah, blah, blah
    He left her filing her nails in the car
    Man, beauty got a raw deal, there it ain't fair
    And you can hear it in her laugh, it jars, she's so unhappy
    You’ll find him most mornings ‘neath the grocery awnings
    Making sure the only arrests 'round here are cardiac
    He’s got your back, he’ll ask you if you’re Jason
    Then send your money to some cam-girl up in Seminyak

    And I remember a time when life was simple like a glass of water
    Simple like a glass of water
    But now it's crystal clear as any bathroom mirror
    Crystal clear as any bathroom mirror

    And there's the snort of Nguyen's old Subaru on laughing gas
    He says he hasn't lost a patient yet
    He smokes it up around the corner
    Where you gave up trying to guess
    What goes on in other people's heads

    It's hard to tell
    How far you are from knowing your heart
    It's hard to tell
    How far you are from knowing your heart
    It's hard to tell

    Under the stars and the sun
    You feel it all coming undone
    You can pretend it's a game
    Under a brand new pair of shades
    You can pretend it's a game
    A pressure drop in your brain

    And now we're gonna buy those shades, we're coming in to land
    And straight away, the man's proposing that the world is flat
    It's also square and it ain't going anywhere
    Well, we can see it's full of squares, not gonna argue with that
    And now we're laughing in the window of his old bong shop
    Selling cheap shit, sham knock-off handbags brands
    And he's explaining how we're living in a simulation
    So why not buy a pair of Chinese Ray-Bans?

    How far you are from knowing your heart
    It's hard to tell
    How far you are from knowing your heart
    How far you are from knowing your heart
    How far you are from knowing your heart
    How far you are from knowing your heart
    It's really hard to tell
    How far you are from knowing your heart
    How far you are from knowing your heart
    How far you are from knowing your heart

  8. 18 hours ago, ReiseReise said:

    Breaking news, as Goeido decided to call it quits today. He will end a 15 year career, with the highlight being his zensho in September 2016. He is not the most popular rikishi around here, but hats off to a 5-year-plus Ozeki spell, which followed a record 14 tournaments at Sekiwake in a row. His decision deserves respect aswell, if you consider how many Rikishi cling on for way too long. 

    And just what are you trying to say about my man Kotoshogiku?!

    In seriousness, I feel for Goeido. It felt like he was always Kadoban for the last few years. His records were only rarely impressive, with the weird statistical anomaly of only reaching over 12 wins a single time (his Zensho Yusho). But then, you have to consider that his time at the top was shared with the ascent of the Mongolian Yokozuna, and that when he wasn't fighting them he was fighting the absolute best of the best. His average records spoke to something tragic- that this was the peak of his ability, that Ozeki was his highest possible rank, and that as a yokozuna the demands for his retirement would have followed basically immediately. Better to be a long lasting ozeki than a short-lived yokozuna. So now demoted, and faced with the difficult 10-5 task going into his home territory, I understand completely why he'd call it a career.

    The retirement of Goeido also really cements that we are about to live through a complete changing of the guard. The odds that Hakuho and Kakuryu wrestle into 2021 are zero: Hakuho intends to retire after the Olympics, and who can say what Kakuryu's future holds given his last three tournaments ending in kyujo. Makuuchi is going to look very different by the time winter rolls around again.

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  9. Hey, it's entirely possible that the Tool record could have gone like the At The Drive-In record went two years ago, where the very thought of it made me so nervous to hear it because of my own expectations and past experiences that I just decided "there's no way I will listen to this cuz I cant stand the disappointment." Only when ATDI got suggested for this, and I ended up listening to it, it was pretty good! That could have happened with Tool this year, but now we'll never know. So I guess I win.

