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(02/06/21 4:00pm)
By Brandon Carson
Unlike the title suggests, it has been five long years since Weezer has put out a solid record. 2016's Weezer (White Album) was the last album where the band seemed to find a spark of magic. It was chock-full of catchy hooks and riffs, quality lyrics, and consistency. “L.A. Girlz,” “King of the World,” and “Do You Wanna Get High?” are the key tracks of the album. Gone was the pop-music pandering of Make Believe and the all-over-the-place Weezer (Red Album). However, 2017's Pacific Daydream was the ultimate step back, with its predictable pop structures, corny lyrics, and overproduced sound. What followed Pacific Daydream was a streak of miss turns. In 2019, Weezer would release a cover album Weezer (Teal Album), and another self-titled release, Weezer (Black Album). The Teal Album was a gimmick that seemed to be built around their successful cover of “Africa” by Toto. But the Black Album was a bad sign. There was no direction, no vision, only catchy hooks, and unrealized ideas with a pop sound.
OK Human is the complete opposite.
OK Human proves to be an insane jump in quality. The flow is incredible, with the mood and tone staying clear and distinct. The production is vibrant and expansive. Most importantly, Weezer understands how to change their sound, while still staying true to it.
A new (yet familiar) direction
What Weezer has always done so well in their career, during both highs and lows, is have their own distinct style. It can be found on the Blue Album, where they broke into popularity, and even on the Black Album, where they sound like they’re trying to remain relevant. OK Human follows in the same footsteps; however, the instrumentation and production are completely different. In a 2019 interview with the Los Angeles Times, singer and front-man Rivers Cuomo stated that the strings were recorded at Abbey Road Studios. They brought back acclaimed producer of The White Album, Jake Sinclair, and stripped back their entire production, making no need for loops, click tracks, or even electric guitars.
In an interview with iNews, Cuomo said, “We weren’t worrying about commercial potential, which gave me the opportunity to just sing about whatever I was feeling in the moment and explore my anxieties.”
A near-flawless tracklist
It’s hard to talk about OK Human without discussing each song. They all flow together so well that they become pieces of a whole, rather than a collection of songs like The Black Album and Pacific Daydream.
Album opener, “All My Favorite Songs,” introduces the listener to these changes immediately. It’s even a little off-putting upon first listen, with seemingly cringy lyrics like
“All my favorite songs are slow and sad/ all my favorite people make me mad.”
But right as the drums kick in and the orchestra swells, it makes for a nice, short, and sweet track. From there, “Aloo Gobi” acts as a classic Weezer track. When broken down, the orchestra is playing what would be an electric guitar riff, and the hook sounds like something straight out of 2014s Everything Will Be Alright in the End. But these aspects working together, along with the classical-sounding bridge, make for a completely new and improved Weezer experience.
“Grapes of Wrath,” a song about getting lost in audio-books, keeps the quality up, in what’s sure to be an instant Weezer hit. But the true magic of their instrumental approach comes with the song, “Numbers.” All the elements come together beautifully here: the orchestra is moving, almost cinematic, and the drums are tight. Cuomo sounds sincere and passionate, making for a beautiful chorus. It’s easy to tell how much care went into the creation of this song and the album even. This is one of Weezer’s best songs in a LONG time. But OK Human has even more surprises. “Playing My Piano” sounds like it’s straight out of a musical but “Weezer-fied,” with even more gorgeous orchestrations and piano riffs. It leads right into the short but powerful, “Mirror Image,” which may have one of the best Weezer moments in the very end with Cuomo singing as if he’s improvising the lyrics, trying to get them right:
“Heaven can't save this man/Heaven can't help this man/Heaven, Heaven turned his back on this man/Heaven shuts the door on this man.”
“Bird with a Broken Wing” is another huge highlight. It’s the next ballad and a testament to how emotional the band can get. The song is about Cuomo feeling irrelevant and sorry for himself, leading to this great line from the bridge, “Nothin’ matters in the world and everyone is free, but I’ll belong to you, if you believe in me.” “Dead Roses” continues to amaze with its baroque instrumentation and interesting lyrics. “Everything Happens For A Reason,” a short instrumental interlude, provides an excellent transition from melancholy to joy near the end of the record. “Here Comes The Rain,” is one of those songs that is so catchy and positive, you can’t help but enjoy it. Finally leading to a fantastic ending in this triumph of an album, “La Brea Tar Pits.” The organ works well here, and there’s a callback to “Undone – The Sweater Song” in the end, suggesting that if fans don’t like this new direction, there’s always the classics. Also, it’s just a neat easter egg!
