Single lyrics

Lyrics of ARE YOU SINGLE by Aurra: Well now my curiosity is taking control of me, I want you to know uh, And I wonder if we have any possibilities to be a ... Tharam Maara Single song lyrics from Darbar Tamil Movie. Directed by AR Murugadoss. Produced by Allirajah Subaskaran under the banner Lyca Productions. Starring Rajinikanth, Suniel Shetty, Nayanthara, Shriya Saran in lead roles. 'Single' lyrics. The Neighbourhood Lyrics 'Single' I don't know if we should be alone together I still got a crush, that's obvious If nobody's around, what's stopping us? Everywhere I go you show, wherever I don't ever mind sharing oxygen I just wanna get lost in your lungs Just a baby Jawsh 685. Joshua Christian Nanai (born 2002 or 2003), better known as Jawsh 685, is a New Zealand music producer. Whilst a student at Manurewa High School, his breakthrough 2020 single 'Savage Love (Laxed – Siren Beat)' with American singer Jason Derulo reached number one in eight countries, including the Un… Single Lyrics: How you get to run around single but I'm still supposed to act like yo girlfriend? / And why I gotta sit through the ho phase 'cause yeen ready to be a real boyfriend? / And how Sunfire - Young, Free And Single Lyrics. if your doing nothing this weekend give me a call cause if we could get hooked up baby please let me know well im young free & single I jus. Lyrics. Popular Song Lyrics. Billboard Hot 100. Upcoming Lyrics. Recently Added. Top Lyrics of 2011. Single Lyrics: I don't know if we should be alone together / I still got a crush, that's obvious / If nobody's around, what's stopping us? / Everywhere I go you show whatever / I don't ever mind Lyrics.com » Search results for 'single' Yee yee! We've found 17,812 lyrics, 4 artists, and 50 albums matching single.

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2008.01.25 04:52 Ask Reddit...

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2014.05.21 01:34 edcellwarrior Shitty Pop Song Analysis

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2015.04.25 22:42 Malayalam songs, lyrics and music

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2020.09.27 00:21 NoahDBest My Review of The Ascension (after 2-3 listens)

from my Instagram, just_noah_111
So my thoughts after 2-3 listens, is that this is definitely AOTY, no questions. And if we're all being honest, the singles did not adequately prepare us for how amazing the album would be, and that the singles were so much better in the context of the album, especially Sugar.
It's also honestly pretty scary, with his voice sounding a little creepy in tracks like Lamentations and Die Happy, and I actually like this, I love the diversity of his voice across the album. And the screams in Ativan are also pretty terrifying. And it's also really epic, with songs like Death Star and Make Me An Offer, which in my opinion are just as epic as Age of Adz (the song, not the entire album)
And some of the tracks are just straight up bangers you can bop your head to, like Video Game, Landslide, Sugar, because of their hypnotic melodies and cool instrumentals. And that guitar solo in Landslide rocks so fucking hard!
And as usual, his lyricism is amazing. Though, there are some cliche lyrics, they do not break the album for me, (unlike some other critics cough cough fucking Pitchfork cough cough "that's not what Sufjan should be doing") here's some examples of some pretty good lyrics in my opinion.
"And I say, love, They will terrorize us, With new confusion, With the fear of life That seeks to bring despair within. And they will paralyze us, With new illusions. Let the dead revive the beast within."
"But now it strikes me far too late again, That I was asking far too much of everyone around me. And now it strikes me far too late again, That I should answer for myself as the Ascension falls upon me."
"I give it all up in laughter. The sign of the cross awaiting disaster. The dove flew to me like a vision of paranoia. The dove flew to me like a vision of paranoia."
So in conclusion, this is one of Sufjan's best albums, because of the instrumentation, lyrics, vocals, melodies, and basically everything. I love it so much!
I give The Ascension a 10/10
also fuck Pitchfork for not actually reviewing what was given to them and just expressing what they wanted from the album
submitted by NoahDBest to Sufjan [link] [comments]


2020.09.26 23:29 laserquestluv someday & did my best

i apologise if this is totally obvious but i’m slightly intoxicated and burst into tears upon realising the voidz single ‘did my best’ might be a reference to the strokes lyrics ‘i will do my best’ in someday 18 years prior. AHHH
submitted by laserquestluv to TheStrokes [link] [comments]


2020.09.26 21:54 Spleen_McQueen Series of Theories Part 5: Kendrick's Fall to Death

Part 1: It's levels to it
Part 2: Kung- Fu Kenny/ Gemini/ Two Lives
Part 3: "I put on repeat, Kanye's touch the sky!"
Part 4: Kendrick's Mission
Part 4.1: I Am

Part 5: Kendrick’s Fall to Death

RECAP:
This is where it gets important that you’ve read my previous posts or at least some of them as they start to make more sense when put together. First we know there might be a finality to Kendrick’s discography/ story then I brought up the idea that Kendrick has always had two identities/ lives within his music. The third post was about Kendrick’s mention of the sky and comparing himself to an alien or an angel. Then I talked about Kendrick’s mission is to become the best person he can be and to bring a change to the world. This post will work hand-in-hand with part 2 and 3 as they talk about his two lives and imagery of flying and the sky.

INTRO:

With this entry I’ll be talking about Kendrick’s death and predicting how he will “die.” When I researched his music and put together themes and ideas that cropped up the most, a foreboding of his death was one of the most highlighted things I found... As well as imagery in his music about FALLING, particularly falling from a building and/ or the sky. Sounds crazy right, well keep reading to see that it is a prevalent theme in his music… especially when you put it together with the imagery I found in his and TDE’s music videos as well.
I’ll be highlighting lyrics that forewshadow his death and contain anything about buildings, him flying or falling etc… I’ll also be showing a lot more visuals this time around.
Let’s begin.

YHNIC (Hub City Threat: Minor of the Year)/ Level 1

Till the reaper come get me, follow me now Where no man has stepped, no man has repped
No man can withstand all the nights I've slept
Under my sheets, no life, thinkin' 'bout death
Fuckin' with me, you just might lose your breath
I'll take you to them pearly gates
Them golden streets
Plus a cute little casket so your body can sleep
The Hub City shit is me
[Outro]
Do you believe
It's Kendrick the God
-Intro
These are the closing lines of his first song from his first released mixtape. He’s always been thinking about his death and I will be talking about those pearly gates (heaven) some more later in the post.
And prayed that rooftop blocked you from gettin' shitted on
I gives a fuck if A&R's don't pick up the phone
-What the Deal

Cause ninety percent of them are comin' with me
C4 your car doors and watch your shit blow in a jiffy
Quick, boom, explode when I empty
I'm on the edge so please don't tempt me to jump
-Track 12
Jumping off the roof...

Training Day/ Level 2

I don't wait on you rap dudes
Nigga NASA couldn't reach my altitude
Sky's the limit, and your body ain't airborne...
Is it? Are you?
- BLOW THEM HORNS
Is Kendrick airborne, will he fly once he jumps?
I'm daring one of you niggas to jump
I'ma snatch you out pistol whip you
Then put you back in the trunk
Shit, I'm back in the front
The front page of the newspaper
They say I'm seeing more paper... true”
-Man of the Hour

World trade happened on the world stage
Same stage look at us as some educated apes
On video stations women gyrating
Parading around, mind-raping the youth
- DREAMS (PUNCH)
This one coincides more with my last post but the building imagery here with the world trade center mention was interesting.
I’m a 18 year old dollar sign
I’m a one man tragedy
I’m Columbine
Shit you already know what im about
-One Shot Kill
Kendrick knows he’s a product of the industry. I elaborated on these lines on the second post but wanted to emphasize them as it foreshadows his death.

I world trade you niggas, north and south tower you
Steroid, my authority overpower you, the industry ain't affording me
-Best Rapper Alive
I think the tower and building imagery is strong here. The industry line aligns with my last post on how Kendrick plans to upend the music industry.

And the note for your information
if we was dead this reincarnation
Watch your heads
-Never Die
This adds to my second post on his two lives (song name). The watch your heads may be about him coming down from the sky.

C4/ Level 3

So high off life, that bitch I could OD Die twice, and come back the same nigga Lame niggas get up out of my lane nigga Before the big red come through and run over your brain nigga
-Mr. Carter, C4
I’ve highlighted these lyrics before as well but it adds to his death theme. Also a fun little thing about that second line I highlighted… The big red could be DAMN?
“When the topic is red or blue.” The red and blue album. Evil and good.

You looking at me then your sight seeing And what that means is that this human being is fly, don't try to duplicate
-Misunderstood
Like I said before, this post coincides a lot with Part 3. Look up in the sky, its Kenny.

Kendrick Lamar EP/ Level 4

Give me vanity, give me Kurt Cobain sanity
Give me a city where Channel 7 newscasters cameras be
Give me horror like Amity, no, give me the charts
- Is it Love?
Kurt Cobain sanity would probably mean some suicidal tendencies, the Channel 7 newscaster cameras remind me of the scene in King's Dead. I talk about it some more later.

Landing on another runway, fly with me
Or die tryna fly, a shot-down Frisbee
-Trip

We killed the facades, we feel free to fly
We're birds that reserve in the charismatic sky
-Vanity Slaves
This Ab-Soul tweet is quite telling. I had this idea about TDE being flying creatures for a while now, I chose butterflies before though.

Overly Dedicated/ Level 5

But really I'm just caught in the loop, of understanding the truth
Because it seem like it's always clashing with science
I got a big fear of flying
My future so bright I'd probably go blind before I blink twice, I ain't lying
-The Heart Pt.2
More mentions of Kendrick flying, his future is bright cause he’s gonna be close to the sun. The mentions of being blind also permeate through his discography, not sure exactly what it could meant though.

She got me going, I'm all in
Fifty stories, I'm falling
-Alien Girl (Today With Her)
I talk about this later in the post but in this video ….

Seven grams of weed, you smoke that, but I'm high off life
I could fall out the sky like twice
-Average Joe

A nightmare, I'm right there like a Siamese
Twin, when, you mothafuckas gon' learn?
Curl up like Big Worm when I drop
Who fly? I'm a red eye with eye drops
-Night of the Living Junkies
When he drops from above he's gonna curl up like a worm when they're hurt or dead.

I suppose this is bigger than life
This is probably everybody, Illuminati
Guess I'm the blood sacrifice of the party
I undress her like a Harley
Lights will flash, cars will crash
-Night of the Living Junkies
The mention of cars is interesting as I would assume his fall would be in a city, where cars will be down below. His mention of Illuminati and saying he will undress her could mean he’s going to expose the “party.”
Or everything getting shot, for nothing
Leave you in shock, coughing up blood and mumbling
Watch, the plans of a young man sponsor
-ROTC

Section. 80/ Level 6

NOTE:
On the back of Section. 80 there was a label that states "owner's manual." I think Section. 80 is huge when it comes to setting his plans up.
I'm no activist, I'm no Einstein before calculus
I was kicking that math, dropping that science
Like an alchemist, and I be kicking that ass, lyrically I'm UFC
If a UFO had came for me, I'ma come back with the head of an alien
Don't alienate my dreams, get it right
Get a life, I got two, that's a metaphor for the big shit I do
Boy, TMI, TSA, man I'm fly, put wings on my back
That a plane or an angel? Both like a pilot with a halo, whoa... gross”
-Fuck Your Ethnicity
Mentioned this in Part 3 but gotta emphasize it.

And this is rigor mortis, and it's gorgeous when you die
Ali recorded, and I'm Morpheus; the matrix of my mind
I'm out the orbit,
-Rigamortus

Visions of Martin Luther staring at me
Malcolm X put a hex on my future, someone catch me
I'm falling victim to a revolutionary song, the Serengeti's clone
-HiiiPower
Mentioned this one before too in Part 3 but we can look at it in a different way now, someone has to catch him since he is falling down.

I call a bitch a bitch, a hoe a hoe, a woman a woman
I never did nothing but break the ground on top of the asphalt
Tire mark gave you evidence that I'm easily peddling
With the speed of a lightning bolt
-Hol’ Up
He’s breaking the asphalt on the ground when he falls from that building.

I climax where you begin and then I end on cloud nine
And that's important when you morph into an angel in the sky
-Rigamortus
The fall will transform him.

A suit and tie is suitable and usual in suicide
CSI just might investigate this fucking parasite
-Rigamortus

On the freeway to Africa 'til I wreck my Audi
And I want everybody to view my autopsy
So you can see exactly where the government had shot me
No conspiracy, my fate is inevitable
-HiiiPower

I deal with ya like my son, stare at the sun
And you'll be looking in my eyes, homie
Stand for something or fall for anything
And you working with two left feet at the skating rink
-Poe Man’s Dreams

I'm Marilyn Manson with madness
Now just imagine the magic I light to asses
Don't ask for your favorite rapper
(He dead!) Yessir (Amen!) Church
(He dead!) I killed him (Amen!) Bitch
-Rigamortus
Your favorite rapper is Kendrick.

The sun is under my feet, and I come in peace to compete
I don't run if you'd rather leap, my statistics go up in weeks
-Rigamortus
He’d rather jump to the top... or jump off the top.

But I'm right on the edge of Everest
and I might jump tonight
-Kush & Corinthians
More imagery of him jumping off an edge.

GKMC/ Level 8

I got animosity buildin', it's prob'ly big as a buildin'
Me jumpin' off of the roof is me just playin' it safe
But what am I 'posed to do when the topic is red or blue
-Good Kid
BUILDING. JUMPING OFF THE ROOF. When he mentions that the topic is red or blue I think he is bringing the idea of good and evil, blood and crip, Republican, democrat, the fact that there are two sides to everything. I think he is struggling with that conflict within himself and his only solution is to jump off that roof.

I made allegiance that made a promise to see you bleedin'
You know the reasons but still will never know my life
Kendrick a.k.a. "Compton's Human Sacrifice"
-mAAd City

Live inside the belly of the rough, Compton, USA
Made me an Angel on Angel Dust - what?
- mAAd City

Fix your lenses forensics would've told you Kendrick had killed it
Pretend it's a massacre and the masses upon us
- Compton
Pretend (fake) his death? Either way he will have the world’s attention.

You look at my hat and see thorns there
I look at the game and see porn there
I'm fuckin' this industry hard
-Bitch Dont Kill My Vibe (remix)
Jesus had a crown of thorns on his head when he sacrificed himself, he is alluding that he will do the same. He sees the corruption of the game, the industry and wants to fuck it all up somehow…

I ministered this generation by far
Leader of the new school
On my toes like a ballerina, who knew I'd be Black Swan?
World in my palms, ironically
-Bitch Dont Kill My Vibe (remix)
At the end of Black Swan, the protagonist falls to hear death after the performance of a lifetime. Will Kendrick perform something that will mark his death?

To Pimp A Butterfly/ Level 8


And if I told your secrets
The world'll know money can't stop a suicidal weakness
-U

Roses are red, violets are blue
But me and you both pushing up daisies if I (want you)
-For Sale?
The Devil says that they will both die if he gets a hold of Kendrick. I think the Devil has gotten a hold of Kendrick in DAMN… now its time for both of them to die. As in killin the devil inside K-Dot… Kung-Fu Kenny.

Maybe I'm paranoid, ha, maybe I don't need you anyway
Don't lie to me, I'm suicidal anyway
-Momma

You make me wanna jump
Jump, jump, jump, jump
Let's talk about love
Jump, jump, jump, jump
Let's talk about love
Jump, jump, jump, jump
Let's talk about love
Jump, jump, jump, jump
Let's talk about love
-Momma
JUMP!

The price of having a spot in Heaven, embrace your loss—I am God"
-How Much A Dollar Cost
Kendrick has to redeem himself in some way.