    And now, here's my own top ten records of 2019 that aren't my own album, Complicator:

    1. "Guns" by Quelle Chris (RIP The original beat on Box of Wheaties)
    2. "The Same But By Different Means" by Yves Jarvis (Slaughterhouse Five but it's funk & easy listening)
    3. "IGOR" by Tyler the Creator (masterpiece)
    4. "When I Get Home" by Solange
    5. "Sonic Citadel" by Lightning Bolt (Noise Dad Rock)
    6. "Caligula" by Lingua Ignota (Chorale & metal but about abuse instead of mythology)
    7. "Bandana" by Freddie Gibbs & Madlib (cocaine rap excellence)
    8. "Eton Alive" by Sleaford Mods (More Mods)
    9. "My Star" by The Hecks (Calgary Rock + New Wave)
    10. "Braindrops" by Tropical Fuck Storm (desolation funk rock with my 2nd favorite guitarist/1st favorite singer)

    Honorable Mentions: all the Griselda releases (especially Hitler Wears Hermes 7), Purple Mountains, Richard Dawson, Fat White Family

  10. Thank you again for humoring this creative exercise. It means a lot to me, especially that it's so well received. I hope we can continue to do this for years to come.

    Also, I'll be posting my own top ten in this thread in a few days for anyone who may happen to be curious.

    Also, thanks for not making me listen to that Tool record, for now I never will and shall be better for it.

    1. "When I Get Home" by Solange
    2. "Purple Mountains" by Purple Mountains
    3. "The Baneful Choir" by Teitanblood
    4. "Hidden History of the Human Race" by Blood incantation
    5. "Animated Violence Mild" by Blanck Mass
    6. "Cuz I Love You" by Lizzo
    7. "Deceiver" by DIIV"
    8. "i,i" by Bon Iver
    9. "Bible Songs 1" by The Austerity Program
    10. "Jade Bird" by Jade Bird

    I know nothing about Blood Incantation. Like several metal bands in my life, I only looked them up in the preparation of the christmas drive playlist for the trip my brother and I take. I tend to choose the shortest song for the mix, and that happens to be the intro song here, but hand to god I remember nothing about it. Google says it’s a death metal band. When I was having my metal phase it was mostly death and thrash, so lets see how we do!

    Lol. Okay so of course this record would just start but I just took a second to like get water and brace myself and immediately BANG. First impression is that it’s more melodic than the death stuff I was fucking with back then, but that was a while ago so maybe my memory’s just bad. It’s changing shape a lot, which I remember as part of the deal. Those transitions are maybe a little overcomposed at times? Like, there’s a difference in writing where you’re doing something because it feels like the right thing to do, and then there’s transitions that you do because your theory training says this is valid or this is how to articulate a certain sensation. There’s a mix of both kinds of transitions here- I find when they’re transitioning into blast beats or between blast beats its less composed and specific, and when it’s shifting between melodic phrases or key changes they’re making sure to drop that key change on whatever note would be the most obvious signifier of the key change. It’s not incorrect, but it’s jarring to me. 90% of listeners aren’t going to notice. The playing is very good however, so that does a lot for their aspirations in composition. I’d dwell on the impatience of their transitions but I know the last track is 16 minutes so I suspect I’ll have a chance to see how they treat the opposite.

    This intro is veering on the edge of progressive death metal. When the verses start there’s an amazing chord stuck in there that feels like some yawning machine denying an input, and since it’s called “The Giza Power Plant” I’m going to give it bonus points for that. (I don’t actually score records.). The breakdown portion is the most I’ve enjoyed this record for. They have a talent for elaboration on a theme that their rapid transitions was smothering on the previous song. Granted, this song is also reminding me of Nile, which was my shit in my death metal phase, so that’s sure helping a lot. Even so, beautifully written, even if the transition back to the verse is more of the “HERE’S THE KEY CHANGE” stuff. The section after the key change is great too, because it’s given time to articulate and pick up nuance and menace. For as much as the intro put me off, the rest of the song steadily improved from good to great. Also, the brief synthesizer sounds in this record make me genuinely curious as to if they bring keys with them or if that’s just raw post production.

    Signs point to this song being instrumental so I’m going to take a quick moment and say that I’m not going to say anything about the lyrics on this record under my Rock Lyricism Clause.  They match the record, I don’t find them worth decoding or mulling over. When the song rises into existence from the ambiance, it’s a solid metal jam track. It just goes to show that their ability to build a theme into something larger is an incredible tool of theirs, and in this song that ability to keep the development going through their key changes is a testament to how good they are at that. When the song turns to blast beats it feels genuinely ominous and disruptive, which is exactly the intention.

