sevendaughters
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Posts posted by sevendaughters
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Really enjoyed the whole main show, perfectly paced, like we knew what the mains would be in terms of style and layout and length but stuff like the tag and the US title match just hit the sweet spot too. Can't separate the jr and heavy title matches, outstanding work.
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On 12/16/2019 at 12:24 PM, Lamp, broken circa 1988 said:
Given the crushing existential dread that accompanies every experience I’ve ever had looking up anything about the English school system, I’m not going to go learn what “Stage School” means.
Well we’re at least starting there. Short intro phase establishing the rest of this song qualifies for that “records that get started thing.” I love the use of ‘You sure you wanna do this now” between the verse and the chorus. It’s such a specifically tense question that it curdles the song without having to change a second of the tone or key. The gradual introduction of instruments is nice but I feel it’s a bit rushed? Granted I’m into what I’m into, but I think they really could have put more into the moments before the instruments came in. It had a symphonic breeze in it and oops it ended already next song.
This is very rote. I’ve been letting it go, trying to find something to grab onto. The bridge is really lush and beautiful but it feels like it’s from some other song with how different it is. The lyrics are the kind of non-specific stuff that has to be to make love songs palatable and damnit I promised not to rant about British music. Not yet.
Oh boy. Okay yeah we gotta talk about the british music thing. A lot of British pop and rock just gets my hackles up because it feels exactly like you’d expect individualistic music from a caste society to come from. It’s perfected under threat of exile. The recipe says verse, chorus, verse, chorus, bridge, chorus, outro. The song is alloted one thing to stand out. Here, it’s the super-fast verse in the hook, and it’s also in the bridge in case you forgot what the gimmick was. This song is That: The Song.
Okay, I waited the verse-chorus loop and I think the songwriting here is, while exactly the same structurally as the last song, is a more interesting selection of chords, and so that’s keeping me interested. This sounds like the song that the bridge from track 2 escaped from. The outro is also better off for structuring itself as an extention of the bridge instead of just a straight up reprisal of the chorus.
Ballad time. This does nothing to change my opinion on ballads. Like, okay, I’ve tried to write a single ballad in my life, and it was explicitly as an extremely dark joke (you may be able to hear it next year, depending on the summer). I can’t put myself in the headspace to do that more than once. And yet there’s a world full of songwriters that are capable of writing these things with ease. Maybe it’s a gift.
Oh god please don’t get slower after the ballad. Okay I’m gonna try to hone in on the lyricism because I feel like I’ve been ignoring the content of the songs because I’ve been so distracted by the roteness of the writing. Aaaand I’m not picking up on anything. The bridge is a good image (“Lady on fire / Waiting it out”) but the return to the chorus is jarring. It feels like a brief cameo from An Emotion.
When I googled her this was one of the songs that come up. The lyrics in this are trying to thread a specific line and it doesn’t work for me at all. Specifically the line that soured me is “She wears short skirts so you don’t ask her if you can check her phone.” That the phone-check is just totally acceptable behavior makes my skin crawl. When the song transitions to “you’re falling for the same thing I did” it ends up changing the tone even worse. I actually had to take a break after this song to reread the lyrics and make absolutely sure I understood the song correctly and was more dispirited to learn that I had. The only thing that would ease me about this is seeing some hint that she was trying to write from the perspective of a character, or a demographic. Otherwise it sets off all my “abuse survivor” alarms.
Yeah uh this record has shifted from making me uncomfortable on account of the industry-structured songwriting and into the context. Granted I tend to view breakups as less "split" and more "escape," so I'm struggling to understand the perspective of trying to talk to an ex. I'm also confused about "are her lungs made of steel so when she says she loves you, you forget how I made you feel?" I am trying to see the connection other than "More like made of STEAL haw haw" and I'm not getting it.
more ballads. "Stay, let me explain why I act so mean." I have very little positive to say about this song, other than "it's all brilliantly produced and perfectly in tune."
I'm really struggling to find any of this positively relatable. Like at least there's sentiments in this song I've run into, right? I guess I feel put off by the weird friendzone-esque posturing of "you're good but I need bad," like it's not understood that attraction is completely random. The outro made me sigh. There are multiple things on this record that have been done before.
Okay so the googles suggested that Jade Bird did some amount of Americana and it's all right here on this record apparently. It feels better than the last few songs rhythmically but I'm still too disquieted from the last few songs approach content-wise that I feel like I can't give this a fair shot. It all feels like trying to generalize a way-too-specific story and it ends up feeling like a justification.
ENDING BALLAD.
At least it's about death instead of some vague other kind of ending.
= = =
So, with a lot of records, I understand how a certain year can make a certain album feel like armor. I get how this could be someone's year. There's parts of it that make me really worried about what specifically was happening that year and like what they've been up to? But, I get it. And there's no complaints with the performances or the musicianship of anyone on this record. This is a lot of things I can't stand, but nothing that puts it in some kind of objective Bad category. I would just prefer to never hear this person again.
great brutal review and also a stage school is basically what it sounds like: a private school at which aspirant actors, singers, dancers, etc. go to to have their talent nurtured away from the screaming riff-raff at a normal school. it generally pumps out soulless nobodies with odd exceptions.
