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Music DJ Snakey's Music Thread

Regarding the new Muse album, it was a bit of a let down for me. I loved the Simulation Theory album and I guess I was hoping for a little bit more of that sort of music in this album.
'Compliance' is one of my favourites, it's super catchy and I love the "pop" sort of vibe (I think you can call it that, I don't know), I think that song was closest to the ST album. I also really loved the song 'Ghosts', it's absolutely beautiful, this is one of the strongest songs on here, really shows off his voice without the drums and guitars.

In my opinion, this is one of Muse's weakest albums, liked a few songs, but the rest don't stand out. They don't provoke feelings in me like they use too, that's part of why this album was the weakest.
 


So I am a massive Panic! fan through the years and I am torn to pieces over this album. I love the idea of a Panic! album recorded to tape and sounding like '60s and '70s rock and roll (the band covered a lot of that stuff back in 2011-2012), but this album runs into a few issues.

I'm convinced Brendon can't write a song anymore to save his life, considering how the last two albums were basically hitmakers and co-writes, but even here, his lyrics are beyond corny. His voice sounds awful; he is belting everything he can, even notes within his range, and he's not really nailing them. Every song changes to relative keys and most songs even have tempo changes, and it's just entirely too much. There's way too much going on here that it never builds any kind of momentum. Time will tell for this last point, but I also feel like there isn't a hit here. "Don't Let the Light Go Out" is probably the closest thing but he can't hit the high notes in that chorus live. In fact, they recently began a tour where the new album is played front to back, with a backing track for most of the choruses because they're way too high of notes for him.

That said, it's not without its bright spots. I think there are two "great" songs on the album, at least. Two more very good ones. So 4/12 is worth listening to. The rest is such a mixed bag.

standouts would be:

"Viva Las Vengence"
"Say It Louder"

the "very good" tracks

"Don't Let the Light Go Out"
"Sad Clown"
 
Slowdive is a band I never grow tired of listening to.

 
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Christo750 said:


So I am a massive Panic! fan through the years and I am torn to pieces over this album. I love the idea of a Panic! album recorded to tape and sounding like '60s and '70s rock and roll (the band covered a lot of that stuff back in 2011-2012), but this album runs into a few issues.

I'm convinced Brendon can't write a song anymore to save his life, considering how the last two albums were basically hitmakers and co-writes, but even here, his lyrics are beyond corny. His voice sounds awful; he is belting everything he can, even notes within his range, and he's not really nailing them. Every song changes to relative keys and most songs even have tempo changes, and it's just entirely too much. There's way too much going on here that it never builds any kind of momentum. Time will tell for this last point, but I also feel like there isn't a hit here. "Don't Let the Light Go Out" is probably the closest thing but he can't hit the high notes in that chorus live. In fact, they recently began a tour where the new album is played front to back, with a backing track for most of the choruses because they're way too high of notes for him.

That said, it's not without its bright spots. I think there are two "great" songs on the album, at least. Two more very good ones. So 4/12 is worth listening to. The rest is such a mixed bag.

standouts would be:

"Viva Las Vengence"
"Say It Louder"

the "very good" tracks

"Don't Let the Light Go Out"
"Sad Clown"
Click to expand...

You should do more album reviews
 


I love how Lebanon Hanover is clearly Joy Division/Creatures/Siouxsie and the Banshees/Death in June/Cure inspired, but still sound like its own thing! It kind of makes it more tolerable. Straight up nostalgia copy cats are ok, but get boring very soon. See what happened with that whole electroclash-thing in the early 2000's.

Lebanon Hanover are above nostalgia tripping and instead are more like they could come out of 1983 if that makes sense? I guess it has to do with the minimal production of their music and the relatively simple setup of their gear, which makes it sound more sincere, like they actually make the music they feel comes natural to them instead of making music "like the bands they admire from the '80's".
 
Found these two recently in apple music essential j rock 2000's or something like that and I quite like both.

According to the Youtube comments I guess this was in Ouendan?



 
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Rina Sawayama debuted with her fantastic album "SAWAYAMA" in 2020, right when COVID lockdowns started, so in another world where COVID never happened, she would be on top of the goddamn world. She had a slight delay to that plan but here she is now with her sophomore effort "Hold The Girl". Whereas the first album was about her place in the family hierarchy; very much a "where do I belong" question (as she asks outright in the beginning of "Chosen Family"). "Hold The Girl" moves on to ask "who will I be when I get there?" The answer is a mostly positive but somewhat mixed bag, focusing on the contradictions of childhood aspirations mixed with adulthood realities.