Dreams of reality's peace
Blow steam in the face of the beast
Sky could fall down, wind could cry now
Look at me motherfucker I smile-
-I

I've been dealing with depression ever since an adolescent
Duckin' every other blessin', I can never see the message
I could never take the lead, I could never bob and weave
From a negative and letting them annihilate me
And it's evident I'm moving at a meteor speed
Finna run into a building, lay my body in the street
Keep my money in the ceiling, let my mama know I'm free
Give my story to the children and a lesson they can read
And the glory to the feeling of the holy unseen
Seen enough, make a motherfucker scream, "I love myself!"
-I (single version)
Letting “them” annihilate me might be shown in the Numb Numb Juice and WIN video I talk about later in the post, scroll down!
He bluntly says here that he’s mocing at a meteor speed as he is in the sky? More building imagery and a statement that he will lay his body on the street. Just emphasizing here.
In this video he talks about how the song “I” is about who he wants to be. The perosn that will give a story to the children and the glory of the “holy unseen”... God I would presume. He hasn’t done this yet but will he on the next album? He’s got to complete the story.
In this interview here, he talks about how “I” is about who he wants to be... maybe also what he wants to do.

I lost my head
I must've misread what the good book said
Oh, woes keep me, it's a jungle inside
Give myself again 'til the well runs dry (i)
[Car Horns]
-I (single version)
The sad note at the end is interesting here as if he had lost. It's also interesting that they added the car horns at the end given how I’ve talked about the fall would be done in a city, above the asphalt.

Wings begin to emerge, breaking the cycle of feeling stagnant
Finally free, the butterfly sheds light on situations
That the caterpillar never considered, ending the internal struggle
Although the butterfly and caterpillar are completely different
They are one and the same
-Mortal Man
Whatever it is that is gonna happen I think that it will have Kendrick enter a new light in the story while also shedding light to his listeners, teaching us a lesson as he says.

Untitled Unmastered

I seen it vividly jogging my brain memory, life is...


I seen it vividly jogging my brain memory
Life no longer infinity this was the final calling
-Untitled 01

In disbeliefs our beliefs the reason for all this
The tallest building plummet, cracking, and crumbling
-Untitled 01
Yeah..

Always camaraderie, I can see, our days been numbered
Revelation greatest as we hearing the last trumpet
All man, child, woman, life completely went in reverse
I guess I'm running in place trying to make it to church
-Untitled 01
“Life completely went in reverse”... sound familiar? DAMN

Before I blink do I see me before them pearly gates?
Or this is just a mirage or a facade?
Wait
-UNITITLED 05
At the end of Jay Rock’s “WIN” music video we get shown that he walks towards gates at the end. I talk about it some more later in the post.

DAMN/ Level 9

She replied: "Oh yes, you have lost something
You've lost… your life."
-BLOOD

Mr. One through Five, that's the only logic
Fake my death, go to Cuba, that's the only option
-ELEMENT

Anybody you would die for?
That's what God for
-LOYALTY

Fear, what happens on Earth stays on Earth
And I can't take these feelings with me, so hopefully, they disperse
Within fourteen tracks, carried out over wax
Searchin' for resolutions until somebody get back
Fear, what happens on Earth stays on Earth
And I can't take these feelings with me, so hopefully they disperse
Within fourteen tracks, carried out over wax
Wonderin' if I'm livin' through fear or livin' through rap
Damn
-FEAR
We are waiting for resolutions to the story told on DAMN. His life is reflected through his music and we will only find out what happens next once he releases his next album. He is leaving this Earth and crossing over. He cant take the feelings of his past self with him, the one tied to Earthly desires and sin.

The Visuals

I’ll be covering times that I’ve found Kendrick portraying his own death and also imagery involving falling from the sky or a building. Keep in mind that Kendrick and Dave Free direct most of Kendrick’s videos and they probably make every detail count. Also Kendrick owns a large chunk of TDE so we know his input gets put in a lot of the projects.
HiiiPower
https://youtu.be/-PXIbVNfj3s?t=273
I have pointed this video out before in part two but I’ll show it again since we are talking about his death. Here we see Kendrick pouring gasoline on himself and lighting a match.
Poetic Justice
Kendrick is killed in this video, on top of his romantic interest in the video. Also notice the distortion effect that I have pointed out in the past at 5:12.
Alright
Here he is shot from a light pole, FALLING to his death. I brought this one up in Part two as well as it coincides with his “two lives,” since he opens up his eyes right after and looks at the camera.
WIN (Jay Rock)
Jay Rock throws a man covered in arrows off the roof here with two women behind him. He raps “drop to your death without warning” at this moment. The women could be symbols for Ab Soul and Schoolboy Q. Also at the end of the video we see Jay Rock walking towards a large gate… heaven?
Before I blink do I see me before them pearly gates? Or this is just a mirage or a facade? Wait
-UNITITLED 05
A similar thing happens in “Money Trees Deuce” as Jay Rock walks up a stairway… to heaven?
Don’t Trip (Zacari)
In Zacari's video, he sits in a theater watching a film that shows several women falling (one scene in a darker atmosphere that looks like a deep ocean and the other in the bright sky). The name of the song also coincides with words that were printed on Kendrick's Nike Cortez shoes. I would guess “don’t trip” from the height that they’re at.
LOYALTY
Kendrick is holding Rihanna at the top of a skyscraper and even has her hang by the ledge with only his hand to hold onto.
ELEMENT
Here we actually see someone jumping off the top of a building.
King’s Dead
Throughout the video we see the rappers on top of buildings and they even used an old fashioned shaky style camcorder to capture some shots which I thought was very intentional. Also note how the last shot only has Kendrick while Jay Rock and Future are no longer in the shot.
Numb Numb Juice (Schoolboy Q)
At the end of the video, Schoolboy Q is seen with a trench coat at the top of a building standing in front of a man apparently doing some martial arts… Kung-Fu[Kenny]? When we get a closer look at the man we see he has two horns on his head. A large theory that has been brought up many times, including in the Dissect Podcast, is that Kendrick has horns in the album cover of DAMN., as the “M” can be seen as horns on top of his head. It also goes along with Kung-Fu Kenny’s persona (the damned version of Kendrick) and Kendrick’s all-around character in DAMN.
Schoolboy Q dodges his hits and just slaps him right off the roof, causing the man to fall off the building and right into Hell.
Pray For Me
Throughout this video we see two black panthers, Kilmonger and Black Panther… or Kung- Fu Kenny and Kendrick battling each other, at one point they’re at the top of a building and one of the Black Panther is punched and knocked off the building, falling for a while to his death. The Black Panther is seen getting back up after the huge fall and then runs off. This coincides with my other theories in Part Two, talking about his two lives and his two personas.
"It's all prophecy and if I gotta be sacrificed for the greater good Then that's what it gotta be"

"If I'm gon' die for you (if I'm gon' die for you ) If I'm gon' kill for you (if I'm gon' kill for you) Then I'll spill this blood for you, hey"

Conclusion:

Well first off, thanks for taking the time to read this and my other posts.
I am only here to present what I find and what I think about it.
So, knowing that Kendrick has two lives, two personas and knowing that part of Kendrick’s mission is to become the best person he can be, I think it is reasonable to say that he will be getting rid of the “evil” persona. Kung-Fu Kenny. In order to do so, Kendrick has to essentially kill a part of himself. Now, do I think Kendrick will actually fall off a tall building and commit suicide… no. But I think in his story he will. Whether he conveys it visually or through his music or both is up to chance I guess. The one thing that has me curious is that his music always does reflect his real life so I am excited to see what he does in his life to reflect this change.
Next post will be about the aftermath.
Buy your tinfoil hats here!
submitted by Spleen_McQueen to KendrickLamar [link] [comments]


2020.09.26 20:19 BlueMeanie2 Let’s Talk: Sufjan Stevens’s The Ascension

I absolutely adore this album, and have been surprised to see the (somewhat) divisive reaction that it's gotten. Sometimes I chalk this up to Carrie and Lowell super fans being mad that he changed his style, but I've also heard more in depth reasons some people don't like it. I'm gonna try my best to address the criticisms I've heard and articulate why I think The Ascension is on the same level as Illinois, Age of Adz, and Carrie and Lowell.
”I was just looking for music that would make me cry"
I think there's a group that only think of Stevens as a singesongwriter who writes sad whisper music (C&L, Call Me By Your Name, Michigan, etc.), partially because of his unique voice. But if you go beyond the surface of his discography, you realize that more than anything he's a maximalist, ambitious composer, multi-instrumentalist, and just has an incredible voice on top of that. I'm not saying only liking his sad whisper music is invalid, I just get frustrated when I see some new fans, who probably jumped on at Carrie and Lowell like I admittedly did, get angry that he's going in a new experimental direction. This kind of radical sound change is nothing new, he's literally done it every single album he's released. Besides that, there are plenty of moments on this record that have the same emotional gut-punch as any of his saddest stuff. The last minute and a half of Tell Me You Love Me is incredibly cathartic and beautiful. Run Away With Me and the title track The Ascension are both bitter-sweet, really pretty. There are moments of heartbreaking desperation on Ativan, and Die Happy profoundly creepy and depressing.
”It's just Age of Adz but worse"
The Age of Adz is a completely different sonic experience; the only similarity is that they're labeled as electronic. Age of Adz's drums machines and synthesizers are a lot more sparse, and are combined with a ton of orchestral arrangement. Violins and horns dominate Too Much and Get Real Get Right as much as their drum machines do. Also, the arrangements are much sparser than anything off The Ascension, which constantly and aggressively drives beats and strange backwards samples at you. The Ascension by comparison relies way more on those drum machines, synthesizers, and weird samples than Adz. And you never get a break from the action: it's manic, sputtering, disorienting, and way more abrasive. At parts, it even has aspects of Indian music, with the synthesizer distortion sounding like sitar and some scales that are more uncommon in the West (I think the opening vocal line of Make Me an Offer I Cannot Refuse is mixolydian?) There are also several passages of ambient music on this record which just add to the flavor. Again, I can't fault you if you don't like this new style, but for The Ascension you have to admit Stevens has created a unique new sonic environment, like he's done with every major concept album.
”Where's the lyrical depth?"
I think part of the reason people make this complaint is because in interviews Sufjan Stevens has talked about this as a pop record and making the lyrics more simplified and repetitive. But now that I can listen to the album for myself, I think he's totally understated the lyrical work that have gone into the majority of songs. There's verse after verse of gold on Make Me an Offer I Cannot Refuse: Move through to me/ Move like the ghost of a hazardous demon/ Was it all forgiven? The song The Ascension is incredible lyrically: And to everything there is no meaning/ a season of pain and hopelessness/ I shouldn't have looked for revelation/ I should have resigned myself to this. Not to mention the instant classic in Ativan: I shit my pants/ and wet the bed. But in all seriousness, there are nuggets like this in basically every song, which is everything I could have wanted lyrically. Even the track that I see most frequently get criticized for its lyrics, Sugar, is sung with such absolute conviction and desperation, that I buy into the cheesiness. And it still has lines like: All the shit they try to feed us/ Don't drink the poison or they'll defeat us. It's, by design, not on the level on some of his other work, but god damn Sufjan's lyrical floor is so much higher than most other artists, even Indie artists.
"There are more duds on this than his other albums / It's too long and indulgent"
The thing about maximalist art is that it's always going to be large scale, and there's always gonna be more than necessary, but that's part of why I like Sufjan's work so much. Each album is a new world to explore and he fully goes into it. Now, I know Gilgamesh, Death Star, Die Happy might not be everyone's highlights (these are just examples I've seen thrown around, I still think they're great), but they all feel like knew ground, with their own unique ideas. And you can make simmilar critiques about Sufjan's most classic albums. Illinois is a longer album, and I know I frequently skip They Are Night Zombies!!, The Man of Metropolis, or the many interludes, but I'm still glad they're on there because when I'm in the mood for them, they hit hard, and they make the whole album more of an epic. Same with Age of Adz, Bad Communication and All for Myself aren't my favorites, but that's just part of the maximalist experience.
In conclusion, The Ascension has all of the characteristics of Sufjan Steven’s most classic albums, Carrie and Lowell, Age of Adz, Illionois, and still manages to create a totally unique experience. I love it, and personally hold it as one of his best works.
submitted by BlueMeanie2 to LetsTalkMusic [link] [comments]


2020.09.26 19:39 bluestripedcurtains When your thoughts parallel to one of those pop songs

It’s quite often that people suddenly start understanding pop songs the moment they get caught up in the ins and outs of a relationship like a break up song suddenly feeling like it’s a narrative all about you or a cheesy love song inexplicably explain how love struck you are but what we deal with here is less mundane as those.
In a way, I found myself identifying with one of those pop songs. And finding lyrics that really strike a chord inside me, maybe this wasn’t the context for such but for some reason, it feels like it’s all about me or it’s “just like how I feel”
It’s that really soft and mellow chorus of Lover by Taylor Swift that just strikes me....or at least those first two lines
“Can I go where you go? Can we always be this close forever and ever?”
It gives me flashbacks to my happy place, to that safe space I had cuddled against his form, with his arm wrapped around me tight. I can still hear his voice every time I remember and of course, also as I type this. He tells me, “I wish we could stay like this forever,” and I hum or give him a snarky reply but we both knew that I just wanted to stay like that forever, his arms wrapped around me like a lifeline.
And so I circle back to those two lines and I think yeah, maybe we can. I’ll eventually go where he went and we’ll always be so close and tied down by the love we had. Maybe we can’t always be close physically as we had wished, but part of me feels and wants to believe that our souls have somehow been bound with each other for a span of an eternity.
I love so much, C, and I am missing you every single day.
submitted by bluestripedcurtains to widowers [link] [comments]


2020.09.26 18:58 PieBlaCon Future Islands in Review: Singles

SEASONS CHANGE
We've arrived at the album that shot them into relative stardom. The album that introduced them to an entirely new group of fans. The album that gave us the greatest late night performance ever. The album that spawned the #1 song of 2014 according to Pitchfork. Ladies and gentlemen, we're looking back at Singles. Billed as a very mild concept record, the idea was a single/B-Sides album that was meant to be all-killer-no-filler. And boy did they deliver. Let's break down each "single and it's b-side":
Discussion Points
Rate Your Music
Schedule:
Album Date
Wave Like Home LINK
In Evening Air LINK
On the Water LINK
Singles TODAY
The Far Field October 2nd
As Long As You Are First Impressions October 9th
As Long As You Are 1 Week Later October 16th
submitted by PieBlaCon to futureislands [link] [comments]


2020.09.26 17:59 Sooyoungsmile Why are some fans so obsessed with live vocals?

Like i get appreciating it, but live vocals are nearly impossible to pull off unless you're sitting down or just swaying along. And since kpop revolves around dancing in performances, making watered down or simplified dancing in this gen of kpop wont satisfy the fans.
If kpop idols would have live vocals all the time 1. You'll be hearing lots of heavy breathing and missing lyrics and 2. Its taxing for the idols as well. Its simply not possible to replicate the studio version of the sonh. Also, if an idol messes up one single note you bet they'll be antis rejoicing at the mistake and pointing out every single flaw.
Also, if the group arent dancing and they still use recorded vocals then sure be angry. But if the group is dancing intense choreo then they should at least get a little bit more leeway with singing live.
If you can't handle hearing backing tracks or prerecorded vocals then might as well look for performances by older groups. Better yet stan ballad singers who dont dance and sing live.
submitted by Sooyoungsmile to kpoprants [link] [comments]


2020.09.26 17:03 themusicman926 SCORETOBER 2020 - Rules, Guidelines, & Prompts

Calling all composers,
It is finally here. The "official" list of rules, guidelines, and prompts for the upcoming Scoretober event I have been working with you all to successfully organize is finally ready. Written below is everything you need to know about this event. I have tried to listen to all of your opinions and incorporate as much as I saw adequate in this event so everyone could be involved in the planning and preparation. As I've mentioned, some might not agree with some of the prompts, while others may absolutely love them. This year is really just a try out, and if all goes well, I am hopeful that we can make this into a new tradition for composers for years to come. So, without further ado, I present you with:

SCORETOBER 2020

Scoretober is a month-long event where composers are asked to write a piece everyday based on a prompt for that specific day. Since this is a fairly new thing, here are some rules and guidelines, as well as the prompt list that you all will be seeing.