    Okay if we’re starting the 18 minute song with blastbeats I am maybe a little concerned about where this is going. The key changes continue to be jarring. Okay I have to say a thing about the lyricism real quick because I’m looking at this while I listen to the song and here is a potential truth as to what bothers me about metal lyricism. It feels like the lyrics are written as some kind of attempt at prophesying, like they’re trying to artificially give the ideas meaning and weight through peculiar phrasing, which I find is not how communication works. I dunno. Maybe I’m the weird one for trying to communicate explicitly. Anyways, the arrival at the ambient portion is welcome, and the return of the instrumentation is full of the overcomposed transitions that have been winding in and out of the record to this point. I’d be starting to fatigue if I didn’t know this was the end of the record. The second beat break giving way to a third beat break is a fascinating way to end the record, given that the topic of the last song is mostly about ascension from human understanding. Even if I’m skeptical of the existence of such a thing, the peeling away of chaos to reveal beauty and then further beauty is perfectly in theme with what they’re talking about.

    = = =

    I thought this was a pretty good record. There are moments of genuine, awe inspiring beauty, where they’re attempting to grow a brief musical phrase into an enormous towering sound. Those are excellent. At the same time, there’s also several points at which it feels like the composers are far too concerned with what is theoretically achievable, to the degree that it makes the music feel a little algorithmic it’s so programmed. Much like Teitanblood, this isn’t going to convert anyone to metal, but it’s a good enough time on its own.

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  11. I would say by the nature of this being a wrestling forum, I would be okay with not allowing the wrestling games in the tournament, because I think there's an inherent bias there. Also there's something about putting, say, the SvR series next to these other games that feels... off.

    EDIT: Also I ran this list by my brother who is WAY INTO SPORTS GAMES and is like unsure where we're coming down on racing games, specifically the DIRT franchise. I'll stand up for it if no one else will but yeah. Racing games seems like a slippery slope in general, because if Racing Games are in then F-Zero has to be in. Maybe we make that a motorsport thing where it's like gotta be a physically possible sport?

  12. The penultimate!

    1. "When I Get Home" by Solange
    2. "Purple Mountains" by Purple Mountains
    3. "The Baneful Choir" by Teitanblood
    4. "Animated Violence Mild" by Blanck Mass
    5. "Cuz I Love You" by Lizzo
    6. "Deceiver" by DIIV"
    7. "i,i" by Bon Iver
    8. "Bible Songs 1" by The Austerity Program
    9. "Jade Bird" by Jade Bird

    I know Blanck Mass, kind of. I definitely listened to their prior record a single time. I know they're built out of some other act I should know about. I'm doing my googles... okay it's one of the Fuck Buttons guys. Alright. Anyways, I tried that record because I'm a Sacred Bones Record fanboy and thought it was OK and didn't keep it or buy it. I remember the intro of it very well because it starts with just a big loud sound blast, but past that, nothing. And now, the second Blanck Mass record (that i've heard, there may be more records of this and i dont know about em).

    The onset of synths in the intro track is good, and the crescendo that starts track 2 works. The song is developing nicely, developing into an attempt at an epic. Oh, I guess there's going to be lyrics. I'll go look into that. There's missing lyrics on the page I found. The vocals are kind of screamo/black metal adjacent. I dunno, it's a fun tune. There's something about the mix that feels off. Like, they're making enough space for everything but it's had this weird effect of making a hollow where something should be, since all the parts have to exist in anticpation of an additional element being added later.

    The transition between songs is good. The introduction of the bass line?? is very Factory Records. I remember thinking the last record was also sorta Big Loud New Order-y. The gradual build makes sense in an electronic music sense but I'm maybe a little wary that the entire record is going to be that. Fun fact: most lyric sites list this song as being instrumental, which is not actually true. GOSH. Anyways, this song is super distorted New Order stuff which is not exactly my thing but it's well done. The mix still feels odd to me. It feels mixed somewhat like a hip-hop record, where the recordings of the synth elements have considerable mid cuts on it, but because they're turned up so loud it ends up creating this kind of artificial full sound, as it brings the mids down to the level of the highs and then pushes it all up.