A few roadblocks
Cuomo can write raw, emotional lyrics that can touch the heart, but he has written lyrics that feel underdeveloped and fail to make any sense. “All My Favorite Songs,” falls into the “Underdeveloped” category in terms of lyrics. They aren’t terrible, but we have definitely heard Cuomo write stronger lyrics, even on the same album. “Here Comes the Rain” also includes questionable lines like,
“Splish, splish-splash/Woah-oh, woah-oh, taking a bath.”
However, the instrumentals and production make up for these weird lyrical choices.
“Screens” is the only song that didn’t resonate well on OK Human. It’s the most forgettable track of the bunch, and the technophobic nature of the song feels dated. It’s not a bad song, but coming after “Mirror Image” and the whole first half of the album, it’s easy to tell when a song isn’t up to snuff.
Top tracks:
Numbers
Bird with a Broken Wing
Grapes of Wrath
Recommended if you like:
Cake
Jimmy Eat World
Green Day
Sources: Los Angeles Times, iNews
Featured Image: Genius
(01/20/21 8:30pm)
by Conner Tighe
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Lasting six seasons and winning over 30 awards from its inception in 2009 to 2015, Fox’s groundbreaking show Glee celebrated inclusivity, equality, and what it means to be in high school in a way no other show had before or afterward. Although it took place in fictional Lima, Ohio, despite being filmed in Los Angeles, the show captured small-town Midwestern madness that many of us can relate to. Creator Ryan Murphy made the comedy musical expand upon High School Musical, going beyond the stage and deeper into the lives of what made singing so special when nobody else thought it was. Years afterward, the aesthetic was replicated to the best of its ability with NBC's Rise, which lasted only one season. Zoey’s Extraordinary Playlist explores the life of Zoey Clarke (Jane Levy) who has the ability to hear people’s thoughts and desires through performances from the people in question. The show is in its second season which began in early January. In my opinion, the show merely mirrors Glee’s aesthetic while not capturing its true essence. Rise, on the other hand, is on the more musical side of things. Although Rise was decent in its plot and carried through with its musical ensembles, Glee still reigns supreme and most likely will forever.
Glee left no genre untouched with over 700 performances on the show. During the pilot, the last performance of Journey’s “Don’t Stop Believin’” was influential in many ways. First, with its underlying message of resistance and not giving up on your dreams, the song propelled the glee club to continue singing amidst backlash from the school and principal. The song became something more meaningful after the death of Cory Monteith’s character, Finn Hudson.
[caption id="" align="alignright" width="459"] Image from Medium[/caption]
The song was the first performance in the show, with Rachel Berry (Lea Michele) and Hudson collaborating their vocal skills. Berry had a dream of landing a role on Broadway and a career in New York, and she performed the song in front of judges during season four. Later on in season five, the song was sung again with the remaining members of the glee club. “Don’t Stop Believin’” was the glee club's glue and base and a celebration of the beginning of a club that started small.
Each character had their unique abilities like Brittany Pierce’s (Heather Morris) dancing, Hudson’s leadership role, and Berry’s vocal range. The characters came from their own backgrounds, with each character explored throughout all six seasons with the introduction of an additional cast in season four. Some characters fought and struggled with one another while others faced struggles within themselves. Some of the more relatable storylines were Kurt Hummel’s (Chris Colfer) struggles with being gay in high school and Hudson’s struggles with being a straight male in the glee club and quarterback of the football team. Toxic masculinity, teen pregnancy, homosexuality, fear of criticism, alcoholism, and many other real-life struggles were tackled in the show.
Although the show came with its heartfelt moments and success, over the recent years, the cast has been affiliated with tragedy with three members gone; most recently, Naya Rivera sadly drowned in early July. It’s unlikely that any cast members will forget about a show that brought people together through music and struggles that many of us face. The characters felt real to the point where I felt like the school and the oppressive environment acted incredibly well by Jane Lynch’s Sue Sylvester were real.