Rules & Guidelines

  1. This event will be across both Reddit & Instagram (details further down).
  2. If you wish to participate in only some of the prompts, that is absolutely fine, but please only use the specific tags or threads if you’re doing the full 31 days.
  3. The piece for each prompt must be uploaded on THAT DAY. You are welcome to get a head start on any of the prompts that you please, but please make sure you are only uploading the prompt on the respective day (no early or late submissions).
  4. When uploading your piece, please include at least these two things: A picture or screenshot of your score, and some form of recording of the piece. This can be either just an audio recording, a video, or even simply a MIDI sequencing, but there must be some performance of the piece included. Also, since this event will be held on two different media platforms (Reddit & Instagram), Please follow the posting guidelines below for the respective platform.
  5. As far as the ensembles and lengths of your pieces, there really are no restrictions. However, I would recommend trying to keep the selected instrumentation minimal, and not trying to write really long works, because as previously mentioned, you MUST upload the piece ON the day of the specific prompt, performance and all, so I feel the best way to keep up to schedule would be to avoid writing anything super lengthy. But again, that is truly up to the composer, if they are really feeling a whole sonata and that they can complete it in a day, by all means go for it.
  6. Finally, just have fun! One of the best ways to improve as a composer are by writing daily and having some limitations.

Posting

For Reddit: Each day throughout the month of October, a single thread regarding that day’s prompt will be posted on composer. Each person who participates will then leave a comment with links to their score and a recording of their composition on that thread. This is to keep the subreddit and event organized so there aren’t several individual posts each day for the submissions that would clutter up the subreddit.
For Instagram: Please make sure you include the tag #Scoretober2020 with your post. You can also include things such as the day number, the prompt name, a name for your piece, an analysis, etc. You can include whatever you want as long as you make sure you include the #Scoretober2020 tag
Please note that you are not required to post on both platforms.
Also note that for Instagram, I will be posting the rules and prompts on there as well either later today or tomorrow. My main Instagram account's username is the same as Reddit, but since it is private, I only accept requests from people I know. However, I have a separate spam/joke account that I made a while ago that is public, and I will be posting everything Scoretober related there, so if anyone wants to follow, it's @ yunklethefunkleuncle (no space in the beginning).

The Prompts

As far as the list of prompts go, there will be one prompt every day for the whole month of October. These prompts are based around a mix of concepts that rely entirely on the imagination, such as things that pertain to the fall and Halloween season, and more standard theory techniques, such as scales, time signatures, etc.. I have tried to stay away from any really advanced techniques or types of forms, as this may prove difficult for newer composers or those who may not be that well versed in theory. This isn’t to say that you can’t write a fugue or sonata, it just isn’t required by any of the prompts. As far as the piece itself goes, there are no restrictions in the length, form, instrumentation, etc. Just remember that the piece must be uploaded on the day of the respective prompt, so do not write anything that you don’t think you can finish in the given amount of time. Finally, this list of prompts is the main one I’m putting out, but if you wish to create your own prompts to share around, do not hesitate to do so. I do ask however that if you are following this list, to take into consideration the rules and guidelines I have put in place. As long as everyone does that, then we’ll all have a good time.
Day 1 (10/1) – Compose a piece about autumn leaves
Day 2 (10/2) – Compose a piece (major or minor) where the melody never touches the tonic
Day 3 (10/3) – Compose a piece about the country
Day 4 (10/4) – Compose a piece in C-sharp minor (the spookiest key)
Day 5 (10/5) – Compose a piece about a forest (can be enchanted, haunted, etc.)
Day 6 (10/6) – Compose a piece about one of your fears
Day 7 (10/7) – Compose a piece about that chair or pile of clothes in your room at night
Day 8 (10/8) – Compose a piece using a mode of your choice (dorian, lydian, etc.)
Day 9 (10/9) – Compose a piece based on a story or poem
Day 10 (10/10) – Compose a piece inspired by a piece of art
Day 11 (10/11) – Compose a piece about/for a ghost or ghosts
Day 12 (10/12) – Compose a piece in an irregular time signature (5/4, 7/8, etc.)
Day 13 (10/13) – Compose a piece about your favorite candy
Day 14 (10/14) – Theme & Variations! Compose a variation based on the provided melody.
(Melody/piece will be provided the night before)
Day 15 (10/15) – Compose a piece about a mythological being that is not commonly associated with Halloween
Day 16 (10/16) – Compose a piece about a haunted location (can be real or fictional).
Day 17 (10/17) – Compose a piece about a skeleton or skeletons
Day 18 (10/18) – Compose a piece using a 12-tone row
Day 19 (10/19) – Compose a piece about being followed/chased down by a chainsaw wielding maniac
Day 20 (10/20) – Compose a song based on a “popular” structure (AABA, 12-bar blues, Broadway ballad, etc.). Lyrics are optional.
Day 21 (10/21) – Compose a piece about a haunted carnival/theme park/circus/clowns/ etc.
Day 22 (10/22) – Compose a funeral march
Day 23 (10/23) – Compose a piece about bugs (insects, arachnids, etc.)
Day 24 (10/24) – Compose a piece about carving pumpkins from the pumpkin’s perspective
Day 25 (10/25) – Compose a piece based on/inspired by the Dies Irae
Day 26 (10/26) – Compose a piece about Anatidaephobia (The fear that somewhere, somehow, a duck is watching you).
Day 27 (10/27) – Compose a piece about extra-terrestrials and UFOs
Day 28 (10/28) – Compose a piece about the dark
Day 29 (10/29) – Compose a piece using the lower register of your instrument
Day 30 (10/30) – Compose a piece about a graveyard/cemetery
Day 31 (10/31) – Happy Halloween! Imagine all of the typical monsters, witches, etc, got together for a party. Write a drinking song for them.
This song can be instrumental. However, for an extra challenge, you can write lyrics

I hope you all have as much fun with this as I did planning it! (I'll of course be participating as well).
Happy Composing!
submitted by themusicman926 to composer [link] [comments]


2020.09.26 16:38 nedragrevev I want to eat your pancreas English Subtitles

This'll probably be unseen but nowhere else to post this, and I've never spent so much time working on subbing a single movie that needed full ranslation work, a heap of typesetting as well (I have fully translated and subbed Patema Inverted and Nausicaa but those didn't require any typesetting).
Subs can be found on my GitHub page here. I only provide subs, fonts and some cover pictures only. Other subs (series and movies) which I worked on can be found here.
Started with PAR. Changed everything, but they had some good translations and a sign or two that I just copied over.
Encode: My own from the AU Madman BD. Should sync up with other Western releases (the Japanese release differs at the end).
Translation: Very, very carefully checked and translated the Japanese for every single line. Had the benefit of considering the official stuff and the dub, but basically made my own translation as these other translations each had their issues. This is where all the time went.
Three different versions (all signs/typesetting have been changed to suit):
  1. Honorifics
  2. Western naming, no honorifics
  3. Signs and song which I specifically worked to match the dub (the diary entries and various text messages).
Typesetting: I don't settle for anything less than realistic. Most of the diary was typeset. Some signs translated and typeset that neither PAR nor the official subs bothered with.To be honest, I'd prefer these subs to be judged on the translation because that's where pretty much all the time went but these screenshots should show how meticulous I try to be (some spoilers):
Matched the official English postecovers. No font existed so this is a vector.
The first time we see the diary. None of this is made up, basically the whole page is translated.
https://preview.redd.it/mnmuwr9jyhp51.png?width=1920&format=png&auto=webp&s=c66cdb13eedec9f723882395f3f862ae56145e7e
The blur is not perfect but I did that because this only has about 1 second of onscreen time.
Vectored all of Sakura's emoji's and simulated the subpixel rendering where applicable.
More text.
More subpixel simulation
The left page isn't important. She's simply talking about starting second year at high school and moving into the same class as Kyoko and a few others.
A two pager.
Lots of other signs. These are just a preview.
Songs: Made some translation adjustments but PAR did a pretty good job here. No karaoke (too much going on during the songs that it would be distracting). But I did match the credit style.
OP Song Lyrics Style
Timing: Every line has been carefully timed for the best viewing experience. I'm pretty particular about my timing so these should present well.
That's it.
submitted by nedragrevev to u/nedragrevev [link] [comments]


2020.09.26 09:22 tamar4343 Type me maybe?

FYI, English isn't my first language so I'm sorry if there are grammatical errors.
• How old are you? What's your gender? Give us a general description of yourself.
I'm 19f. I'm a shy person, quite aloof when you first meet me, but if you get to know me really well then you'd discover I'm much the opposite of shy, as I talk A LOT, I always think of random stuff to do or say. I'm also very emotional but I don't usually express it to other people, I don't like it plus it's too complex to even try.
• Is there a medical diagnosis that may impact your mental stability somehow?
I don't know if it counts but I have adhd.
• Describe your upbringing. Did it have any kind of religious or structured influence? How did you respond to it?
When I was a kid I didn't have many friends, and I felt that in order to get friends I had to be someone else, I constantly changed my hobbies, interests, fashion, personality and even the way I talked just to try and fit in with everyone. I was also always told by teachers that I'm not good enough at certain things I actually liked (like dancing, sports, art) but was told I was incredibly smart in academic subjects (like math and science). Those stuff never really interest me, but I thought "maybe they know better, and I should just listen to them". Only when I moved to a different school, I had the guts to actually pursue what I liked and be confident in my personality, that I didn't feel that I had to change myself in order to get attention, but only to be myself. My upbringing didn't have anything to do with my environment but it came from an inside voice telling me it had enough of just "going along to get along" and it just wanted me to be me and stop pretending, so I did.
• If you had to spend an entire weekend by yourself, how would you feel? Would you feel lonely or refreshed?
I wouldn't feel lonely, more like bored. I like spending time with other people, I find it stimulating. I like having someone to jump my thoughts on, but I don't like being around too many people, maybe just being around 1 or 2 really interesting ones.
• What kinds of activities do you prefer? Do you like, and are you good at sports? Do you enjoy any other outdoor or indoor activities?
I like stay at home activities like television, board games and such and I also like artsy stuff like music, scrapbooking, photography and journaling. I also like mind games like escape rooms. I use to like sports a lot when I was a kid, and I kinda enjoy it now but I'm very much out of shape and not that good at it. I prefer indoor activities, but I do like travelling (by car) to the outdoors and see different sceneries.
• Would you enjoy taking on a leadership position? Do you think you would be good at it? What would your leadership style be?
I wouldn't enjoy if it would mean I have to be a hardass boss, but I would enjoy it if it would mean being a guide to those I'm in charge of. I like being helpful, and I want to implement my wisdom to other people, make them more responsible for themselves and such. I think I would be good at it, because I respect everyone and I would be very understanding as I can always see myself in another person's shoes.
• Are you artistic? If yes, describe your art? If you are not particular artistic but can appreciate art please likewise describe what forums of art you enjoy. Please explain your answer.
I don't consider myself very artistic, but my family and friends do. Most of my interests are art related, but I'm not so talented in that aspect, at least in my opinion. My art is mostly reality based. I like taking photos of nature, and of my traveling, I journal & scrapbook about real life experiences. I also use to be a dancer (for 6 years when I was younger) and was also in art classes and my pieces were real-world inspired. When I was a kid I was also really into drama, took drama lessons and participated in a lot of school plays.
• What's your opinion about the past, present, and future? How do you deal with them?
I am very nostalgic, I like remembering the past, but it also feels really melancholy. I had a sort of bad childhood, and remembering those times makes me feel regretful for neglecting a lot of parts of myself only because other people made fun of me. But I also like to remember the past to learn from it, not to let other people's opinions influence anymore and to just be myself, and also to be cautious who I let close to my heart as they may betray me. About the future, I love dreaming about it. Picturing in my head different situations that may happen to me, and also dreaming about my ideal fiture self (confident and assertive lawyer). I'm very much a plan ahead person, and I've always been like that. I plan ahead and execute my future. I knew what I was gonna study and what I'm gonna do 12 years into the future since I was 14 yo. But also the future kinda scares me, because what if the path I've chosen doesn't suit me and my identity (which I haven't completely realized yet). Regarding the present, I'm not a very much live-in-the-moment kind of person, as I tend to always think ahead. whenever I'm enjoying a current experience I always think about the next thing I can do, or about different things associated with the thing I'm doing (I don't know, my head is kinda random lol).
• Do you need logical consistency in your life?
Definitely yes. I always seem to find logical inconsistencies in what other people are saying and it drives me nut. But something that drives me more nut is value inconsistencies. I hate it when people are constantly changing their opinions about a certain matter just to fit crowd. But then again, I can't really judge people who are like this too much, because I can be ambivalent about things myself too.
• How important is efficiency and productivity to you?
It's really something I aspire to be, and I can be when I want to but it doesn't come naturally to me. I need to have an ideal goal in my mind in order to make myself productive and efficient, otherwise I will just lie in my bed and do nothing.
• Do you control others, even if indirectly? How and why do you do that?
I don't really know? maybe indirectly I try to control people, but I think it happens unconsciously for me. I think I do that by "victimisation", like "oh so you don't want to make me breakfast? so I guess I'll just don't eat anything and starve to death, if that's what you really want...". It sound so cringy and it is, and I'm definitely not proud of this trait in me. I think I do it just to get this single thing I want, not for any long term manipulation and control over that person. I actually really don't want to have people under my control and depended on me because I don't want to disappoint them (if that makes sense kinda? it makes sense in my head anyways)
• What are your hobbies? Why do you like them?
I like listening to music, scrapbooking and journaling. Music relaxes me, and I LOVE analyzing the lyrics, looking for hidden meanings and then I like to journal about what the songs mean to me. I also like watching television (movies and tv shows) and reading fiction. I love analyzing the characters I watch on tv and the ones I read about, I love immersing myself in the plot and I get very attached to the world and characters. I also love reading non fiction books such as history and self improvement books.
• How good are you at strategizing? Do you easily break up projects into manageable tasks? Or do you have a tendency to wing projects and improvise as you go?
I'm good at strategizing, building schedules, breaking down projects to tasks, but I'm not good at implementing and executing them. I like to plan things and imagine things and ideas but I never get around to actually doing them, or if I start, I almost never finish unless I have some sort of exterior obligation.
• What are your aspirations in life, professionally and personally?
Professionally, I want to have a stable job that I enjoy, to make a good sum of money to support myself and people in my life, and to also have enough to support my causes and other less paying passions. Personally, I want to discover who I really am, what it means to be me. My personality, my passions, hobbies, why I am the way I am, what is really important to me. I also want to meet my one, the person who I can share everything with and spend the rest of my life with.
• What are your fears? What makes you uncomfortable? What do you hate? Why?
I fear losing myself in other people. I fear what I want isn't really what I want and that it's all been influenced by other people and society as whole. I also I fear people will betray my trust. I fear that I will give it all for some people and they will just take it for granted and leave me. Why? not sure, but I think it's because I've had a bad history with people influencing me and changing me only to bail and leave me all alone.
• What do the "highs" in your life look like?
Hanging out with other people doing things I'm actually interested in. I LOVE talking about my passions, everything that holds a special place in my heart.
• What do the "lows" in your life look like?
Questioning my life choices, like my career or friends choice. Being in a fight with my family or with my close friends really makes me feel awful, and I go back to that spiral of thinking I let people down by being myself and maybe I should just change so they won't leave me.
• How attached are you to reality? Do you daydream often, or do you pay attention to what's around you? If you do daydream, are you aware of your surroundings while you do so?
I'm not very attached to reality, I always daydream about something - an ideal self, reality and life or even just a fictional world I read about. I also retreat by daydreaming, reality just isn't as stimulating as my mind. I like to think of made up scenarios in my head, kinda like watching a movie only in my imagination. I'm not very aware of my surroundings, I space out a lot and I always get thrown back if someone forces me, or if there are loud noises that distract me.
• Imagine you are alone in a blank, empty room. There is nothing for you to do and no one to talk to. What do you think about?
I imagine people, talking to someone, doing activities (like watching tv, listening to music, dancing or whatever). I also think about what I could do with this room, how I can decorate it, make it my own and personal room.
• How long do you take to make an important decision? And do you change your mind once you've made it?
It takes me a really long time. I'm a big overthinker, and I can always imagine different ways of actions and how it could turn out. Even if I made up my mind, I constantly think "what if" and it really drives me crazy. This happens even in the smallest decisions like what to eat for lunch.
• How long do you take to process your emotions? How important are emotions in your life?
I'm a very emotional person, and I've had a long history of emotions over the years that by now I know how to deal with each and every one of them, so it doesn't really take long. I like experiencing my emotions, it makes life interesting and worth living in my opinion.
• Do you ever catch yourself agreeing with others just to appease them and keep the conversation going? How often? Why?
Yes and no. If the issue doesn't matter to me that much, then I would agree just to appease them. But if I really care, then I wouldn't let it go and continue the conversation, even if they want to stop. I want to get out what is on my mind and I won't stop.
• Do you break rules often? Do you think authority should be challenged, or that they know better? If you do break rules, why?
I don't really break the rules, and if I do it's not on purpose. I think authority does know better as it is are more "experienced", but I also think we shouldn't blindly follow whatever it says, we should have our own opinions and if we believe the authority is wrong then not follow it.
To the person who actually read this, sorry for rambling. If you're also familiar with the enneagram, I would be happy if you could say what type you think I am. Thank you :)
submitted by tamar4343 to MbtiTypeMe [link] [comments]