    Man, the transitions on this record are killer. And it has the sense to go from quiet to just full loud instead of wearing out the slow build technique. It's a decent tune, and it totally fits with the rest of the record. I'm kind of out of things to say about it at this point. It's like an EDM record for old mallgoth kids.

    Again with the killer transitions, and even less preamble than last time. This song, more than the last few, betrays the downer pop rock aspirations of the project. The hook sounds like an MCR hook. There's nothing wrong with that, and I kind of appreciate the earnestness here of just like Being This Record. It would be really easy to make something like this that was more derivative and safe and radio-ready, and Blanck Mass is hanging onto both worlds here by making stuff in ostensibly pop formats but with his own sculpting of sounds instead of focus tests. This is my favorite song on here so far.

    That was kind of the least impressive of the transitions, but man that's like four consecutive brilliant ones. An OK one is perfectly acceptable. This intro reminds me of No Quarter. Oh, this is like this record's version of a ballad, huh? I was wondering if there'd be a quiet/slow song on here at any point. This is a perfectly timed change of pace. The writer has a real savvy with the structuring of this whole album that I find enviable.

    Speaking of changes of pace and also weird New Order-ness, this song! I'm guessing that since this is going full 80s pop structure, the last song will be the last slow build track on the record. I do appreciate how long all these songs are. It speaks to a confidence in the songs. Maybe I'll try writing something like this, where the first verse happens without vocals whatsoever, just as a long build to the hook. Someone trying to make it into the market at this point would fill this song to capacity with platitudes, but I prefer the patience of more sound.

    Welp, that prediction was wrong. We're going out with controlled demolition. It's not working for me though- the rest of the album has spent so much time going for Epic that it feels like a rehash. I caught myself yawning.

    = = =

    This is a hard thing to rate. On one hand, I found it repetitive and emotionally unaffecting. On the other hand, it's undeniably well made for what it is, and it gave me ideas for my own songwriting. I'm going to say the inspiration gives it the edge over Lizzo, but only just.

    • Like 1

  13. Two left!

    1. "When I Get Home" by Solange
    2. "Purple Mountains" by Purple Mountains
    3. "The Baneful Choir" by Teitanblood
    4. "Cuz I Love You" by Lizzo
    5. "Deceiver" by DIIV"
    6. "i,i" by Bon Iver
    7. "Bible Songs 1" by The Austerity Program
    8. "Jade Bird" by Jade Bird

    I know who Bon Iver is. I'll keep this brief: I liked For Emma, I hated the self-titled at first, I LOVED 22 A Million so much that I went back to the self-titled and ended up liking it, and I've already listened to this record once and ended up feeling like it was the middle point between the self-titled and 22 A Million, and maybe if they'd come out in that order people would be less mad at 22 A Million, but maybe that would've been a less exciting record in general. So! Time for listen #2.

    The intro is a neat series of sounds and it's half a minute. I do appreciate the "Are we recording" bit in the intro...

    ...because when the song rises from the intro it makes it feel like a contiguous event being interrupted by a recording effort, and that's a neat feeling to start a record with. As for the song, we're at this weird point where indie rock is pretty well dead and so there's a canon to play around with, specifically with the mixture of club sounds, orchestras and folk. This song feels like a collage of those disparate moments of the last like 20 years.

    In retrospect this might be the Maximalist Bon Iver record, since it has pretty much all of the aspects of his old works but Lots (with the notable exception of the vocal modulation). His falsetto is so strange, and it's gonna be sad when it goes.

    It's hard to pick out theory stuff to analyze in these songs because for a lot of them the phrase isn't around long enough to center it against the rest of the song's context. This one's an exception, where the staccato notes suggest the same impermenance that I think the lyrics are suggesting. I say "I think" because, if you've not listened to Bon Iver before, it's worth noting his approach to lyricism is obfuscation and density ahead of cogent, easy ideas. He wants to make impressionistic puzzles to make listeners decode his songs. I understand the approach, but that means I'm not going to have like accurate decoding of what he's going for a lot of the time.

    Ballad! At least Bon Iver ballads have elaborating phrases in non-trite ways, but it's still kind of dull listening for me, and I feel it's kind of a dull sentiment. But, hey, he thought it was worth a song, so go for it I guess.