[caption id="" align="alignright" width="468"] Image from Hollywood Reporter[/caption]
Glee ended with Berry making it big on Broadway, even winning a Tony award for her efforts in the fictional musical Jane Austen Sings. Each character went in their own directions, some staying in Lima while others moved to Los Angeles, Kentucky, and New York. The final episode, “Dreams Come True,” featured all the remaining cast members singing “I Lived.” Although the ending was decent, Murphy revealed in a 2013 interview that the show was meant to end differently. Berry would’ve returned to Lima after Hudson started his own glee club with him asking her, “What are you doing here?” And Berry would reply, “I’m home.”
There’s perhaps no other show out there in recent years that took something laughable—a musical—and turned it into something so relatable and heartfelt in every way possible. There’s little to hate about Glee with its character development, emotional roller coaster of a storyline, and musical numbers that celebrate a wide range of artists. The cast truly felt like one big family with their issues and celebrations together.
Sources: ABC 7, Bustle, Cinema Blend, IMDB, Insider, International Business Times, Inquiries Journal, NBC, The Young Folks
Images: Hollywood Reporter, Medium
Featured Image: The Outspoken Oppa
(01/20/21 6:00am)
By Conner Tighe
Stylistically similar to U.S. artists, Ed Sheeran and Passenger, Icelandic artist Axel Flóvent’s latest album, You Stay by the Sea, takes on a slow, methodic journey of self-discovery and looking back at where one comes from with their roots. Every bit of the 12-track wonder has heart and fulfillment emanating from the artist who spent time traveling Europe pursuing something he believed he needed, his own musical scene. Flóvent wanted to make a name for himself, and after spending time near the sea in Brighton, he returned home. You Stay by the Sea is a beautiful calling to this relatable feeling of loneliness and longing for our home. The artist remembers being alone for much of his journey, and with the scenery he encountered, Flóvent’s expedition inward is a result of what’s happened outward around him.
Purpose of the sound
After a first listen through, there seems to be monotony and sad emphasis on dark undertones, like Taylor Swift’s Folklore and Evermore, but this is ignorant to say as a final verdict. Art requires attention and patience, and only patience will help capture Flóvent’s fantastic sound and ability as a young artist. You Stay by the Sea is the artist’s first album release after four EP releases, the last being released in 2020. Flóvent found fame after releasing his first EP Forest Fires in 2015. In terms of sound, You Stay by the Sea is nearly identical, but in meaning, completely different. Self-discovery is not a new work of art in the music industry, but one that can be spun in unique ways, and Flóvent accomplishes a unique angle on how his home holds something dear to him.
Folk and guitar playing establish their dominance in this album, with the artist’s beautiful vocals echoing melancholy. “Tonight” breaks itself off from the rest of the tracklist as it centers around Flóvent’s message of homesickness and the importance of living by the sea. The song is deep and beautiful in its sound, with the vocals silently echoing the truths Flóvent is feeling in the moment. You Stay by the Sea is more of a personal note to the world about his journey in Europe rather than another pop ballad of love and heartbreak like much of the music today.
"And you stay by the sea/It keeps you calm and quiet/'Cause there's no other way/Your heart still wants this fire"
Haunting aesthetic
The artist’s sound is no doubt an acquired taste. Only those familiar with Flóvent’s work and style will understand how much this album means to him. Tracks “Driving Hours,” “Haunted,” and “Fireworks” give the album this slow, methodical rhythm, but the path is broken up by faster tracks “December Traffic” and “Indefinite.” All the tracks are beautifully poetic, but some cannot take away from the overall leisurely pace that can drag on at times.