2020.09.26 09:16 GeekPlaya Finally, after 5 years, Apple Music is now better than Spotify in my eyes.

I don’t think you understand. I bounced between Spotify and Apple Music 4-5 times since Apple Music came out. I wanted to love it, but Spotify kept winning.
But then Spotify UI updates continued to roll out removing critical features like filtering on desktop, slower filtering, worse shuffling repeating the same songs, a deteriorating release radar, official playlists that would go stale despite tens of thousands of followers, whacky library management with requiring you to follow artists to see them in your library.
There were songs I also couldn’t get. For instance I’m On Fire by John Mayer, or What Hurts The Most by Aaron Lewis. I couldn’t easily upload custom BandCamp music either that I purchased like Ay Ay by Fingalick. On Apple Music you just drag it to your iTunes and sync to iCloud and boom it’s on my phone, album cover and all at full fidelity. Spotify, if you can even get it to work, requires USB and a whole dance.
You know what sealed the deal for me?
Built a Windows computer and installed the Spotify app. When I tried to filter the songs in my library, I was met with a 10 second delay every single time! My library management was broken. And it was a widely reported issue that they didn’t care to address.
Switched to Apple Music to pleasantly find a number of differences from when I last used it.
Was also reminded how much better iTunes/Music is as organizing your library. Much more compact UI with custom columns and meta data. De duplication features as well. Smart playlists!!!!
On mobile: Better queuing. Searching my library. Sorting songs by recently added in my library. More third party apps and services. Live lyrics. More radio stations. Forgot about Apple Music 1 radio, that’s fun to listen to.. listened to Billy Corgan talk about a new Smashing Pumpkins album I had no idea about. All the while, every short clip that was sampled live on air I could quickly save the corresponding full song to my library while driving by hitting the +. Sound quality is better with AAC codec as well. Better no gap playback. I can finally loop brown noise tracks seamlessly unlike Spotify. Custom thumbnails for playlists. AI based discovery playlists finally. CarPlay UI is fantastic and shuffled a playlist on tap versus having to tap on it and then tap shuffle like Spotify.
Only critical missing features are sorting playlists, searching within a playlist, and collaborative playlists.
submitted by GeekPlaya to AppleMusic [link] [comments]


2020.09.26 07:25 ComradeTrap Spilligion Thoughts?

I’ve listened to the album a couple times through now and...it was okay. End Of Daze and Baptize were incredible singles, so I was pretty hyped going into the album.
First listen and those two tracks along with Judas and Shiva immediately stood out as incredible tracks. Next time around, I appreciated more of the tracks with singing, (PsalmSing, Ea’alah, and Mecca), but there were some that were just not working. Like they were just doing too much with the vocals on kinda wack beats, (Jupiter), or the lyrics were either weak or a little fucked (Olu, what was that on Cupid, man?).
Definitely got some tracks I’ll be heading back to though, and I liked a majority of the songs, overall a nice project. Guess I was just expecting a masterpiece after Mirrorland and this was a bit of a step down for me. How’d everyone else like it?
submitted by ComradeTrap to Earthgang [link] [comments]


2020.09.26 04:31 chaoticcalculations listening to this new joji album is a reminder of everything that’s left to lose.

the day sanctuary released as a single, you texted me an apology about how badly you felt about ruining love songs for me, despite the fact that I’d never even thought about how much it hurt to listen to some lyrics and how much it hurt to see you completely in love with someone else. all I knew then was that I felt betrayed and embarrassed by what you did to me. I felt unlovable. I felt like a complete joke.
if you had told me then that things would be so, so different nearly a year and a half later, I wouldn’t have believed you. but we differ in this scenario— I listen to it, and I think of you. she’s still the one in your mind.
someday, will things go back? will we regress into a half-hearted friendship that quickly waxes to be strangers or mere acquaintances once again? do you have to leave? does it have to end? at some point down the road, will I look back at these songs and loathe them? will they prompt me to be remarkably sad? will I gag at the thought of loving anyone ever again, or will I cry, or will I be content and at peace with the tides of my life?
and in a sick and bizarre way, I hope you think of me in the way that you thought of her. I hope leaving me grinds your heart into a pulp. I hope every single sickly sweet song forces you to think about me. and then, you’ll pick up the pieces and pretend to be happy with another girl. jesus, I hope she doesn’t fall in love with you, because she’ll be horribly devastated in the end.
listen to like you do. it’s devastating, but it’s the perfect description of everything that I’m feeling.
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2020.09.26 02:59 Mrbrickjojo A review of Coldplay’s Everyday Life

Disclaimer: Before I start this review, I figured it was necessary for me to point out that I’m antsiest and any mention of God or bible passages bring up traumatic memories.
I bring this up not to look down on people, but to be totally transparent and say that this does have an impact on how I feel about some of the lyrical themes.
————————-
Okay, let’s be honest with ourselves. No matter what any of us thought of A Head Full Of Dreams, none of us expected this. If you’re gonna say you expected this, you are a liar, and Phil will be disappointed in you.
In the winter of 2015, Coldplay released the aforementioned A Head Full Of Dreams, an album that was sort of a ray of sunshine after the very sad and depressing Ghost Stories.
With that album, came the most successful tour of all time, and rumors that it was going to be the band’s last album. Those rumors were squashed in October when the band released ‘Orphans’ and ‘Arabesque.’
And holy hell, those singles were something else.
Not only were the singles completely different to any of the songs from the previous album, but they showed us a side of Coldplay we hadn’t seen since 2008.
On November 22, 2019 Coldplay released the album Everyday Life. With almost a year of listening under its belt, and with the realization that the world has gone to shit ever since this this album was released, how does it hold up?
Production: The team of producers for this album was Rik Simpson, Dan Green, Bill Rahko, Angel Lopez, Federico Vindver, and Max Martin.
Despite there being lots of hands on deck during the long process of making this album, this album doesn’t feel disjointed or anything like that, everything flows together perfectly. The acoustic moments, the gospel influences, and the classic Coldplay moments all mix together without issue making the album sound consistent. The only complaint I have is that wish Johnny’s guitar was louder in places.
Lyrically: The mission statement for this album seems to be that Coldplay wanted to make an album that lifted people’s spirits while at the same time bringing attention to the struggles of people all over the world. Both of these things are tackled with the maturity, wisdom, and most importantly, empathy.
The feel good moments come in the form of songs like the opener ‘Church’, a song about the love and the feeling of safety and happiness when you see your partner, ‘Old Friends’, a song about Chris reminiscing about a childhood friend who saved his life, and ‘Cry Cry Cry’, a song about an old couple in their twilight years.
The moments where the band is bringing attention to world issues are in songs like ‘Guns’, a song about America’s love for guns, ‘Trouble In Town’, a song about police brutality against minorities, and ‘Orphans’, which talks about the story about a girl and her father who are now refugees.
Everything talked about, whether it be the tragic moments like ‘Daddy’ or ‘Champion Of The World’ or the hope filled title track, the album hits hard.
The only time the lyrics don’t work for me is ‘Children Of Adam’ where the religious text is a bit much.
Musically: Like I said in the beginning, the lead singles had people thinking back to Viva La Vida or Death and All His Friends. Some were predicting that this album would be a return to that style. So is it? Uh........kinda. It’s more of a mix of Viva La Vida..., Parachutes, a little bit of A Rush Of Blood To The Head, and a little bit more.
In contrast to the poppier A Head Full Of Dreams, Everyday Life is a lot more diverse in its instrumentation and it’s hard to narrow it down to one specific genre or era in Coldplay’s career. This thing takes a few left turns that no one really expects.
For starters, there are straight up gospel and blues style tracks on here, and they’re pulled off pretty well. None of them overstay their welcome, and they are very affective. You feel every motion they want you to feel.
There’s also a surprising amount of acoustic songs on this record, four in total. They are very well done though (aside from maybe WOTW/POTO), and the bare bones instrumentation fits the tone of the songs. Hell, Guns is my favorite on the album because of this.
Even with unexpected musical styles of this album, every member of the band gets to show off their talents.
Thanks to Chris’ fantastic vocal performance, all the songs are given the conviction they need to really push forward the message the songs have behind them. Johnny has great guitar parts throughout the album, and Guy and Will absolutely rule on the rhythm section.
This album is an odd and diverse little album, but like I said, everything comes together perfectly and it all feels natural.
My thoughts on this album as a whole: It’s been a while since I’ve seen a move as ballsy as this. To go from your most commercial sounding album to something reminiscent of your older sound is a really bold move, Coldplay pulled it off really well.
This album is a sincere, well meaning and heartfelt record that anyone should be able to appreciate.
2019 was a terrible year for me. My mental health was declining and I came close to ending it all, but this album, good lord it hit the spot.
Now, almost a year later, when the world is now just as fucked up as I am, this album feels even more comforting.
Another great record by our boys.
——————Album Stats:
Best Song(s): Guns, Orphans, and Arabesque.
Worst Song(s): Children of Adam and WOTW/POTP
Best Lyric: “Everyone’s gone so crazy, everybody but you, everyone’s gone fucking crazy, maybe I’m crazy to.”
Worst Lyric: N/A
Rank in Coldplay’s Discography: 4th Place.
Album Rating: 9.5
What did you think of this review? I welcome all criticism.
A Rush Of Blood To The Head Review: https://www.reddit.com/Coldplay/comments/fljfqc/a_mini_review_of_coldplays_a_rush_of_blood_to_the/?utm_source=share&utm_medium=ios_app&utm_name=iossmf
Parachutes Review: https://www.reddit.com/Coldplay/comments/hw65iu/a_review_of_coldplays_parachutes/?utm_source=share&utm_medium=ios_app&utm_name=iossmf
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2020.09.26 02:23 EvilSaintsMusic Evil Saints Debut 5-Song EP Out Sunday... Here is the lyric video for the first single. Thrash Metal Black Metal Death Metal from Arizona, USA. FFO Slayer, Behemoth, Deafheaven. I'm new to the group and to reddit, hope I did this right. Thanks for checking it out!

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2020.09.26 02:07 untitledmanuscript Last Kiss-Holy Ground-invisible string are THAT trio that tells a complete story

So I've been thinking about this for awhile, and I think I have enough cohesive thoughts to put it into words!
Since I can't make the title long on here, what I'm basically trying to say is the Last Kiss, Holy Ground, and invisible string are a story from start to finish that basically comes full circle in the end. invisible string is definitely one of Taylor biographical songs on folklore since she says most of the songs on said album are stories of people she's never met. Together, these three are a story of sadness, moving on, and being content and fully happy. A story of growth.
Last Kiss and Holy Ground - without her confirmation - are about Joe Jonas. Last Kiss was one of the emotional ballads on Speak Now where she shares her regret and sadness that the relationship is no more. It ended messy and Taylor was left with nothing but memories.
Holy Ground is then about her reflecting on the relationship, but on a positive note. She's able to look on it without feeling the same way she did in the past. She didn't think about him until one day he came up and she was flooded with all of the memories, and this time she was able to reflect on the relationship as a whole and not feel any sort of regret.
Then, there’s invisible string. “Cold was the axe to grind for the boys who broke my heart/Now I send their babies presents”. A single line. This song being about her relationship with Joe A is a given, and only using one line to describe Joe J shows how content she is now with her current man that every other ex is just an afterthought. She went from being sad, to happy, to pure bliss.
I’ve figured out a few lyrics that relate to each other too; or I at least think could be linked.
“And I hope the sun shines/and it’s a beautiful day/Something reminds you/you wish you had stayed” and “Gave me the blues and then purple-pink skies”.
Now I know this is mainly for Joe A, but it’s interesting to think that she wished Joe J would regret not staying with her, but in the end Taylor was able to get her sunshine and beat the blues.
“A string that pulled me/Out of all the wrong arms and into that dive bar” and “Tonight I’m gonna dance/for all that we’ve been through/but I don’t wanna dance/if I’m not dancing with you” with “I’m not much for dancing/but for you I did”.
Taylor said she wasn’t one for dancing, but she eventually is able to dance without Joe J because of the happiness she’s feeling. Could this be because her invisible spring pulled her away and into the arms of the dancing partner she was meant to be with? These, to me, just create a mental picture of movement in my head.

This one isn’t entirely 100% done on purpose, but it’s more fateful that it happened. There’s a lyric in invisible string’s chorus “Were there clues I didn’t see?” In Last Kiss Taylor says “Your name, forever the name on my lips.” She may be talking about Mr. Jonas here, but who else shares the same name as him? Mr. Alwyn. An unexpected, unbeknownst clue to her was that she would continue to have a Joe in her life.
I hope this all sounds good enough! I’m sure I’ll read this tomorrow and shake my head because half of it doesn’t make sense. If you can think of any more feel free to share them.
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2020.09.26 02:01 SethHMG Smile, Lovers, and Boy’s Republic...and Ohms Impressions.