    I thought this song was kind of corny the first time I heard it, and that analysis has survived. It's one of the most traditional songs he's put out and attached to that is some generic "we are the world" "gotta make it better" stuff which feels like... well, I wont get into what it reminds me of because this place ain't built for that. Bottom line, hard to take this song seriously.

    This one too strikes me as kind of corny, as an extention of what the last song was thematically. It's a decent enough selection of chords and his sense of melody is good, but there's something about the sudden political awakening that's unnerving to me. Regardless, it's a fine tune that's maybe a little broad.

    This is a ballad but it's noisy and dissonant so that works for me. Again, Bon Iver is good for the ballad stuff because he takes the slower opportunities to focus on unusual instruments and arrangements, instead of just breaking out the grand piano and acoustic guitar.

    Yeah okay I had forgotten this record made my eyes roll this often. The songwriting is good but there's something about the lyricism that's exhausting this go-round. Maybe it's an overinflated need to be poignant? I mean I can't be mad if that's what was on his line, but it's not a thing he's good at and so it makes this a tense listen for me.

    More ballads. There's a gospel tint to this record that I think might be central in my unnervedness (I dont think that's a word). It feels borrowed and since the things it's being borrowed to do are corny it colors the record strangely. There's still flashes of his talent for writing and ingenuity in instrument choice, but the foundation of it isn't working for me.

    The staccato returns on this song, and feels like a revisiting of the panic from earlier on the record, but with the faith talked about in the last songs it surfaces in the chorus as like an idea of having this faith as a tool to deal with the new scary aspects of the world. This is probably the best song on the record, both in the writing and how it pays off of the rest of the pieces set up earlier on the record.

    Ballad. Apparently improvised by the description. For people who don't know, the song is called "Sh'Diah" which is an abbreviation for "Shittiest Day In American History" which is supposed to be a reference to the day after the 2016 election. While I wasn't a fan, that cannot possibly be the shittiest day in american history, and that's kind of central to why the lyricism on this record doesn't sit well with me; it speaks to this awakening of the neutral who suddenly realizes "oh no things are bad" and still has this underdeveloped ahistorical sense of what to do about the things what are bad other than vague platitudes and the sharing of. It's dull.

    ENDING BALLAD. 😖  Again, at least it's instrumentally complicated and dense, but the song is meant to be reassuring and to follow "the shittiest day in american history" with "well hey at least we have these good things" is weak.

    = = =

    So like... it's well made? It's full of dense and interesting phrases and structure, but the content of the lyrics curdles the record for me. I don't know what the right answer is to change that. I guess I'll say that I understand how this can be someone's album of the year, but I didn't like it. Maybe it's just an even numbered album curse or something.

  14. I think I was supposed to put this up yesterday? Eh, it'll be fine.

    1. "When I Get Home" by Solange
    2. "Purple Mountains" by Purple Mountains
    3. "The Baneful Choir" by Teitanblood
    4. "Cuz I Love You" by Lizzo
    5. "Deceiver" by DIIV"
    6. "Bible Songs 1" by The Austerity Program
    7. "Jade Bird" by Jade Bird

    My googles of Teitanblood have only caused me to learn one thing: I am not sure I know what “extreme metal” signifies. My hope is that it’s metal but more extreme. My fear is that it’s metal but for people who drink energy drinks and use “tite” in their texts. I’m pretty sure it’s the first one. This week I’ve been listening to pretty much exclusively banda and dark industrial, so I think I’m in a good enough mindset. Here we go!

    Pretty good atmosphere noises! Hard to know what to say about it until I know the scene it’s trying to set but just going off the album cover it’s working well enough for me. The arrival of the drums before the transition is perfect.

    I'm into this. I know we're on our way to doublebass town eventually but we could stay here at this rhythm for at least this song. Why rush? The cymbals are loud as hell, and the only clean thing on the record. Alright, I'm loving the slow building here, it speaks of an awareness of pacing and I appreciate that. The more chaotic that it gets the more that I like it. I dont remember if I said this last year or the year before, but one of the things that bums me out about metal is how much a lot of it relies on playing a single melody with some occasional counterpoint. I get it's a hallmark of the sound, but you can play around with it more than most bands seem to want to. The moments of chaos on this song are an example of that: it helps it stand out. these two songs back to back are a great introduction to a record.