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I love this thread every year
Purple Mountains - S/T
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On 11/16/2019 at 3:18 AM, John E. Dynamite said:
The utter transparency of Gedo booking via late-tour match placement is NJPW's biggest problem, I mean it. Other than not booking Zack/Taichi to win, of course.
it's a problem for people like us who follow long-term storytelling (which I guess is not everyone, or even half of the people watching) but it does seem to help the houses. bit of a bind. you are right. last few years in G1 i look at Budokan/Sumo Hall and it's there.
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oh and Eddie. christ, what an era.
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Liger's best opponent in my humble opinion was Mad Bastard Sasuke, but Otani, Kanemoto, and Sonmurderer all good shouts. I thought he had good matches against Taikawa/Black Tiger too.
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the less-than-ideal execution (you can't say it wasn't foreshadowed hugely, this not a swerve) says to me that there was a different plan that was axed along the way.
tango to everyone on the stables thing. a couple of them need to die, pronto.
i was reading my write up of G1 26 and apart from Jay White being on a push we're pretty much still the same as it was. EVIL and SANADA getting gatekeeper jobbed. Naito the bridesmaid. Ibushi will-he/won't-he. Something different lads. You have the talents at your disposal.
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Mikey Nicholls back is something I never thought I'd see after his flop NJ Cup. Then again, seems pretty all-hands on deck.
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damn they're doing it like some 80s AJPW tag league, kind of into it, and yet am taking this time out to recuperate on New Japan
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I LOVE THIS COMPANY YYYYEEAAAHHH *Ballmer whoop*
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are we thinking Shibata wrestles?
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Just watched Kento v Jake, best since G1 for me!
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Seen it now, great show, feel hyped again.
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looks like a super show today, heard nothing but raves. watched the main angles and - and it's not a competition, enjoy all art if you like - it reminds me that when they turn on the angle tap/faucet they smash it harder than their contemporaries.
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2 hours ago, Cobra Commander said:
my power rankings for possible reasons for this:
1) General bad luck
I don't think he has the stroke, brotha
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the world: hey sevendaughters what do you care about in wrestling these days?
me, hooting lustily: SOME GUY WHO USED TO WORK RICKY KNIGHT'S SPOT SHOWS AND HIS MUTE VALETanother good show.
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On 10/9/2019 at 11:50 AM, Control said:
2019 WSTL teams:
The Bomber (James and Doering)
The End (Parrow and Odinson)
Kento and Yuma
Jake and Nomura
Yoshitatsu and Joel Redman
Valetta and Cyber Kong
KAI and Tajiri
Violent Giants
Zeus and Sai
Sekimoto and Bodyguard
how seriously do AJPW take the tag league these days? is it a holiday tour? cos that line up is great and i have free time coming up.
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I'm not actually super-familiar with Eli Drake but I liked that his shtick was "I am a babyface" and the crowd were like "yeah! a babyface! let's cheer him!"
this was a good hour of wrestling telly. tv has generally been a boner-killer for me when it comes to watching wrestling of late (the last 15 years) but this and MLW get it right.and probably make little money.
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I thought I had become one of those Japan bores because US wrestling failed to get me excited anymore. AEW is interesting in terms of power balance but I can't say I am super into it.
I watched Powerr just now and thought it was great. Really fun. Promos. Spontaneity. Personalities.
I would have saved the main for down the road. They were really doing a great job of hyping it that they could have stretched the build out some more.
Will be watching more. Instantly my US #1 promotion based on regular TV.
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you're all crapping on that main event but they developed some sick photos during it
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Rusev being with Hogan while there's a wife-fucking angle going on is high level
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the show was fine, NXT is always fine isn't it, but you could feel the desperation and worry in it. Like when Raw or Nitro were on top in their respective wars they had this strut about them, like they were the big dogs. feel like in two years we'll be burned out as hell.
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top post updated. I am expecting Liger v Suzuki to be an angle of some kind, don't think they'll give that away mid-card beneath potential MOTY contenders.
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On 9/20/2019 at 5:31 AM, OctopusCinema said:
Late response, sorry. But I’m interested in who the other 4 in your Top 5 in the world right now is. I’m new to Kento and will try to watch more of him.
Probably a dull list to most here - I'd probably say Ishii is a reliable old stager who delivers (and Japan has a lot but he is king amonst them), Kota Ibushi is about to hit the star level his talent demands, Shingo Takagi is probably going to break through in a non-parent company in Japan faster than Sanada because he's just that good, and probably Okada to round it off. I realise this is NJPW heavy but they have a lot of extremely good wrestlers (Tanahashi will always have my heart, I became a big EVIL fan this year, and I think my friend Neil is right about Jay White) though there are a lot of super talents across Japan (I like Ben-K, Kitamiya, N Nomura, Zeus, Shuji Ishikawa, and Kohei Sato a lot). Outside of Japan I'd have trouble forming a list as I don't see a whole lot (busy, not snobbery) but I like what I see of late from Cody, the Lucha Brothers, Pete Dunne, Drew Gulak, Cavernario, and a few others.
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NJPW Wrestle Kingdom 14 *contains King of Pro-Wrestling 2019 SPOILERS*
in JAPAN
Posted
I had an eye infection and a dental issue all topped off with Mrs Sevendaughters' flatmate disconnecting the Internet after the power up Destino attempt. Safe to say I wasn't quite as involved as I'd hoped and will pick it up later in the week (funeral and dentist tomorrow).