"But we should dive into the light/I know it’s right to feel both sides"
Top tracks:
Tonight
Driving Hours
Indefinite
Recommended if you like:
Ed Sheeran
Taylor Swift
Passenger
Feature Image: Genius
Sources: Byte
(01/16/21 5:00pm)
by Conner Tighe
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Along with his friends at Harvard, Mark Zuckerberg developed a revolutionary way of communication; one that involved zero in-person interaction yet expressed everything anyone wanted to say for better or for worse. In 2004, Zuckerberg launched TheFacebook, or what it's known today as, Facebook. It wasn't the first social media platform (that spot goes to Six Degrees), but it had a vision that paved the way for platforms like Instagram and Twitter. Facebook went from an interactive way of communication to politics, memes, and a news outlet. Later, when Instagram, Snapchat, Twitter, TikTok, etc., were founded, age groups flocked to certain platforms while abandoning others. There’s much to observe in findings and cultural influence where social media is for lack of a better term—the culprit.
In some data findings of July 2020, Facebook remains the king of social media usage 16 years later. YouTube, Instagram, and TikTok come in second place of usage. Facebook users consisting of 25 – 34-year-olds are the main demographic, with males using the platform more than females. Teenagers have been found to use Instagram the most, with females using the platform more than males. These findings are the beginning of an extensive list of demographic data, but trends, language, and cultural influence have resulted from these platforms.
Social media offers shopping and advertising opportunities for companies to reach their audiences. Recently, Instagram began offering a shopping option for users to buy clothes and other products. Facebook marketplace, a relatively successful launch, allows Facebook users to buy almost anything, except live animals. Malls and stores may have competition soon, if not already, as social media has gone from an average outlet to a source of quality for life and daily social interaction.
[caption id="" align="alignright" width="419"] Image from Complex[/caption]
[caption id="" align="alignright" width="424"] Image from The Times[/caption]
In 2016, the Vine alternative TikTok was launched, then named Musical.ly, and has since provided self-expression for social media influencers and anyone else looking to immerse themselves in today’s trends. Cringy challenges like the ‘Old Town Road’ challenge where users morph/change to cowboy attire while the Lil Nas X track plays and the ‘Flip the Switch’ challenge where users trade clothing and positions after flicking a light switch to Drake’s “Nonstop”, among many many other challenges/trends, have taken over the platform. Whereas Vine was more reliant on comedy and humoristic approaches to posts, TikTok goes with pop-culture content and whatever is “trending” with youth culture. One may say individual thinking and artistic approaches to social media are dying. Snapchat’s filter options correlate with what’s “hot” in pop culture currently. Being able to temporarily change your appearance on-screen can brings laughs and provide insight into what people may be talking about.
Words like “chat” and “message” have been more or less replaced with the terms “direct messaging” or – more commonly expressed – “dm’s.” Once seen as something “nerdy” with all the hashtags expressible, hashtags now reach thousands, if not millions of folks around the world looking to connect with similar interests by one simple search.
Like Facebook, Twitter has transformed into something political, especially in the past four years with controversy over President Trump’s tweets. Even what journalists cover is affected by what’s happening on the platform. It was discovered in 2019 most Twitter users are Democrats and young. Memes and other parts of youth culture tend to surface first on Twitter as posting is relatively accessible with a limited character count for easy tweeting. Two years later, Twitter is still in that demographic, it appears.
The barrier between older folks who use social media and younger folks seems to be breaking down or meshing together. TikTok has brought friends, parents, and even grandparents together through comical dances, challenges, and plain fun. As younger folks stick with trends on TikTok, parents and grandparents use their perspectives and age to bring something new to the platform. Having their children or grandchildren demonstrate challenges for them to copy on video is lighthearted, entertaining, and could become TikTok’s brand.
One of the more recent examples of social media influence has run with the 2020 Black Lives Matter protests. The movement wasn’t the first to be expressed through social media. “Blackout Tuesday” occurred on June 6 with many activists, protestors, and other members either in favor of the movement or a part of the movement. Many Instagram accounts in America consisted of a single post that day, a black square, a blank nothingness, a void. It’s no secret social media brings us together in terms of communication and connections. Still, as the world continues to evolve with the times, one will always find a post on whatever you are searching for anywhere on social media.