    And then immediately chaos! Perfect! The production here does an excellent job of subverting tropes like beat drops by making them sound mutated. So do their tempo changes; by placing them at points where pop structure suggests a crescendo it pulls the song ahead in time. (Before anyone yells, I use Pop Structure to refer to western song structure post-recording industry. I know this is not a pop album, just like you know this isn't an orchestral score.) The production done to the drums really make the double bass less intrusive than it can be on a lot of metal records, while still letting it keep the pace up. This is really smartly produced AND well written so far.

    They're very good at using surprise in their timing. What I mean is when they're writing, they're putting their accents in unusual spots, maybe an eight of a beat off. That's what's making those two notes in the middle of the verses pull away from the rest of the song so distinctly. This is a fun record for me to listen to because there's like spots where I'm hearing all the theoretical grounding, and then other spots where I just kinda give up and go "oooh". I imagine they have a hell of a time getting this to sound right live, but on record it's a good time. Oh, uh, I figure this is as good a time as any to mention this, but I've got nothing to say about the lyrics so far, under my well established Rock Lyricism clause.

    I both appreciate the lack of time between songs and wish there's an actual break coming cuz I forgot to get some water before I sat down. I'm waiting to hear where this one's going (since it's six minutes) but at the moment this is the first song that's yet to really catch my ear with anything structurally. It's not a bad song, but it's lost the element of surprise. At the same time it's fair enough, they packed a bunch of really solid ones into the start and it's unfair to be like "NO SUBVERT A GENRE ON EVERY SONG GOSH."

    Now that I have retrieved water, let's start this one over again! I'm interested to hear ambient-into-ambient, or if the next song is just a one minute sprint. Either way, it's keeping up the ambiance of the record, which I figure is the main way to analyze ambiance's use on a record unless it's the point of the record.

    I appreciate that it's a rough continuation of the last ambient track. Clearly these two songs are the bookend between the sides on the vinyl and I appreciate the hell out of that.

    The slow intro of the title track is appropriate. It reminds me vaguely of Beyond the Black Rainbow's soundtrack, or at least how that soundtrack made me feel. When the guitars join and mimick the other melody it at least makes sense considering that this is the centerpiece of the record. See, I don't object to that approach Period, I just thing it can serve a thematic purpose and to use it all of the time is to remove that tool from your toolbox for the sake of tradition. Similar to how the beat drop is used at the outro! By making it a complete seperation from the song it has a much more dramatic impact than ending every song with a beat drop.

    And, when you make the centerpiece of the record a drone on a single phrase, the return to the blastbeats feels that much more distinct of a change of pace. That said, it's a good song but I feel like I've run out of things to say about this record at this point.

    While I'm in the same boat on this song, I do appreciate the return to the more classic style of metal songwriting near the end, because it feels like a bookend to the record, thus leaving the climax room to be something else.

    Ending Ambiance doesn't count as Ending Ballad. I'm sure if I connected more to the lyrics this would be a more impactful moment but I found that difficult. It still suits the mood of the record, however.
    = = =
    Overall, a good time! I don't think it's about to make a convert of anyone that doesn't enjoy metal, but there was enough ingenuity in the songwriting to keep me engaged throughout. The production was also well suited for the record, although I have to admit that there were a few times that the clean tones on the cymbals made me chuckle, like a set of miniature bells being flung around a hurricane. Good stuff.

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  15. Alright so I'm gonna try to bust out the rest of these in the next week because i'm gonna be busy starting on the 20th. Something like one every other day is the plan.

    1. "When I Get Home" by Solange
    2. "Purple Mountains" by Purple Mountains
    3. "Cuz I Love You" by Lizzo
    4. "Deceiver" by DIIV"
    5. "Bible Songs 1" by The Austerity Program
    6. "Jade Bird" by Jade Bird

    Okay, so, I remember the existence of the band DIIV, because they were in the pitchfork news cycle a LOT, and I remember there was some kind of controversy around them a few years ago. I listened to their first album, I dont remember anything on it, positive or negative. Although, to be fair, if I thought something positive about it then it would probably be in my music library, and it isn’t. Regardless, that was almost a decade ago, so lets see how I feel about DIIV in 2020.