Lovers, Smile, and Boy’s Republic: Can we get these tracks on available digital format? (Am I missing anything else?)
Ohms Impressions (this is not an essay or full review...its a half cooked version):
I was worried Ohms wouldn’t live up to the hype. The hype train for the record...made the Cleganebowl hype seem like a kindergartner pep rally. (Note: that said, I love hype trains. It’s the closest thing to a feeling of community I can actually get with people online. And in this time of COVID uncertainty and isolation, and post a hard breakup, coming here and reading how much other people love something I love...it did something for me)
In short, after 3 listens: it’s a solid if not revolutionary album from a veteran band, and it gets better w each listen. Steph and Frank really shine on this one
After 5 listens, the songs have emerged from the overall “hit” of the album; they become individual songs with their own identities.
The band’s 9 album catalogue includes ATF, WP, DE, and KNY, so it’s easy to get spoiled. The band’s career has hit the 25 year mark...I don’t expect them to put out the same album 8 or 9 times.
Ohms avoided the potential pitfall of a band trying too hard to stay relevant or recapture their former glory by slapping some heavy riffs and screams together. It sounds like a band that’s polished their craft over 2.5 decades. And it sounds like they’re having fun.
If there’s one “problem” w this album (based on my few listens), it’s the opposite of Gore. To me, Gore has some amazing tracks but didn’t feel like an “album”. Ohms feels like a solid album, but the tracks take some time to establish themselves individually.
Maybe I’m listening for this sort of thing, but it sounds more like a breakup record than an in-love record.
I think Genesis is a solid opener, and as a single, I like as much as Tempest and almost as much as Leathers. Each listen cements it (I didn’t care for Doomed User at first but love it now).
Ceremony follows nicely. It has a clean sound that makes it stand out. I love: “I’m leaving you tonight. It’s not fun here anymore. I’m joining the parade of the ghosts who came before.”
Steph and Frank really shine on Urantia. And the chorus “there are no more left like you” hits me in the chest.
Error just grabbed me sonically and took hold. It was an immediate like on first listen.
The Spell of Mathematics feels like it’s destined to be a fan favorite. Steph shows how much he loves Messhuggah during the intro; the verse & chorus are the epitome of Chino’s croon-whisper-scream vocal delivery. The handclaps during the outro are just so cool.
Chino screaming “Jesus Christ” during Pompeji hit w emotion (and I’m an atheist). The Bladerunner-esque outro was pretty great.
This Link is Dead is the Doomed User meets Cmnd/Ctrl of this album (I like doing song equivalents...example: Good Squad is the Combat of KNY, and Rocket Skates and Poltergeist are sister songs...maybe because Roller Derby was Poltergeist’s working title) I dig the sentiment right now.
Radiant City made me cry like a 4-year-old w a skinned knee. “If ever you chose to break in again, I promise you now I’ll follow you in.”
Headless sounds like it could have been on any album from WP forward. It’s easy to like.
Ohms is a great song and had very stand out sound, but feels strange as an album closer. I think they should have put it in the middle, as a beginning to the second half (Track 1, Side 2). And lyrically, it adds an element of potential reconciliation to the damaged relationship feel to the rest of the album.
Also: the singles released makes sense. They release the “soaring” song then the “shredding” or “screaming” song. Prayers/Triangles then Doomed User, Tempest then Leathers, Diamond Eyes then Rocket Skates.
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2020.09.26 01:41 CyrusWaugh folklore (2020) All Songs Ranked Re-Upload

The homestretch for the individual albums, after a week of reviewing these tracks, it feels like I've been binge watching a show I'm so emotionally invested in. And I've finally caught up with the present, Folklore I doubt will be here last album, but as a record it feels like a farewell in some aspects and it kinda left me down in the dumps, in terms of writing Folklore is definitely her most mature album, new perspectives in break ups, talking more about her fears and insecurities, it is what I've been craving since the Reputation era, Lover delivered in some aspects but left me unsatisfied in others, and this really took all my complaints of Reputation and Lover to heart, and delivered a fantastic record, in terms of massive million sales mainstream, this is the best album of 2020, and the only one closest to it is After Hours by the weeknd and that record is like a 6.3/10 for me.
16. Seven
I just want to clarify, a majority of these songs are highly competitive, much more so than Reputation or Red, so if a song you connect to more is around last place, just take it with a grain of salt, there is something for everyone on this record. Seven kind of reminds me of Oh What A World by Kacey Musgraves in terms of the style she went for this. She's said its about a friend she can barely remember from her home state of Pennsylvania, I think the lyrics are a bit of a mixed bag, the verses are great but the chorus feels a little to silly, but maybe that was the intention because this is in the perspective of a 7 year old. And while that maybe be smart to some I don't see it, it is well produced as is all of the songs on the record.

15. Hoax
Hoax, the closing track is beautifully sung, I just think it could've gone through a bit more thought process in the writing, it brings me into the narrative in the beginning but the chorus. This loses me as we progress further through it, I think details of the love could be better than her just doubting if this is real or not, like I said all these songs bring up something personal or innovative, some just come up short compared to the others. I think the highlights of the flaws in a relationship come out well, just a little simplistic chorus wise similar to seven.

14. The 1
The opener leans in a more silly side of things, like her use of shit feels a little out of place yet also casual. The first pre-chorus got me thinking, especially in the line where she says if you don't bleed you never grow, from what I can infer this her saying while breakups hurt, you need them to broaden your perspective of relationships. The key theme of this trick is the broadening of perspectives, reminiscing about a past relationship wondering if 1 thing kept one person from being the 1 for her. It feels a little bright given the messaging, still a solid intro to a great.

13. Peace
Peace follows her singing to Alwyn about how as long as they are together, they will never find true peace, as the media and critics make it so difficult. I think this track would've served better as the final track. Every move they make is watched and shown to millions and how she's wondering if he is fine with the chaos that is her life. It sorta brings up her reputation but rather than the usual, address the haters, its her speaking to him and him alone, this track really subverted my expectations the first time I listened to it.

12. The Last Great American Dynasty
I think percussion holds it back a bit and it is a little too fast, as well as the fact to truly understand what is going on you need the background info, which is about Rebekah Harkness and a previous resident of her Rhode Island home and how she compares herself to her, where the townsfolk always questioned her, rumors spread like wildfire about, you get vivid details of Rebekah arriving in town, about the wedding, the funeral of her husband Bill, its a touching unique story, I just think production and tempo issues overtake the song and prevent it from getting to the top 10.

11. Invisible String
Invisible String is her talking about this unknown connection to her and Alwyn, and their personal experiences when they were hundreds of miles a way from each other, we get references to previous songs, little details like Yogurt Shops, actual places like Centennial Park, the progression is smooth up until the bridge where I get a little confused of what she's talking about, I'm guessing I need more context to understand it. I think it is a great concept of a song, although it kind of loses me melodically compared to the others.

10. This Is Me Trying
This Is Me Trying, to me is her talking about how she is beginning to crack, so much is going on with her, she's no longer that 16 year old girl with big dreams in Nashville, she's now 30 years old and one of the biggest pop stars in the world, to her mother being diagnosed with cancer, and she's saying this is her trying, juggling a mother with a terminal illness, future music goals, her reputation (man I'm sick of using that word now) The chorus is pretty simplistic, but the writing in the verses and soothing production make up for it.

9. Epiphany
Written as a dedication to all those fighting the battle of the COVID-19 pandemic, Epiphany brings out the little details each doctor and nurse, goes through, how some days and nights are practically sleepless as the hold children, mothers, fathers, husbands and wives lives in the balance, no one could've expected how this would go, out of all the songs "dedicated to the pandemic" this is definitely my favorite, as Long Violent History or Be A Light are songs I can't personally connect to and Six Feet Apart honestly sounds corny. However I don't like the comparison of these doctors and nurses to soldiers on the beaches of Normandy, 2 completely different scenarios so I take a slight offense to that, but given how beautifully written I'll give it a pass.

8. My Tears Ricochet
From what I can tell, this is about Scott Borchetta and their feud that resulted in her leaving Big Machine Records, with the details of someone cursing her name, wishing she stayed, to her not willing to go with grace. It's haunting vocals convey tragedy, I think the overall message is when you try to hurt her, you hurt yourself just as much, however while I do thoroughly enjoy the lyrics elude me, as it blends the story of a relationship that's over and Borchetta. Maybe this is a personal issue, the more I listen the more I'll appreciate it.

7. Exile (ft. Bon Iver)
I'm surprised this is as high as it is, I remember not digging this, my first listen. Exile details a man seeing a former lover in the arms of a man, and their personal perspectives, from the look in their eyes, how one defends while the other offends, it is one of the bigger ear worms of the record and the buildup in the bridge is so emotional, shockingly these 2 harmonize, even though the bands vocals and hers are opposites of each other. I think the more critical fans give this a shove, but I say give it a few more listens to truly understand the beauty of the track.

6. Mad Woman
Mad woman is a more reasonable version of LWYMMD. When you attack or accuse her, she will become the things they say she is, and they'll poke her like a bear until she reveals the claws. It makes a lot more sense than what she attempted to portray in Reputation, with the message summarized to when they go low, she'll go lower, this song really opens up a gateway to new possibilities of songwriting themes for her, she's improved drastically when it comes to writing defense songs, they gotten more clever and thought provoking. And it makes have a lot more optimism of where she will take her career next.

5. Cardigan
Cardigan really shows this rebirth of compelling relationship songs, another being Getaway Car from 2017, it follows her comparing a cardigan to the center core of a relationship. I like to believe this as well is the story of Betty & James, not really for the detail of the cardigan, but rather with lines about choosing 2 girls and losing the 1, chasing shadows in the grocery line, you get a sense there is more to this story, and there is as 4 or 5 more center around a story arc. Cardigan as a lead single is good, it is the catchiest of all of them, but Cardigan fits the new radio standard, the days of big bombastic percussion and bass are over, I can tell more and more people prefer the style of Billie Eilish with this soft style of production, it has the streaming power and I hope it does well, because all I hear is annoying trap so a sense of intellectualism in the mainstream would be nice to see.

4. Mirrorball
Mirrorball has this feel that is similar to David Bowie's Heroes, (well that's what I see) how Taylor compares herself to a reflective disco ball, how she puts all her behind closed door stories and emotions, and how she calls her flaws and fears shattered edges, without a doubt one her best metaphors in her career of songwriting and she has to keep this up to please her fans, it's heartbreaking and the worst part is that the song itself is another shattered edge. Originally I had this at I believe #11 or #10, because the melody in the chorus wasn't too interesting. I still have the same opinion but a buddy of mine in virtual class, told me the true meaning and it blew my mind and I knew this had to be higher, I'm not always the best at finding the true meaning of a song, maybe I've been wrong on a few this week, but that is how I view them, and I love to see new perspective as it allows me to enjoy songs even more.

3. August
August is another story in what she calls the saltbox house chapter, this song is in the perspective of the other girl, and how she seduced James, we get to get the whole perspective of what songs like Cardigan and Betty left blank. And how this unnamed girl thought she had James but it turns out he still had feelings for Betty and told her the truth. How the month of their affair slipped away through time, and now she's heartbroken, how she would drop everything to be with James and he casts her aside. The bridge is great as usual, but it I wish she didn't overuse to close out the song. We get every gritty detail of how this went down, and it makes listening to Betty even more satisfying, speaking of which:

2. Betty
This is an instant classic now, its peak story telling and writing, its a mostly stripped back ballad about how James just wants to make it up to Betty, however he makes a terrible excuse of saying which sums up to boys will be boys. The storytelling is on par with songs like Love Story and Blank Space, where we get to see his personal experiences in small details of going past her house, to her personal reaction towards this confession and similar to Love Story, the chord change signifies a happy ending to a story line I was invested in my entire listen of this record. This feels like an actual country song, I have a little doubt with Lover & Soon You'll Get Better in production issues, its nice to hear it on the radio, its gradually getting streamed more and her ACM return boosted sales a lot and it's rising bit by bit on the country chart, out of all the songs like I Hope, The Bones and 10,000 Hours, which say #1 for over 10 weeks, why can't this one do it as well? But while I adore this song there is one more I think takes it over the top.

1. Illicit Affairs
This song brings out everything I love about her songwriting, details I normally wouldn't hear, like being flushed after getting back, unique word play like clandestine meetings, we see both James' and the unknown girls thought process while in the affairs, what they plan to do to avoid being seen, and how in the end this will end badly for both of them, this is my 2nd favorite bridge in her long line of songs, with Lover taking the top spot, the build up to this produced so well, every crescendo to me implies them getting more and more distant as this month long affair progresses. We see the impact James has had on her, and how it destroyed her, and he came out of this cleaner than she did, all she had was him and he abandoned her. I'd either put this at #2 or #1 for my favorite song of 2020 regardless of genre, if you haven't listened, do it right now, and you'll see why, I hope this and the record get nominated for a Grammy, even if Cardigan gets the song nomination, this record is a return to form on so many levels and it bursts with quality, and songs like Illicit Affairs show that quality on full display.
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2020.09.26 01:36 zingledorf I hate that I didn't start actively listening to his music sooner.

I know Donald Glover best from Community, so I guess I've always kind have pictured him to be Troy-like in real life. Which I realize is silly.
I knew he made music as well. I've heard a few songs before, but never went crazy over it or put in effort to listen to more.
I REGRET THIS.
Holy shit.
He's INCREDIBLE. Every. Single. Song. Is so unique. His lyrics are amazing. The differently styles he messes around with... ugh. I love that he really does just create, sing, and rap about what HE is interested in. I know he's a very "private" celebrity, and he's not publicly active on social media a whole lot. But honestly, his lyrics are so personal and.. revealing. Why should he be active on social media when his lyrics tell us more about him than any photo or tweet could?
Anyway. I just really wanted to get this off my chest to a group of folks who understand. He's all I'm listening to lately!!!!
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2020.09.26 01:35 SilentWitnessRises Ghost Rider in the Sky