(01/15/21 9:00pm)
by Conner Tighe
Singer-songwriter and Folk Iceland musician Axel Flóvent recently went on a journey of self-discovery while traveling in Europe. As a singer-songwriter, Flóvent writes and composes all his material. After growing up in a musical family, Flóvent sought identity and found inspiration from his life experiences and the environment he was living in. Flóvent says nothing else made sense to him except music, because he gave all his attention and care to it. He seeks to write as a conversation between himself and others. From a video call via Facebook Messenger, the artist agreed to discuss his life on tour, motivation, and the upcoming album You Stay by the Sea, which is scheduled to be released today, Jan. 15.
Conner Tighe: Tell me about where you grew up, your background, and how you got into music.
Axel Flóvent: My dad has been a guitar collector, so I got a guitar when I was nine. I grew up in a very small town in Iceland called Húsavík. There’s not a lot of things to do there. If you don’t play football – in the U.S., you would call it soccer – then you don’t have a lot of social things to do. I wasn’t much into sports, so I had to find some activity. I started playing the guitar, and I had very little patience for learning it the traditional way. I stopped taking lessons because I didn’t want to learn the notes and the basics. I wanted to learn chords so I could play songs. My uncle taught me how to play power chords, and as soon as he taught me, I started writing.
I started writing songs around 10. I moved to Denmark around 10. There I didn’t have a lot of friends either, so I had to occupy my time. I started going into picking up songs and playing all these different Beatles songs. From there, I started writing a lot, and that’s how it started.
CT: Where do you get your inspiration for writing songs?
AF: It used to be music. When I was younger and started writing, I was like if I wrote a great song or wrote a song I thought was great, I thought I could do anything. Now it’s more life. It’s more things around me, and what I’m going through in life that inspires me to write and want to tell the emotional story I’m going through. It used to be when I didn’t have that need to express myself, or I wasn’t aware of the need to express myself back when I was starting so young. I would hear a cool Weezer song, and I thought, “I want to make that. That sounds easy enough.” It was more like that.
CT: Have you toured before?
AF: I’ve done a bunch of tours. It’s probably what inspires me to do what I do. It’s what I love the most is to tour with my friends. I supported Radical Face in the U.S. at the beginning of 2020. It was my first American tour in the states.
CT: When you first toured, was it a big transition for you?
[caption id="" align="alignright" width="407"] Image from Facebook[/caption]
AF: Touring at first, was intense. It was a weird reality to step in, but as long as I adapted to how things worked, it was my favorite thing to do. When you’re on tour, it’s like you have a schedule every day for the next month and a half or so. It feels so relaxing to have everything planned out for you. You wake up, and you have a schedule. There’s nothing you ever dread doing. There are always new things coming. It depends on what kind of tour it is. When I’m supporting artists, I step into a van with a bunch of strangers, or that’s how the American tour was. I toured around with the Radical Face guys, and I was alone, so I didn’t know anybody there, so I had to get to know the crew. It’s a weird reality you step into. I had a lot of working environments where I would step into a van with a bunch of strangers that you spent time traveling with for eight weeks.
CT: What’s an average day like on tour?
AF: You come into a sit-in, and you may have three to four hours to explore, but sometimes you’re so tired because you’ve been in a van for five to six hours, since eight in the morning, and you want to relax in the hotel room for three to four hours. Sometimes you want to explore the city, go to a café or museum. Then there’s the soundcheck, then there’s the show, and then you go to the merch table. You sell some merch, and then you go back to the van.
[caption id="" align="alignright" width="423"] Image from Facebook[/caption]
It is quite glorious in the sense you’re doing what you love. You’re able to do this special thing. Every time I’m not on tour, I want to be touring. When I’m doing this, and I’m with my friends, it’s way better because I can still surround myself with a community of people. With my American tour, I loved getting to know the guys, but it was weirder because I didn’t have anybody so close to me and with me, so I was alone traveling America, which was great and amazing, but it feels a little overwhelming to do all of that by yourself. When I think about a normal day, it’s very mundane.
CT: From the first time you started performing to now, how has your music and sound changed?
[caption id="" align="alignright" width="272"] Image from Amazon[/caption]
AF: I feel like it has changed a lot. I have a different side of myself I want to explore more. I like to think about the route, how it started, and I don’t want to lose that part of me, so I hold onto it. I hold onto not changing too much. Sometimes I feel like I need to do different things, and I feel like I’ve released one song here and there that feels more different from the others. That’s how I’ve evolved my sound. I go a little bit further with one song. I feel like for this new record, there are still elements on this record that were there in the first EP Forest Fires I released five years ago.