I'll just say outright that as a cohesive album, Hold The Girl isn't as strong from start to finish as SAWAYAMA. There was a particular tone of anger on that album that came from thrashing in a confined space that gives SAWAYAMA some extra staying power. Time will tell, obviously, how Hold The Girl holds, but there is a connective tissue that isn't quite here. I could've used a bit more grit that is found in the fantastic "Frankenstein". Maybe a little more dramatic energy found on the brilliant title track that could see Rina belting with the likes of Lady Gaga.

"This Hell", Hold The Girl's marquee single, is a nice blend of styles found on SAWAYAMA. It's a literal interpretation of "pop/rock", solid combinations of synth drums with overly distorted guitars. It's a song about finding herself in her own existence after having realized her true identity. I always get a laugh out of the line "God hates us? Well, alright then."

After that track, the album enters a valley for a solid amount of time. "Catch Me In The Air" sounds like Rina streamlined, like she's not able to unleash what she truly wanted out of the song (one would say that there's a song I'll mention later that better acccomplishes what this song tries to). "Forgiveness" is a great song template interrupted by a strange left-turn of a bridge, and while I respect the effort, I wish she played it a different way that kept the essence of the track.






Personal preference, but I always prefer the latter half of albums. There are obvious exceptions to the norm, but usually by this point of full albums, "singles" are over and the album can finally breathe in a songwriter's true style. This is where you can pinpoint an artist's growth over time. In that spirit, Hold the Girl's valley finally ends by the time "Frankenstein" comes around. It's a wonderfully dark pop-rock song with a driving beat and a sense of urgency to its message. This urgency carries through to the late-album jam "Hurricanes", channeling that same anger found on SAWAYAMA and re-directing it in an uplifting way, reminiscent of the same tongue-in-cheek downer lyrics/intense major-key melody juxtaposition found in a lot of mid-00's emo. "Send My Love To John" is written from the perspective of her friend who had troubles with his mother accepting his sexuality; the phrase "send my love to John" being her final sign of acceptance. "Phantom", the penultimate track on the album, has Rina in a self-reflective moment nearing the end of her journey, mourning the loss of her younger self, or maybe understanding how it needed to be sacrificed to finally be where she wanted to be. This lands us at the unfortunately weak 'destination' track "To Be Alive". Catchy but out of time, it reminds me of an obligatory closer to a 90's pop album, meets the kind of song that the winner of American Idol would sing. It's a very general message to close the album out with, which is unfortunate considering the particularly personal last few tracks.

In conclusion, I will forever respect Rina for basically running adjacent to the entire pop landscape. She is thriving by being exactly who she is. And while maybe the album as a whole is not for me, it basically meets the needs of any album in 2022 and beyond; it throws me a bone. There are quite a few tracks here I'll throw into my Rina Sawayama Greatest Hits in 10 years.

If you haven't heard of her, I highly recommend her. And if you listen to anything here and it doesn't hit for you, try the leading track off SAWAYAMA. It's tied for my favorite song of hers.

 
OTBWY said:
Lately been listening a lot of Breakcore

Click to expand...

You and me should be friends! I have a huge breakcore collection here, been listening to this stuff for +20 years haha! The music you posted sounds like a bow to old school jungle. It's great!

I recently visited the US and I heard this Everly Brothers-style band in a store on the airport and am kinda blown away by them:

 
7threst said:
You and me should be friends! I have a huge breakcore collection here, been listening to this stuff for +20 years haha! The music you posted sounds like a bow to old school jungle. It's great!

I recently visited the US and I heard this Everly Brothers-style band in a store on the airport and am kinda blown away by them:

Click to expand...

I absolutely love this stuff. Helps with work :D
 
Hello, binging a lot of Italo the last few days and iti's great!
 
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Felt like the right place to share this absolutely rendition of "Compass of Your Heart", the theme song composed by Alan Menken for the Sinbad Storybook Voyage ride at Tokyo DisneySEA

 
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Momoko Okazaki has been unveiled as the third member of Babymetal. She has been an "Avenger" (one of handful of dancers and backup vocalists that formed a trio during live performances) with the band for some years now but she is now a permanent member and will presumably feature on music videos and on records. She adopts the stage name Momometal.

I saw her live when Babymetal played the Apollo in Manchester just before the pandemic hit. It was amazing even though I twisted my ankle in the mosh pit. 😅

I've loved Babymetal from initial concept to this day and they're a bona fide great band that have evolved so much.

From the latest album and a video in which Momometal is on stage with Su and Moa:

 
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