My brother and I made a pact that we would never speak about what happened to us a year ago to anyone...ever. And for a year, I have kept my end of that pact. I haven't even spoken with him about the matter. But my health - both physical and mental, has suffered and continues to suffer under the weight of this secret. I realize now that if I don't relieve myself of this burden, if I don't try to find answers, I'll be next for the grave. And I'm not ready to die... especially not now, after what I've seen.
Imagine experiencing a series of events for which you have no frame of reference - a series of events that defies explanation. What would you do? Who would you talk to? A doctor? A close friend? A preacher?
To what end? That's what I have continued to ask myself. A doctor would tell me that it was a creation of my distressed mind, perhaps a shared hallucination by two people linked by blood and tragedy. A close friend would listen with concern, all outward appearances of sympathy masking that staunchly skeptical inner voice we all have. A preacher would dismiss it as Satan's trickery and mayhem, and encourage me to pray to God.
Well, I have prayed. For twelve long months, I've prayed. And God has been silent. So, now I have no choice but to break my brother's confidence and seek comfort, and maybe answers, outside of the God I've worshipped all of my life.
My dad died of a heart attack last September. The doctors called it a "widowmaker." His left anterior descending artery was almost completely blocked. The survival rate of a widowmaker heart attack for victims who do not receive care within 90 minutes is 12%. Modern medicine can do nothing in such a circumstance for a man who lives alone on 25 acres of land in rural Mississippi. He was found by a neighbor, laying facedown in a field beside his tractor. By that time, he was cold and stiff. The doctors estimated that he'd already been dead 5-6 hours when his body was finally discovered.
I don't need to go into the devastation I felt when I received the call. But it is pertinent to my tale that you know how close my brother and I were to my dad. You see, my mother died when I was very young, and Dad took on the challenge of single-fatherhood with a fierce determination. My brother and I never wanted for anything, including Dad's companionship and care. He never remarried, so my childhood is full of memories of us - three Musketeers watching movies, playing board games, and joy riding in Dad's pickup truck through the fields of his property.
He was an avid music buff as well, and part of his parenting philosophy was to instill in my brother and I a proper appreciation for good music. So, from an early age, I was listening to Frank Sinatra, Nat King Cole, Tom Petty, Elvis Presley, The Beatles, Roy Orbison, B.B. King, the Eagles, Marty Robinson, Patsy Cline, Ray Charles, Led Zeppelin...and I could go on. Dad's record and later CD collection were quite extensive, and there was always music playing. He sometimes would ask my brother and I if we knew what a particular set of lyrics meant And if we didn't, which was usually the case when we were small, he'd launch into an explanation, decoding the poetry for us so that we could really love the song the way that he did.
All of the memories I mentioned, when they play in my mind, are set to Dad's soundtrack...all of my childhood epiphanies a result of his teaching.
So, his loss was as heartbreaking as you might imagine. The day of the visitation was surreal. Hot, soupy air was still settled over Mississippi like a heavy blanket, and the few friends and family who trickled into the funeral parlor to pay their respects had sweat beading on their foreheads from the brief walk from their cars to the building's entrance. I didn't stand beside the gleaming coffin at the front of the room. I didn't want to be near it. Instead, I stood at the back beside the door, speaking to visitors as they came and went.
My brother was driving down from Memphis, and was late arriving. By the time he walked through the door, tall and gaunt and glassy-eyed, it was almost 8 p.m. The parlor was empty, save for us.
"Sorry I'm late," he murmured beside me.
"How was your drive?" I asked, keeping my gaze fixed on the coffin and its pale inhabitant.
"Shit," he answered.
He walked up to the coffin and placed his hands gently on the side, his head bowed as if in prayer. I followed him and did the same. We stood there, side-by-side, looking down at the pale corpse of our father, silently marveling at how still and lifeless he looked. Ambiguously church-like music filtered softly through the room. Dad would've hated it
After a time, I turned and walked toward the parking lot, my brother following silently behind me.
"Do you want to just ride with me and leave your car here?" I asked him, staring wide-eyed and sightlessly at the night sky. A thin cloud cover obscured the moon and stars. There was nothing to see there.
"Sure."
He retrieved a duffel bag from his car and slid into the passenger seat beside me. I automatically reached for the radio dial. Loud and obtrusive rock music filled the silence, and neither of us minded. At least, at first. After a heinously upbeat song came on, my brother forcefully mashed the tuner button. The next station wasn't on my presets, and the white noise of static sounded. But, as I reached out to change the station again, the static cleared and music started. I leaned back in my seat, not paying attention to the song and focusing on keeping my car between the yellow and white lines of the interstate. But in my periphery, I could see that my brother had tensed up. He was leaning slightly forward in his seat, his hands gripping his knees.
"No fucking way," he whispered.
"What?"
He turned toward me. "Do you remember this song?"
I listened then, and when I recognized what it was, I laughed lightly.
"'Ghost Riders in the Sky.' Nice. The Marty Robbins version, too. That's the best one."
I glanced over at him. He was frowning down at the radio.
"I had a really weird dream last night," he said after a few seconds, shaking his head.
I waited for him to continue, but he seemed to be concentrating on the song, so I did, too.
I couldn't help but smile as I listened. A memory came to me in a flash, as vivid as though it had happened yesterday. We were piled in Dad's pickup truck, riding fast through a rain-drenched field on an overcast day. The back was fishtailing and my brother and I were whooping with delight. We were never afraid when we were riding with Dad. He was in perfect control. Both his large, calloused hands maintained a white-knuckled grip on the wheel, and he had an unlit Marlboro dangling from the corner of his mouth. "Ghost Riders in the Sky" was playing - the Marty Robbins version, of course. The fast-paced melody, haunting and thrilling, was the perfect soundtrack.
"Listen to this part!" Dad had shouted over the music as the rain pounded the windshield, and we did.
He turned the volume up, and Marty crooned: "As the riders loped on by him he heard one call out his name: 'If you want to save your soul from hell a-riding on our range - Then cowboy change your ways today or with us you will ride, Trying to catch the devil's heard, across these endless skies.'"
"Now," Dad said, turning down the volume, still staring with concentration at the field ahead, though he'd slowed the truck down considerably. "What do you think the rider meant? Why do you think he spoke to the cowboy?"
My brother and I just waited. We knew he'd explain it.
"It's a warning. The riders that the cowboy saw were the souls of damned men. They have to spend eternity chasing a herd of demon cattle because of their sins. The rider who spoke to the cowboy warning him to change his ways, to start living his life right, so that he wouldn't be doomed in the afterlife."
Dad had looked over at us then and grinned at our wide-eyed stares, the cigarette bouncing precariously at the corner of his mouth, and he gunned the truck back into high gear, spraying grass and mud out fantastically behind the tires.
I felt the tears start to sting my eyes. The face in my memory was so similar, and yet, so different from the one belonging to the corpse in the coffin. The contrast was sickening. I glanced again at my brother, and he was staring at me, his face eerily illuminated by the dash lights.
"Last night, I dreamed we were riding with Dad through a field. It was raining. This song was playing. He explained what the words meant to us."
My hands tightened on the wheel as I took the exit to my house. "That really happened. I was just thinking about it. Must've been at least twenty-five years ago, but I remember it specifically."
My brother fell silent again.
When I pulled into my driveway, we both got out wordlessly, my brother behind me with his duffel bag slung over his shoulder. I mechanically unlocked the front door and we stepped into the gloom of the house. I turned on some lights and went into the kitchen to make a pot of coffee. It was almost 9 p.m., and I knew that neither of us would sleep much this night. While the coffee was brewing, I retrieved a pillow and some blankets to make the couch up for my brother to sleep on. He was standing in front of a small window in the living room, looking up at the night sky. It was an eerie sight. The clouds had cleared, and the ghostly light of the moon was washing in, bathing him in a silver glow. I quickly turned on a lamp, then went back into the kitchen and poured two cups of coffee.
When I walked back into the living room, he was sitting on the couch. I handed him a mug and sat across from him in a recliner. He looked at me then, his brown eyes too large in his thin face.
"That wasn't all of my dream. There was more."
"Okay. Tell me."
"I was standing on a hill, in a field. It was night. It was...really dark. Cloudy. I couldn't see the moon or the stars. And it was windy. The wind was...it was blowing so hard. I had to concentrate on my balance. I felt like it would blow me over."
He paused, his head bending slowly to the side as he stared vacantly ahead, undoubtedly seeing the scene in his mind. The dull glow of the lamp beside him cast one side of his face in light and the other side in shadow. I became afraid then. Truly afraid. I could sense his fear. What he was describing was a dream, yes, but to him, it was more than that.
"There was a huge clap of thunder...God, it was so loud. It hurt my ears. And it kept on and it wouldn't stop and then it started lightening like crazy, like nothing I've ever seen before. I wanted to run, hide, get out of there, but I couldn't, it was like I was glued to the spot. So i just kept looking up at the sky. The clouds were rolling by so fast..."
He paused again, breathing heavily, his head still tilted oddly. "Then... in the next flash of lightening, I saw... cattle."
He looked up at me then with a gaze of such sincerity and fear that tears started rolling down my cheeks.
"I saw cattle...they were...stampeding. It was like they were made of the clouds, but then, something more, too. And God...they were huge. They were bigger than anything I've ever seen....bigger than skyscrapers, than cruise ships, than aircraft carriers. And there were thousands of them."
I waited. "And then?"
"And then I woke up."
We did not speak any more after that. We drank coffee in silence while the television droned in the background. Around midnight, I decided to try and sleep. I patted my brother's shoulder as I trudged past him to my bedroom. He didn't acknowledge me. He was staring unblinkingly out of the window, into the darkness.
At 3:47 a.m., I jerked violently awake. There was a crashing sound coming from the living room, and something else. I threw open the door of my bedroom to see the dark silhouette of my brother standing in front of the window, washed once more in that eerie silver moonglow. And there was music - offensively loud and indistinguishable. I turned the overhead light on and ran to him, spinning him around forcefully to face me.
"What the fuck is going on? Where is that music coming from?"
He looked dazed. "I don't know...it woke me up."
Then, I realized...it was coming from my old radio in the corner of the room. I ran over and bent to unplug it, but my brother grabbed my wrist to stop me. He then turned down the volume to a tolerable level.
"Listen," he said simply.
So I did. It was "Ghost Riders in the Sky," the Marty Robbins version.
"Why did you turn this on? What in the hell do you think you're doing?" I shouted.
"Listen to me. I did not turn that radio on. I'm telling you, it woke me up."
I did not sleep any more that night, and I suspect that my brother didn't either. At 7:15 a.m., I walked out of my bedroom to find him dressed for the funeral, sitting silently on the couch. I patted his shoulder and he rose to follow me out the front door.
The day was much cooler than the last, and was quite overcast. I'd opted to just have a graveside service for Dad, and when we arrived at the cemetery, his coffin was poised over the pit they'd dug for him. There were a few other mourners there, and they nodded to us solemnly. The pastor said a few words about eternal life in the arms of Jesus, read some Bible verses, and that was that. The other mourners drifted away, one by one, squeezing mine and my brother's shoulders and whispering meaningless "I'm so sorry"s as they passed.
We stood there as the workers began to fill in the hole. The sound of the dirt slapping the coffin lid was heinous and unnatural, but gradually, it faded as the hole filled. And finally, there was no hole, only a mound of dirt with a nondescript flower arrangement beside it.
When it was done, my brother turned toward me, the bags under his eyes heavy and pronounced. "There's something I need to do."
I looked up at the sky then. It had gotten darker, the cloud cover heavier, and the wind was starting to howl. "What?" I asked him.
"I need to go to Dad's house. Just once, before I head back. I haven't been in months.
I sighed. "I'll drive."
Wind whipped at my car furiously as I sped down the interstate toward Dad's house. It hadn't started raining, but the clouds were dark grey and foreboding. As I mentioned, Dad lived in a rural area of Mississippi, so the drive was about 45 minutes. The closer we got to his house, the worse the weather conditions got. I'd never seen the sky look so dark with no rainfall. And the wind was blowing so furiously that the clouds had begun to swirl. By the time I turned onto Dad's gravel driveway, I was almost certain that a tornado was imminent.
As soon as I put the car in park in front of the modest ranch-style house, my brother jerked open the car door and jumped out, walking swiftly over to Dad's old pickup.
"Do you have the keys?" He shouted over the howling wind.
"They're in the house," I called back. I hurried up to Dad's front door and unlocked it. I turned back toward my brother, who was still standing beside the pickup, staring up at the bruise-colored sky. "Don't you want to come inside?"
He shook his head. "Just get the truck keys," he called.
I grabbed Dad's truck keys off of a small hook next to the front door. I made sure not to look around, not to inhale the familiar scent of my childhood home.
I tossed the keys to my brother, sensing his urgency. He unlocked the driver's side door and jumped in, then leaned over and unlocked the passenger door, motioning wildly for me to get in, too. So I did.
"What the hell are we doing?" I asked.
"Going for a drive."
He turned the key int he ignition and the engine sputtered to life. He reversed a few feet, then drove the truck forward past the house and into the pasture behind it.
The pasture had a gradual rise that began just behind the house and culminated in a pretty impressive hill, and my brother slammed the gas pedal to the floor, gunning for the hill's crest. The engine whined and the tires spun grass and dirt out behind which was immediately picked up and carried wildly away by the ferocious wind. The grass of the pasture looked unnaturally emerald green in the dark glow of the sky above. The scene was otherworldly, frightening, and my brother's demeanor matched it. He had both hands on the wheel, his eyes unnaturally wide, his whole body trembling.
"Slow down," I said, trying to sound calm. But he didn't answer, and I wasn't so sure that he heard me.
We were nearing the crest of the hill now, and the molten grey sky stretched majestically out behind it, the clouds boiling fiercely. My brother suddenly slammed the truck's brakes and jumped out, running like a madman toward the top of the hill, his coattails flapping crazily behind him. I watched him go in awe - a gaunt silhouette all alone in his own dreamscape come to life. I thought of the dream he'd described to me the night before, and I was so overcome with emotion that I felt a sensation like falling backwards.
No - I was rolling backwards, and gaining speed. I realized then that he had forgotten to put the truck in park, and it was speeding back down the hill, on a collision course for the side of Dad's house. Without thinking, I jerked open the door and hurled myself out onto the grass. I looked up just in time to see the pickup slam mightily into the house, the sound of crashing metal and splintering wood swallowed by the wind.
I turned back to look at the top of the hill. My brother stood there, looking up into the sky, his coat, tie, and hair whipping about madly. I pulled myself to my feet and ran up toward him. At the top of the hill, I could see the pasture stretching out below us and the distant tree line, and above, the blackening sky rolled.
I put a hand on his shoulder. "We need to leave!" I shouted. "The weather..." But I couldn't think of a way to describe it.
He turned toward me. "We can't, not yet."
We stared at each other for a moment, my hand still on his shoulder. Then, a clap of thunder sounded, so loud I was sure it had ruptured my ear drums. I cowered with my hands over my ears, but my brother seemed unaffected. He jerked his face up toward the sky as though he were looking for something. Another booming thunderroll came, and then another, until they blended together continuously - I could feel the percussion of it inside my chest. The wind blew harder now....so much that I felt unsteady on my feet.
I looked back to my brother. HIs eyes were wide and expectant, and suddenly, his face was illuminated by a flash. Lightening. I looked back up at the sky, and I could see it snaking through the clouds. It seemed to illuminate them from the inside, and it did not cease. The scene was wild and frightening and...mesmerizing. I could no longer look away. I'd never seen such a thing.
And then... I saw them.
Cattle. They were running through the clouds, or in them, or on them, or they were the clouds. Massive, bigger than the very chariots of God himself, with red glowing eyes, and their numbers were thousands, or tens of thousands. They thundered over our heads, and from our vantage point on top of the hill, seemed to be running straight for us. We could do nothing but watch - two figures of insignificance at the mercy of some unknown power.
We watched them for what seemed like seconds - or hours. Time stopped, or it sped past us, just like that herd. And then, when their numbers seemed to be dwindling, we saw a new sight in the sky.
There was a horse with a rider, both were ten times or a hundred times bigger than the cattle. They filled the sky as the horse galloped toward us head on. Its head was bent forward, its mane streaming grandly behind it, its eyes glowing blinding white. Its rider, seemingly larger than all of earth's mountains combined, had hold of a rope and was spinning it madly above his head with his right hand, his left hand grasping the mighty horse's reins. His eyes also glowed a brilliant white, and they were fixed on my brother and I as he got closer, and....
It was him. It was my dad. I'd know the shape of his face and the slope of his posture anywhere. As he passed over our heads, he looked down on both of us in a single moment that lasted an eternity, and still it was not long enough - a heartbreakingly mournful look in his glowing white eyes.
And then, he was gone. The thunder, lightening, and wind died down - not immediately, but quickly. And my brother and I just stood there. There was nothing we could do, nothing we could say.
***************************
When we left Dad's house that day, the only thing that was said between us was that we wouldn't talk about it.
I had Dad's house repaired, which cost more than it was worth. The pickup was not salvageable, but it's still on the property, parked behind the house.
I sold my house and moved into Dad's. I don't know why. Maybe it's because I'm hoping I'll see him again. Every day, and most nights, I walk up the hill and stare up at the sky, hoping to catch a glimpse of him.
But I haven't.
And I don't know what any of this means. All I know is that the look in my father's eyes that day has haunted me, because I know he was trying to convey a message to my brother and I.
A message, or a warning.
submitted by SilentWitnessRises to stayawake [link] [comments]