There are some songs on there that are so different from the first EP, but then there are songs that could be on that EP. I feel like I’m holding onto an old sound, but I’m feeling the need to evolve and change.
CT: Tell me the meaning behind this new album.
[caption id="" align="alignright" width="276"] Image from The Line of Best Fit[/caption]
AF: In the easiest sense, it’s a bit about the journey I went on. I moved out of Iceland because I was signed to Sony in Amsterdam, so I moved to Amsterdam. I moved there for the purpose of working more, and I thought I would maybe meet other musicians. I was going there to create my own musical scene, but it was hard because I didn’t know where to look. I’m such an introvert. I’m not an extrovert that goes to a bar and meets people or goes to a musical community. There’s always a limit to how I seek these things. I moved to Amsterdam with a dream, but I didn’t think about the reality of how I would get there, so I ended up staying in my apartment for most of the time and just wrote a lot of music there. I felt like my life started becoming a weird thing, just being alone in Europe, and it’s the same thing with touring. It’s just completely alone. After a year in Amsterdam, I was like, “Okay, I’m not ready to move back home after a year.” I needed to find something new because I was still looking for something.
I moved to Utrecht in the Netherlands for three months to gather my thoughts. Then after that, I moved to the U.K. I moved to Brighton, and the reason I moved to Brighton was I wanted to try to live in the U.K. and also wanted to be by the sea so I would be closer to my home. That was my thought. I was like, “Okay, at least I have the ocean there.” In Amsterdam, I didn’t have any coast to go to let my mind wander off, so I went to Brighton. When I was there, I got a nice studio. I made my apartment quite nice, bought everything new for it, and then after I settled in Brighton for two months, I decided I wanted to move back home. When I moved back home, I finished the record. It was about this weird search that I was looking for something, looking for an answer in the quality of the place I lived in, and then I moved back home where my friends and my family and these things I took for granted before and it’s just about the realization. It doesn’t sound like very deep thought. It was like I needed to go on this journey to tell myself something that I already knew somehow, and then I wrote an album about it. I guess what I needed to tell myself was that I cannot fill the inner void with my work or with moving to a busier place.
CT: Can you take me through your creative process and how you get into your “zone?”
AF: I’m constantly looking for my “zone” as well. I’m constantly trying to change the environment and how I write. What I usually do is use a plugin I’ve not used before. I try to find a new sound and start it with a drone of some sort. I like to start with a title or drone that puts up the atmosphere of the song. It helps me to pick up the electric or acoustic guitar to start strumming on it to get into the vibe. As soon as I pick up on a chord, I get into the mood of the song, and sometimes I babble on, sometimes I record on my phone like complete nonsense. The way I usually write my lyrics, for example, I babble nonsense on my phone and tell myself I got this idea. I’m just writing a melody. I’m just writing from the top of my head. I pick up the nonsense, and I write down what I think I’m saying, and to that, I finish. There’s a bit of an abstract line in the sentences and the lyrics, but then I try to make sense of it in the end. How I do it is I start with a chord, and then I make more sense of it and structure it a bit. If I were a painter, I would paint on the paper and start making sense of it afterward.
CT: Can you see yourself doing something if you weren’t in the music industry?
AF: I’ve thought about this so many times because especially now with COVID-19 and not having a lot to do, and as a musician, you need to think about, “What if there wasn’t this thing to do anymore? What if I needed to do something else?” I feel like maybe I would teach. Maybe I would like to explore that way and teach what I’ve learned in my journey as a musician if there was a place for that. On the side, I would always want to create something. It’s hard to imagine my life without music. I like to paint. I like to draw artistically and create, as well. I want to write a book when I’m older. I don’t read a lot of books. I like the concept of the story, and a book is something I really love. It’s just I’m such a slow reader, and my mind strips up very easily. So that’s something I romanticize about.
CT: Do/did you have a mentor or someone that helped you through this or were you self-taught?
