||"Reflection of the Black Mirror"
||Behind the Dark Ice
||The basic contention of symphonic black metal is that Mussorgsky's Night on Bald Mountain was a pastoral where we needed a gothic.|
||"NANIMONO (feat. 米津玄師)"
||NANIMONO EP 5
||This soundtrack one-off reminds me of my favorite SUPERCAR songs, which achieved a yearning mechanistic humanism in the same way, at least for me, as the effervescing Pokémon flora and every "landscape" with a bridge.|
||We will probably not look back on this as a golden age of glittering pop songs, but only because we are now cursed with the awareness that it is always a golden age of glittering pop songs.|
||"My Heart's Always Yours"
||Even stomp-and-holler can be performed in weightless exoskeleton boots.|
||The Naked And Famous
||"The Water Beneath You"
||But oh my god, can we just take a moment and spin like there's nothing else, like outer space itself is shimmery and breathable and the roiling magma is finally going to launch us all into freedom?|
||Did you ever sketch imaginary spaceships for escaping mundane gravity?|
||"Through My Eyes"
||And isn't escape ultimately what all engines and monsters and power are meant to offer us?|
||"Heavens Little Devil"
||Visceral fantasies are escape masquerading as indulgence.|
||Nihilistic fantasies are escape masquerading as indifference.|
||XXX-Three Decades In Metal
||But ultimately, fantasy itself is a form of inherent triumph,|
||A Pregnant Light
||"Rose of Golden Crosses"
||Deep Lavender Dreams
||which is maybe why desolation in a fantasy context, from Thomas Covenant to depressive black metal, can be so jarring and powerful,|
||"Und immer wieder Schnee"
||and why some utopian impulses aspire to the glacial.|
||But of course this gothic fear isn't always cast in metal.|
||Sometimes it emerges in activist mantras|
||and noise-surge shards|
||"Stronger Than You"
||and thornflower detonations.|
||Theatres Des Vampires
||The vampires, after all, are us.|
||Do not be misled by our complicated bookish disguises.|
||There is dance music too for discontinuities.|
||Slow transcendence for the implaccable math of our doom.|
||"Start a War"
||But the great thing about the inevitable is that we are in no way required to accept it.|
||The audience for our defiance is only ever ourselves.|
||"The Dope Dealerz"
||The Dope Dealerz / Double Barrel 2
||But who else was ever going to make sense of our private languages?|
||The higher up Bald Mountain you climb, the more overwrought the weather.|
||But the storms basically only really exist to make the eventual giant-eagle rescue more dramatic.|
||"Death in Rebirth"
||Requiem for Hell
||You'll enjoy the cathartic crescendos more if you pretend you don't know they're coming.|
||"Love Grows out of Thin Air"
||(But they do, because we can only pretend to be mortal for so long.)|
||We open our mouths, and shouts come out.|
||The Front Bottoms
||Needy When I'm Needy 2
||Even when we pretend|
||John K. Samson
||it's our cat talking.|
||In Her Own Words
||How plaintive that we had to call one kind of openness "emo", as if the others are all merely paperwork.|
||The Lonely End
||As if any kind of expression isn't an expression of otherness|
||"Where Will We Go from Here"
||no matter how in-group-anthem it codes.|
||Some nights a beat-up guitar is all we can afford,|
||some nights we get lucky and score a borrowed chorus pedal that sometimes works.|
||"My Prayers Have Become Ghosts"
||But other nights, our racks are packed with the finest space-program byproducts|
||"To Be Alive (feat. Aaron Richards)"
||and our switches and knobs conjure minuets of robots and ghosts,|
||Love & Hate - EP 5
||just so we can murmur "They're not going to get us" to ourselves.|
||And we dance however we feel, and fibonacci stepping stones materialize where our shoes happen to reach a surface.|
||We Made It 3
||Puzzle-jaw airlocks snap shut exactly an inch behind us,|
||"One Day Winter"
||and then it's suddenly blast-quiet.|
||"Perpetually Doomed: The Sisyphean Task"
||All the universe has to do is flex, and every law we've ever learned ceases to matter or even apply,|
||A Sense of Gravity
||but this only an argument for enjoying implications while they hold.|
||A Savage Kiss EP 3
||Ask yourself this: are you posing for a picture or are you just standing there?|
||In this instant before we are pulverized:|
||Jimmy Eat World
||"You Are Free"
||- How whole can we believe we are?|
||AS IT IS
||"Pretty Little Distance"
||- What can we find to clap for?|
||The Secret Songs of Us
||Moments in Slow Motion
||- Who watches us while we sleep?|
||- Who wakes us up wild-eyed?|
||"Bring Them All / Holy Grime (feat. Devlin)"
||We sneak out into private cities|
||"It's a London Thing (feat. Scott Garcia)"
||overwritten on the ones that were already here when we awoke|
||The End +2
||in the daringest pants we hide from our parents,|
||which naturally look a lot like the ones they hide from us, but each in their own season's agreed-upon rebellion hues.|
||Dark sarcasms are timeless, but more fun if you feel like you scrawled them in stealth.|
||But isn't that also true of breathy come-ons|
||"Pretenders and Liars"
||and sing-along assurances|
||Hell Is Eux Autres
||and everything we're unsure of?|
||Turkish hip hop is among the many topics I'm unsure of, about which you should clearly trust nothing I say, but I'm pretty sure Joker is the best rapper in Turkish hip hop.|
||"Kemal Soydere / Duvarlarım"
||Kara Sevda (Orijinal Dizi Müzikleri)
||I have a favorite Turkish TV-soundtrack epicore composer, too.|
||Epicorestep should be more of a thing.|
||"There Was a Door"
||Beyond the Fleeting Gales
||As should prog-emo.|
||Beth Nielsen Chapman
||Beth Nielsen Chapman co-wrote "Almost Home" with Mary Chapin Carpenter. It closes Uncovered, an album of Chapman's versions of songs she wrote for and with other people. "Almost Home" flirts with afterlife-as-goal fatalism, and Carpenter's version played it for country-gospel reverence. But this one sounds more like a demo, less worshipful than sentimental.|
||Beth Nielsen Chapman
||"Life Holds On"
||Beth Nielsen Chapman
||And I might not trust that subjective distinction, but this is the first Beth Nielsen Chapman song I ever heard, when I was younger and a lot less tolerant, and somehow I believed it immediately.|