2020.09.26 01:34 SilentWitnessRises Ghost Rider in the Sky

My brother and I made a pact that we would never speak about what happened to us a year ago to anyone...ever. And for a year, I have kept my end of that pact. I haven't even spoken with him about the matter. But my health - both physical and mental, has suffered and continues to suffer under the weight of this secret. I realize now that if I don't relieve myself of this burden, if I don't try to find answers, I'll be next for the grave. And I'm not ready to die... especially not now, after what I've seen.
Imagine experiencing a series of events for which you have no frame of reference - a series of events that defies explanation. What would you do? Who would you talk to? A doctor? A close friend? A preacher?
To what end? That's what I have continued to ask myself. A doctor would tell me that it was a creation of my distressed mind, perhaps a shared hallucination by two people linked by blood and tragedy. A close friend would listen with concern, all outward appearances of sympathy masking that staunchly skeptical inner voice we all have. A preacher would dismiss it as Satan's trickery and mayhem, and encourage me to pray to God.
Well, I have prayed. For twelve long months, I've prayed. And God has been silent. So, now I have no choice but to break my brother's confidence and seek comfort, and maybe answers, outside of the God I've worshipped all of my life.
My dad died of a heart attack last September. The doctors called it a "widowmaker." His left anterior descending artery was almost completely blocked. The survival rate of a widowmaker heart attack for victims who do not receive care within 90 minutes is 12%. Modern medicine can do nothing in such a circumstance for a man who lives alone on 25 acres of land in rural Mississippi. He was found by a neighbor, laying facedown in a field beside his tractor. By that time, he was cold and stiff. The doctors estimated that he'd already been dead 5-6 hours when his body was finally discovered.
I don't need to go into the devastation I felt when I received the call. But it is pertinent to my tale that you know how close my brother and I were to my dad. You see, my mother died when I was very young, and Dad took on the challenge of single-fatherhood with a fierce determination. My brother and I never wanted for anything, including Dad's companionship and care. He never remarried, so my childhood is full of memories of us - three Musketeers watching movies, playing board games, and joy riding in Dad's pickup truck through the fields of his property.
He was an avid music buff as well, and part of his parenting philosophy was to instill in my brother and I a proper appreciation for good music. So, from an early age, I was listening to Frank Sinatra, Nat King Cole, Tom Petty, Elvis Presley, The Beatles, Roy Orbison, B.B. King, the Eagles, Marty Robinson, Patsy Cline, Ray Charles, Led Zeppelin...and I could go on. Dad's record and later CD collection were quite extensive, and there was always music playing. He sometimes would ask my brother and I if we knew what a particular set of lyrics meant And if we didn't, which was usually the case when we were small, he'd launch into an explanation, decoding the poetry for us so that we could really love the song the way that he did.
All of the memories I mentioned, when they play in my mind, are set to Dad's soundtrack...all of my childhood epiphanies a result of his teaching.
So, his loss was as heartbreaking as you might imagine. The day of the visitation was surreal. Hot, soupy air was still settled over Mississippi like a heavy blanket, and the few friends and family who trickled into the funeral parlor to pay their respects had sweat beading on their foreheads from the brief walk from their cars to the building's entrance. I didn't stand beside the gleaming coffin at the front of the room. I didn't want to be near it. Instead, I stood at the back beside the door, speaking to visitors as they came and went.
My brother was driving down from Memphis, and was late arriving. By the time he walked through the door, tall and gaunt and glassy-eyed, it was almost 8 p.m. The parlor was empty, save for us.
"Sorry I'm late," he murmured beside me.
"How was your drive?" I asked, keeping my gaze fixed on the coffin and its pale inhabitant.
"Shit," he answered.
He walked up to the coffin and placed his hands gently on the side, his head bowed as if in prayer. I followed him and did the same. We stood there, side-by-side, looking down at the pale corpse of our father, silently marveling at how still and lifeless he looked. Ambiguously church-like music filtered softly through the room. Dad would've hated it
After a time, I turned and walked toward the parking lot, my brother following silently behind me.
"Do you want to just ride with me and leave your car here?" I asked him, staring wide-eyed and sightlessly at the night sky. A thin cloud cover obscured the moon and stars. There was nothing to see there.
"Sure."
He retrieved a duffel bag from his car and slid into the passenger seat beside me. I automatically reached for the radio dial. Loud and obtrusive rock music filled the silence, and neither of us minded. At least, at first. After a heinously upbeat song came on, my brother forcefully mashed the tuner button. The next station wasn't on my presets, and the white noise of static sounded. But, as I reached out to change the station again, the static cleared and music started. I leaned back in my seat, not paying attention to the song and focusing on keeping my car between the yellow and white lines of the interstate. But in my periphery, I could see that my brother had tensed up. He was leaning slightly forward in his seat, his hands gripping his knees.
"No fucking way," he whispered.
"What?"
He turned toward me. "Do you remember this song?"
I listened then, and when I recognized what it was, I laughed lightly.
"'Ghost Riders in the Sky.' Nice. The Marty Robbins version, too. That's the best one."
I glanced over at him. He was frowning down at the radio.
"I had a really weird dream last night," he said after a few seconds, shaking his head.
I waited for him to continue, but he seemed to be concentrating on the song, so I did, too.
I couldn't help but smile as I listened. A memory came to me in a flash, as vivid as though it had happened yesterday. We were piled in Dad's pickup truck, riding fast through a rain-drenched field on an overcast day. The back was fishtailing and my brother and I were whooping with delight. We were never afraid when we were riding with Dad. He was in perfect control. Both his large, calloused hands maintained a white-knuckled grip on the wheel, and he had an unlit Marlboro dangling from the corner of his mouth. "Ghost Riders in the Sky" was playing - the Marty Robbins version, of course. The fast-paced melody, haunting and thrilling, was the perfect soundtrack.
"Listen to this part!" Dad had shouted over the music as the rain pounded the windshield, and we did.
He turned the volume up, and Marty crooned: "As the riders loped on by him he heard one call out his name: 'If you want to save your soul from hell a-riding on our range - Then cowboy change your ways today or with us you will ride, Trying to catch the devil's heard, across these endless skies.'"
"Now," Dad said, turning down the volume, still staring with concentration at the field ahead, though he'd slowed the truck down considerably. "What do you think the rider meant? Why do you think he spoke to the cowboy?"
My brother and I just waited. We knew he'd explain it.
"It's a warning. The riders that the cowboy saw were the souls of damned men. They have to spend eternity chasing a herd of demon cattle because of their sins. The rider who spoke to the cowboy warning him to change his ways, to start living his life right, so that he wouldn't be doomed in the afterlife."
Dad had looked over at us then and grinned at our wide-eyed stares, the cigarette bouncing precariously at the corner of his mouth, and he gunned the truck back into high gear, spraying grass and mud out fantastically behind the tires.
I felt the tears start to sting my eyes. The face in my memory was so similar, and yet, so different from the one belonging to the corpse in the coffin. The contrast was sickening. I glanced again at my brother, and he was staring at me, his face eerily illuminated by the dash lights.
"Last night, I dreamed we were riding with Dad through a field. It was raining. This song was playing. He explained what the words meant to us."
My hands tightened on the wheel as I took the exit to my house. "That really happened. I was just thinking about it. Must've been at least twenty-five years ago, but I remember it specifically."
My brother fell silent again.
When I pulled into my driveway, we both got out wordlessly, my brother behind me with his duffel bag slung over his shoulder. I mechanically unlocked the front door and we stepped into the gloom of the house. I turned on some lights and went into the kitchen to make a pot of coffee. It was almost 9 p.m., and I knew that neither of us would sleep much this night. While the coffee was brewing, I retrieved a pillow and some blankets to make the couch up for my brother to sleep on. He was standing in front of a small window in the living room, looking up at the night sky. It was an eerie sight. The clouds had cleared, and the ghostly light of the moon was washing in, bathing him in a silver glow. I quickly turned on a lamp, then went back into the kitchen and poured two cups of coffee.
When I walked back into the living room, he was sitting on the couch. I handed him a mug and sat across from him in a recliner. He looked at me then, his brown eyes too large in his thin face.
"That wasn't all of my dream. There was more."
"Okay. Tell me."
"I was standing on a hill, in a field. It was night. It was...really dark. Cloudy. I couldn't see the moon or the stars. And it was windy. The wind was...it was blowing so hard. I had to concentrate on my balance. I felt like it would blow me over."
He paused, his head bending slowly to the side as he stared vacantly ahead, undoubtedly seeing the scene in his mind. The dull glow of the lamp beside him cast one side of his face in light and the other side in shadow. I became afraid then. Truly afraid. I could sense his fear. What he was describing was a dream, yes, but to him, it was more than that.
"There was a huge clap of thunder...God, it was so loud. It hurt my ears. And it kept on and it wouldn't stop and then it started lightening like crazy, like nothing I've ever seen before. I wanted to run, hide, get out of there, but I couldn't, it was like I was glued to the spot. So i just kept looking up at the sky. The clouds were rolling by so fast..."
He paused again, breathing heavily, his head still tilted oddly. "Then... in the next flash of lightening, I saw... cattle."
He looked up at me then with a gaze of such sincerity and fear that tears started rolling down my cheeks.
"I saw cattle...they were...stampeding. It was like they were made of the clouds, but then, something more, too. And God...they were huge. They were bigger than anything I've ever seen....bigger than skyscrapers, than cruise ships, than aircraft carriers. And there were thousands of them."
I waited. "And then?"
"And then I woke up."
We did not speak any more after that. We drank coffee in silence while the television droned in the background. Around midnight, I decided to try and sleep. I patted my brother's shoulder as I trudged past him to my bedroom. He didn't acknowledge me. He was staring unblinkingly out of the window, into the darkness.
At 3:47 a.m., I jerked violently awake. There was a crashing sound coming from the living room, and something else. I threw open the door of my bedroom to see the dark silhouette of my brother standing in front of the window, washed once more in that eerie silver moonglow. And there was music - offensively loud and indistinguishable. I turned the overhead light on and ran to him, spinning him around forcefully to face me.
"What the fuck is going on? Where is that music coming from?"
He looked dazed. "I don't know...it woke me up."
Then, I realized...it was coming from my old radio in the corner of the room. I ran over and bent to unplug it, but my brother grabbed my wrist to stop me. He then turned down the volume to a tolerable level.
"Listen," he said simply.
So I did. It was "Ghost Riders in the Sky," the Marty Robbins version.
"Why did you turn this on? What in the hell do you think you're doing?" I shouted.
"Listen to me. I did not turn that radio on. I'm telling you, it woke me up."
I did not sleep any more that night, and I suspect that my brother didn't either. At 7:15 a.m., I walked out of my bedroom to find him dressed for the funeral, sitting silently on the couch. I patted his shoulder and he rose to follow me out the front door.
The day was much cooler than the last, and was quite overcast. I'd opted to just have a graveside service for Dad, and when we arrived at the cemetery, his coffin was poised over the pit they'd dug for him. There were a few other mourners there, and they nodded to us solemnly. The pastor said a few words about eternal life in the arms of Jesus, read some Bible verses, and that was that. The other mourners drifted away, one by one, squeezing mine and my brother's shoulders and whispering meaningless "I'm so sorry"s as they passed.
We stood there as the workers began to fill in the hole. The sound of the dirt slapping the coffin lid was heinous and unnatural, but gradually, it faded as the hole filled. And finally, there was no hole, only a mound of dirt with a nondescript flower arrangement beside it.
When it was done, my brother turned toward me, the bags under his eyes heavy and pronounced. "There's something I need to do."
I looked up at the sky then. It had gotten darker, the cloud cover heavier, and the wind was starting to howl. "What?" I asked him.
"I need to go to Dad's house. Just once, before I head back. I haven't been in months.
I sighed. "I'll drive."
Wind whipped at my car furiously as I sped down the interstate toward Dad's house. It hadn't started raining, but the clouds were dark grey and foreboding. As I mentioned, Dad lived in a rural area of Mississippi, so the drive was about 45 minutes. The closer we got to his house, the worse the weather conditions got. I'd never seen the sky look so dark with no rainfall. And the wind was blowing so furiously that the clouds had begun to swirl. By the time I turned onto Dad's gravel driveway, I was almost certain that a tornado was imminent.
As soon as I put the car in park in front of the modest ranch-style house, my brother jerked open the car door and jumped out, walking swiftly over to Dad's old pickup.
"Do you have the keys?" He shouted over the howling wind.
"They're in the house," I called back. I hurried up to Dad's front door and unlocked it. I turned back toward my brother, who was still standing beside the pickup, staring up at the bruise-colored sky. "Don't you want to come inside?"
He shook his head. "Just get the truck keys," he called.
I grabbed Dad's truck keys off of a small hook next to the front door. I made sure not to look around, not to inhale the familiar scent of my childhood home.
I tossed the keys to my brother, sensing his urgency. He unlocked the driver's side door and jumped in, then leaned over and unlocked the passenger door, motioning wildly for me to get in, too. So I did.
"What the hell are we doing?" I asked.
"Going for a drive."
He turned the key int he ignition and the engine sputtered to life. He reversed a few feet, then drove the truck forward past the house and into the pasture behind it.
The pasture had a gradual rise that began just behind the house and culminated in a pretty impressive hill, and my brother slammed the gas pedal to the floor, gunning for the hill's crest. The engine whined and the tires spun grass and dirt out behind which was immediately picked up and carried wildly away by the ferocious wind. The grass of the pasture looked unnaturally emerald green in the dark glow of the sky above. The scene was otherworldly, frightening, and my brother's demeanor matched it. He had both hands on the wheel, his eyes unnaturally wide, his whole body trembling.
"Slow down," I said, trying to sound calm. But he didn't answer, and I wasn't so sure that he heard me.
We were nearing the crest of the hill now, and the molten grey sky stretched majestically out behind it, the clouds boiling fiercely. My brother suddenly slammed the truck's brakes and jumped out, running like a madman toward the top of the hill, his coattails flapping crazily behind him. I watched him go in awe - a gaunt silhouette all alone in his own dreamscape come to life. I thought of the dream he'd described to me the night before, and I was so overcome with emotion that I felt a sensation like falling backwards.
No - I was rolling backwards, and gaining speed. I realized then that he had forgotten to put the truck in park, and it was speeding back down the hill, on a collision course for the side of Dad's house. Without thinking, I jerked open the door and hurled myself out onto the grass. I looked up just in time to see the pickup slam mightily into the house, the sound of crashing metal and splintering wood swallowed by the wind.
I turned back to look at the top of the hill. My brother stood there, looking up into the sky, his coat, tie, and hair whipping about madly. I pulled myself to my feet and ran up toward him. At the top of the hill, I could see the pasture stretching out below us and the distant tree line, and above, the blackening sky rolled.
I put a hand on his shoulder. "We need to leave!" I shouted. "The weather..." But I couldn't think of a way to describe it.
He turned toward me. "We can't, not yet."
We stared at each other for a moment, my hand still on his shoulder. Then, a clap of thunder sounded, so loud I was sure it had ruptured my ear drums. I cowered with my hands over my ears, but my brother seemed unaffected. He jerked his face up toward the sky as though he were looking for something. Another booming thunderroll came, and then another, until they blended together continuously - I could feel the percussion of it inside my chest. The wind blew harder now....so much that I felt unsteady on my feet.
I looked back to my brother. HIs eyes were wide and expectant, and suddenly, his face was illuminated by a flash. Lightening. I looked back up at the sky, and I could see it snaking through the clouds. It seemed to illuminate them from the inside, and it did not cease. The scene was wild and frightening and...mesmerizing. I could no longer look away. I'd never seen such a thing.
And then... I saw them.
Cattle. They were running through the clouds, or in them, or on them, or they were the clouds. Massive, bigger than the very chariots of God himself, with red glowing eyes, and their numbers were thousands, or tens of thousands. They thundered over our heads, and from our vantage point on top of the hill, seemed to be running straight for us. We could do nothing but watch - two figures of insignificance at the mercy of some unknown power.
We watched them for what seemed like seconds - or hours. Time stopped, or it sped past us, just like that herd. And then, when their numbers seemed to be dwindling, we saw a new sight in the sky.
There was a horse with a rider, both were ten times or a hundred times bigger than the cattle. They filled the sky as the horse galloped toward us head on. Its head was bent forward, its mane streaming grandly behind it, its eyes glowing blinding white. Its rider, seemingly larger than all of earth's mountains combined, had hold of a rope and was spinning it madly above his head with his right hand, his left hand grasping the mighty horse's reins. His eyes also glowed a brilliant white, and they were fixed on my brother and I as he got closer, and....
It was him. It was my dad. I'd know the shape of his face and the slope of his posture anywhere. As he passed over our heads, he looked down on both of us in a single moment that lasted an eternity, and still it was not long enough - a heartbreakingly mournful look in his glowing white eyes.
And then, he was gone. The thunder, lightening, and wind died down - not immediately, but quickly. And my brother and I just stood there. There was nothing we could do, nothing we could say.
***************************
When we left Dad's house that day, the only thing that was said between us was that we wouldn't talk about it.
I had Dad's house repaired, which cost more than it was worth. The pickup was not salvageable, but it's still on the property, parked behind the house.
I sold my house and moved into Dad's. I don't know why. Maybe it's because I'm hoping I'll see him again. Every day, and most nights, I walk up the hill and stare up at the sky, hoping to catch a glimpse of him.
But I haven't.
And I don't know what any of this means. All I know is that the look in my father's eyes that day has haunted me, because I know he was trying to convey a message to my brother and I.
A message, or a warning.
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2020.09.26 00:44 larki18 Interview with Brandon in Hot Press: "All Killer, No Filler"