    It’s been a while since I’ve listened to alt-influenced indie rock that’s not Deerhunter so it’s weird to go back to that. I will say that the actual production is pretty great. It sounds very full without trying to force it into sounding like soaring pop stuff. The chords in the verse are really nice, even if that’s balanced by the obviousness of the chorus chords. Sometimes the obvious stuff works, though, and it’s doing OK here. The outro though is very, very good. The build is well timed and purposeful, and it earns the crescendo. Good opening song!

    This is shoegaze adjacent. I have no idea if that’s new but it’s not what I associated with them. I’m actually going to ask a friend of mine if they remember if that’s how the band’s been. Anyways, I’m still enjoying the sound and the production. I’m going to look up the lyrics now. … yeah okay rock lyricism. I’ll say something about the lyrics again when I feel like I have something to say about them. Decent tune, a little slow.

    I’m starting to worry this is the default speed of the record, and nothing’s going to get faster, which means it’s only going to get slower. Damn this musclehead brain of mine. I do appreciate that verse two is longer than verse one to make up for the time they had to spend establishing the phrases of the song. Again, the outro is very strong and well developed. They’re not untalented writers, but it’s starting to get a little samey.

    The acoustic intro made me feel like “welp that’s what I get for opening my mouth, it’s ballad time.” At least we can hold off from that for a little bit. This song is a little different, it doesn’t feel as fuzzy and the guitars are sounding more like bells during the “chorus.” The outro also sounds different from the last few and that’s appreciated. This is probably my favorite song on here so far.

    I’m finding myself with very little to say here. I’ve covered all the thoughts and emotions the record has elicited in me already, and we’re just kind of stuck there. At the moment, this record is fine, but I’ve been fighting to keep my mind from wandering which is not the best sign. This is the first song where the crescendo has felt trite, like it’s just the rest of the song Plus Gain. Maybe the other songs had the same kind of outro, but maybe they were nuanced enough that I didn’t notice.

    Every time the songs start quiet I’m like terrified it’s ballad time. I have even less to say than I had last time. I’m at least learning that “loud” is not enough for me by itself. There’s a brief frequency cut in the outro that’s like a beat drop, and that was a cool sound.

    OH MY GOD FASTER RHYTHM. It’s an immediate breath of fresh air from what the album’s been, by both pushing the shoegaze stuff down and speeding the pace up. If this song was sooner on the record it would have been nice but it’s a relief regardless. This is my new favorite song on here.

    Aaaaand ballad time. Granted this is more power ballad than just regular old ballad thanks to the return of the shoegaze elements. Weirdly, by being so much slower it also ends up feeling like a relief from the rest of the album. So it’s good that there’s a ballad, but like the last song, it might have worked better if it happened a single track sooner. Like, imagine if side B of this record starts with the last song and then this song. Oh well. And don’t think I haven’t noticed the last song is 7 minutes long. By the way my friend just got back to me and yes, DIIV has always been kinda shoegazey, so good to know.

    MORE FAST SONGS HOLY SHIT. Yeah okay Side B of this record is a lot better than Side A. This track specfically feels almost Pinback-y thanks to the low toned chords. Also it turns out this song, while still being Rock Lyricism Deluxe, is at least about a thing. Maybe if there was a time to stop the moaning singing it would be while talking about the coal industry, because otherwise it just kind of sounds like adapting a current event into your outline. That’s just me though. It’s still fast and good and well written.

    The Metal Bass Intro makes me think we’re gonna do a slow build and not necessary an ending ballad which will be nice. The Japanese in the chorus made me laugh. I’m starting to think we’re not gonna be speeding up, but instead just stretching out the crescendo extra long. It’s a choice. Still, not technically a ballad, just kind of an underwhelming ending in it’s own way.

    = = =

    If this was an EP that was just Side B, this would be amazing. Unfortunately the sameiness of the first half of the record sours how the record should end. If you start with a bunch of big monoliths, the ending is just Another Big Monolith, no matter how much bigger you try to make it. Ultimately, it’s fine, and really well produced.

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