Whilst buzzing with new album excitement - kd lang, Weyes Blood and Lindsey Buckingham are among those who helped his band score yet another No 1 - Brandon Flowers is sickened by the state of the American nation and praying for a Biden victory in November. He talks heroes and villains (thankfully there's more of the former) with Stuart Clark.
He hasn't seen any little girls riding tricycles down corridors or maniacally typed 'All work and no play makes Brandon a dull boy' a gazillion times whilst possessed by a demon, but otherwise life during lockdown for The Killers lead singer has been a lot like The Shining.
"Yeah, we've been away from everything and everyone up here in the Utah mountains, which when all of this craziness started in March and April were covered in snow," laughs Brandon, who, with there being nothing quite as romantic as a Hot Press interview, is curled up on the couch with his wife Tana Mundkowsky. "It is a bit like The Shining. We've done okay, though. Well, apart from the home schooling. That was a disaster!"
So his three pupils, Ammon (12), Gunnar (ten) and Henry (nine) gave Mr. Flowers a hard time.
"No, we're just really bad teachers," he grimaces. "I tried the piano a little bit with them and it didn't go down very well. Our oldest boy was able to navigate it - he's more independent - so that was nice but the other two had a tough time."
Asked whether he was a model pupil himself, Brandon gives me a withering "are you kidding?" look and says, "No, I wasn't a great student. It was before they were really handing out ADD diagnoses and I had a touch of that for sure. It feels like such a long time for kids to be sitting at a desk. I can't remember a time that I didn't really struggle."
How bad did it get?
"I missed most of sixth grade. I was having a hard time at school and we moved from one town in Utah to another one thirty miles away. We were doing a bunch of renovating at home, which was a nice experience. My Dad always had the oldies station on when I was a kid, so I discovered a lot of great music early on. I'm kind of equating what's happening with my kids now to that - hopefully we're bonding the way I did with my Dad. We've talked before, haven't we?"
Yep, twice in 2004 just before and immediately after The Killers' debut Hot Fuss went to number one in a pile of countries including Ireland (see page 24).
It's fair to say that Brandon's life since then has not been dull. We'll run through some of the many highlights later but first to the not inconsiderable matter of Imploding the Mirage, the band's eighth studio album, which has also claimed the top spot on both sides of the Irish Sea.
It's an, ahem, all Killers, no filler affair with a guest list that includes Lindsey Buckingham whose six-string participation in Caution is one of the numerous highlights. Was he still smarting at being booted out of Fleetwood Mac last year?
"Um..I think he was just, you know, happy to get the call," Brandon says diplomatically. "I can't speak to the problems within Fleetwood Mac but from our short encounter...I blame everyone else! We recorded that a couple of months before lockdown so we got to share a studio, which I loved, and afterwards go to dinner. He was open to everything. We felt like we needed something for the end of Caution and to hear Lindsey deliver his solo like he did is something we'll remember forever."
Was there a money song they nailed and thought, "We're okay, we have that one in the bad, the rest will follow"?
"I think Bono once said, 'If you aren't sure what your second single is, you don't have one,'" he reflects. "There's another great quote from [legendary Queen producer] Roy Thomas Baker which is "There's no such thing as a bad mix of a good song." So these things were swirling around my head - 'Maybe Caution isn't good enough.' So I kind of went and forced My Own Soul's Warning out of the universe. I knew I was really proud of that one, and then we came up with Running Towards a Place and Blowback, and I was really like, 'I can walk with my head held high now.'
A kitchen-sink drama about a 'born into poor white trash' girl leaving home on the bus - it's so cinematic the screenplay writes itself - Blowback features Adam Granduciel, which I'm assuming is code for just dicking around in the studio.
"No, he does a great synthesizer on the second verse, and a really cool slide part on the chorus in the counter melody, which he took and applied effects to," Brandon says, sticking up for his new studio buddy.
Whose idea was it to also throw a bit of Frankie Knuckles and Jamie Principle's Chicago house classic, Your Love, into the Blowback mix?
"Did you pick up on that?"
I knew it was something I'd bopped around to during my chronically ill spent youth, but no, I had to wait for the nice record company person to mail me the credits, which also confirm the sampled presence of Krautrock legends Can on Dying Breed.
"I wouldn't sit around listening to them all the time, but I know about Can's impact on a lot of the music that's shaped me. They're in our DNA. That song was going down a very particular road, but the sample opened it up. As for the Frankie Knuckles one, that was Shawn Everett's idea."
Everett being the quintuple Grammy Award-winning Canadian who co-produced Imploding the Mirage with Foxygen's Jonathan Rado. He previously shared a studio with Bob Dylan, as did another album contributor, Blake Mills, who plays guitar on The Big Zim's Rough and Rowdy Ways. Did he give Brandon and the boys the nod that a new Dylan record was on its way?
"No, he kept his cards quite close. Only a few people knew Murder Most Foul came out and I thought it was going to be a one-off. And then we started getting more singles. I really love I Contain Multitudes. Gosh, that song just floors me." Murder Most Foul feels like doing round to Bob's house and flicking through his records and his DVDs. It's 17 minutes long and too short.
"Yeah, I loved it," Brandon enthuses. "What a song to come back with - especially during lockdown."
Dylan dropped Murder Most Foul just after we'd seen Bono sing Let Your Love Be Known in his living room after very obviously staying up all night, and just prior to Michael Stipe debuting No Time For Love Like Now (there's a theme developing here) in his own not-so-humble-abode. It's interesting how many big artists thought, 'All bets are off, let's just get it out there,' during the height of the pandemic.
"Yeah, necessity is the mother of invention," Brandon nods. "The first performance of Caution ended up being for our friend Jimmy Kimmel. It's just me and Ronnie in a bathroom. No amplifier, no effects, no Auto-Tune. It forces you to prove yourself in a different way, so it's been interesting."
Lockdown also found The Killers performing a poignantly paired down version of Land of the Free, their 2019 standalone, which reacts to the murder of George Floyd with the updated lines: 'When I go out in my car, I don't think twice/But if you're the wrong color skin/You grow up looking over both your shoulders/in the land of the free/How many killings must one man watch in his home/Til he sees the price on the tag?/Eight measured minutes and 46 seconds/Another boy in the bag/Another stain on the flag." Like Bruce Springsteen's American Skin (41 Shots) before it, it's a damning indictment of the institutionalized racism that blights US law enforcement.
"We did it in Provo, in a great studio, June Audio, which is about an hour from where I live, Brandon adds soberly, "I just felt compelled to rework it and document it. I was broke. I believe it was the CNN video. I cried on my couch watching it. I couldn't believe that people weren't rioting already. I thought that first night that things were going to start burning - and they did. It simmered for a minute before they went onto the streets."
Depressingly, Provo was also where the 15,000-strong Utah Citizens Alarm militia staged its first anti-Black Lives Matter counter demonstration, which resulted in the shooting of a passing motorist. The fallout is still being felt statewide.
"You get people coming out of the woodwork for strange things like that," Brandon rues. "They're worried about their guns being taken away from them. Whole campaigns are run on issues like that."
Does Brandon regard Trump vs. Biden as the most important election he's been able to vote in?
"I think so. You know, four years before was important and my wife and I voted for Hilary Clinton. We deserve more from our leaders. It's sad that democracy has led to this, and that celebrity has gone this far."
Having done some top quality digressing, let us return to Imploding the Mirage, which with Lucius, Weyes Blood and a certain catherine dawn lang also on the guest list is purposefully not The Killers boys' club of old.
"The women being on there was a very pre-determined thing we wanted to do because we had the album cover picked out long before we finished recording," Brandon explains. "It's a painting by Thomas Blackshear of these two celestial beings, so it needed to have a female component. We started thinking about women who might work, and came up with Lucius who are great singers and toured with Roger Waters; Weyes who'd just made a record with Rado - her bridge on My God is so beautiful, and then because I needed someone to basically represent my mother on Lightning Fields, kd lang."
Was she told that when they were selling the song to her?
"No, she still doesn't know that," he says a tad guiltily. "It was my late mother talking to my dad. It was during quarantine so she was up in Canada and sent it in. It ended up being great. She's iconic, and it was so gracious of her to lend her voice to us."
As I mentioned in my Imploding the Mirage album review, it's a peach of a song with a half-inched Pet Shop Boys intro giving way to a barrage of synths and guitars of the squalling maelstrom variety.
Brandon is great but lang is even better as she belts out her Mrs. Flowers verses - "Don't beat yourself up/You laid good ground/Look at 'em walk from scratch to sundown/You put in the work and then some/Where is all this coming from?" with 80s AQR gusto.
It's another example of Brandon painting his characters in an almost Springsteenian way.
"I was lucky enough to get to Bruce's Broadway show and it was just the best," he coos. "To do that and Western Stars and the autobiography at this stage in his career gives us all hope. His work rate is phenomenal. It's almost an addiction. You don't want to take the opportunity for granted. It becomes part of your DNA and your identity."
Bruce's film version of Western Stars is part of The Killers' reason for working with Muse and Halsey director Sing Lee on their own Imploding the Mirage short.
"It's going to be 30 minutes long and feature Caution and snippets of other songs," is all a spoiler-avoiding Brandon will say for now. Given Lee's past output, it's likely to mirror the epic widescreen feel of the record - and then some.
I happened on a Youtube clip the other day of Brandon grinning like a kid at Christmas as he belts out Thunder Road with The Boss. One of the best moments of his life?
"It's up there," he reminisces fondly. "It was 2008 and we were on the same Pinkpop festival bill as him and the E- Street Band in Holland. I looked over during Mr. Brightside and behind our sound engineer you saw these Aviators and a very familiar countenance nodding along. We finished the set and walking back to the dressing rooms with Bruce, he said, 'Do you wanna do a little Thunder Road later?' It was just a dream. My favorite part was the preparing for it. I got to go back to his dressing room and we chose which verses we were going to sing. It was almost like a test, you know? I knew all the lyrics by heart and I wrote them by hand, and he helped me me mark up which parts he would sing and which ones I would sing. We got a guitar and worked it out. That behind the scenes moment was very special. I didn't really have time to feel nervous. If it had been suggested a day or two before I don't know if I could have made it!"
Before we let Brandon and Tana snuggle up properly on the sofa - two's company, three when one's a journo is definitely a crowd - what have been his other 'pinch me, am I dreaming' moments?
"In the early days, it was things like being recognized by people you admire," he concludes. "Getting to open for U2 on the first album. Or Morrissey. That was like, 'How did this happen?' These are people who I still had posters of on my wall. Glastonbury 2019 was a special gig for us. I was just really proud and thankful for everything. It felt full circle. That was a great moment."
------
THROWBACK - THE FANNISH INQUISITION
Brandon Flowers has always been upfront about The Killers' influences - and especially when talking to Hot Press!
You can tell from the vastness of his Utah mountain retreat and the cut of his designer cobbler that Brandon Flowers has done extremely well in life, but in some ways he's still the same shy 22 year old with a nervous giggle and the serious musical hots for The Cars, he Beatles, U2, The Cure, The Smiths, New Order, and Oass - roughly in that order - that I met for the first time backstage in 2004 at Oxegen.
Hot Fuss had only been out a few weeks and, while there was a buzz about them topping the Saturday New Band stage with Halie, Sone & Daughters and Razorlight on the undercard, there was no indication that some of the world's biggest stadiums awaited.
If we hadn't mislaid the video of it, you'd be able to see the brilliant bit in the interview when a drunken punter who'd managed to sneak past security, staggered over to us and initiated this conversation:
Drunken punter: "Are you in a band?"
Brandon: "Yeah."
Drunken punter: "Whassyername?"
Brandon: "The Killers."
Drunken punter: "The Killers? Ah, yer a bag of shite!"
I think we know who had the last laugh there.
"There's a bit of 'The grass is always greener' going on, yeah," Brandon, who I noted had a bit of the Matt Damon about him, agreed when I accused him of being an Anglophile. "We've never thought, 'Oh, we wish we were British,' but the music from The Beatles all the way up has always been really good. Hearing The Cure's Head on the Door for the first time was pretty special, and The Joshua Tree was a big record for us. I was inside the heart the last time U2 played Las Vegas, which was amazing (Before Angry in Athlone writes in, Brandon does know that U2 are Irish, Editor).
"Our guitarist, Dave, placed a 'Musician Wanted' ad mentioning Oasis, which came directly after me seeing them in Vegas as well, and deciding that's the direction I want to take. A couple of weeks later we were a band."
Asked whether he'd met any of his heroes, Brandon beamed and said, "Morrissey stood right next to me at soundcheck when we opened for him in LA. You've looked up to this guy since you were twelve and there he is eyeballing you."
By the time our paths crossed again in early December in the penthouse (natch) of Dublin's Clarion hotel, The Killers really were living the rock 'n' rock dream.
"It's been one amazing thing after another," he gushed. "Gold discs, being sat between Sarah Michelle Gellar and Geri Halliwell on The Jonathan Ross Show and looking up at Irving Plaza in New York and seeing David Bowie singing along to Mr. Brightside. I couldn't believe it! Afterwards he complimented every single one of us individually, and said that he could hear the whole history of rock 'n' rock in our songs. He's a hell of a musician and a hell of a nice guy. Elton John's the same - he's actually coming to our Manchester show tomorrow which is a follow on from us doing a TV special with him in Paris."
He almost started hyperventilating when I took him out on to the balcony, pointed at U2's former Hanover Quay HQ on the other side of the Liffey, and told him they were just about to announce their own branded iPod (remember them?)
"Man, that'd be so fucking cool!" he enthused. "The first thing I'd stick on it is the U2 Digital Complete Works followed by John Lennon Imagine, David Bowie Hunky Dory, Morrissey Vauxhall & I and The Cure Head on the Door. Those are the records I'd go into a burning house to rescue."
Brandon was in fan mode again when he finished by saying: "Watching Smiths videos with my brother when I was 12 and hearing Just What I Needed by The Cars on the radio are the two main reasons I got into music. As far as I'm concerned, Ric Ocasek is God!"
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