AF: I think I just easily absorb what’s around me, and I grew up with my brother Þórir Georg being a musician and releasing music. He showed me all the music I discovered when I was young. I grew up in a musical family, so I wouldn’t say I’m completely self-taught. I had the need to learn it on my own. When it came to the technical training of things, I studied classical guitar for five years to get my fingers and technical things in place. Other than that, I didn’t learn anything in school, for example. It was like the people around me, my family more.
CT: What’s your favorite song to perform that you’ve written?
[caption id="" align="alignright" width="291"] Image from Amazon[/caption]
AF: With a band, “City Dream” is my favorite song to play. When I’m alone, I think “Tourist” from the new record. My favorite song from my new album to listen to is probably “Still Awake,” which is unreleased now. It has a similar vibe to “City Dream.”
CT: What has the music industry taught you about yourself?
AF: I feel like I started so young I didn’t know anything about it. I learned it from experiencing it, so it definitely taught me a lot. I used to not need to be responsible for a lot. I used to like my old label responsibility for things and how my old manager took responsibility for things. Now I want to be responsible for the things that I’m doing. I don’t like putting it on other people. That’s what I’ve learned the most is being independent. Not in the sense nobody can touch what I’m doing, but I need to be aware of what’s going on the business side of things.
CT: Where do you see yourself going with your music in the future?
AF: I want to reach more people and tour more. That’s the ultimate dream to tour with my band and be able to control the touring schedule a bit. It would be a dream to tour half the year. I guess I would have to be a bit bigger than I am now to be in that position. I think that’s my biggest dream. I don’t think about a lot of other goals and achievements than doing music more than I currently do.
Sources: Europa Vox, FMS Magazine, Instagram, Mathworks, Nettwerk Music Group, YouTube
Images: Amazon, Facebook, The Line of Best Fit
Featured Image: Facebook
(01/13/21 7:30pm)
by Conner Tighe
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
1979 was a big year in the entertainment industry. Alien, Mad Max, The Amityville Horror, and more well-known films were released, but a bigger breakthrough was also released to the world: The CD. A thin, reflective disc became the most popular and sought-after avenue for playing the best music had to offer. Before the internet and after the beloved record player, CDs would take over the music industry only to begin their decline decades later. Although at one time CDs could be found anywhere music was sold, the music industry has evolved, leaving a barren wasteland of CDs in its wake.
5. The first CD was released in 1982 for the band ABBA
Swedish pop band ABBA takes credit for having the first CD featuring their album The Visitors in 1982. The eight-track album featured songs “Two For the Price of One,” “I Am the City,” “Cassandra,” and more. ABBA consisted of members Benny Andersson, Björn Ulvaeus, Agnetha Fältskog, and Anni-Frid "Frida" Lyngstad. Although Fältskog and Ulvaeus married in ‘71 and Andersson married Lyngstad in ‘78, the two couples split, leading to ABBA’s downfall in ’83.
4. Cars began to replace CD players in the 2010s
When cars began to feature CD players in the car, something revolutionary after the invention of stereo cassette players in vehicles, there was no going back. In the 70s and 80s, cassettes were popular. A large square slot for the cassette turned into a narrow square slot for the CD. This would last until the mid-2010s, when vehicle companies Ford, Honda, and Toyota began to get rid of the car CD players. Bluetooth and the evolution of technology took over, making the thin discs a thing of the past altogether. With vehicles becoming more technologically advanced, it almost seems less convenient to insert and eject CDs continuously in a car.
3. Vinyl are more fragile than CDs
With its resurgence in popularity, beginning back in the 2010s, vinyl became more nostalgic for some, but a retro style for others. Vinyl records capture more sound waves than CDs because of its analog recording. The groove embedded in the record ensures no piece of the sound wave goes unheard, unlike the CD. Thumbprints and scratches leave CDs in a risky position as these nuisances can render CDs useless, leave the music sounding scratchy/patchy, or leave parts of the music out. Although fragile in its design, vinyl comes in first in terms of fragility. Stacking vinyl can cause scratching even with the sleeves on. Oil from skin contact can damage the plastic. A carbon fiber brush is needed to clean vinyl, as standard cleaning products won’t do the job. Leaving vinyl out of their sleeves can accumulate dust, scratches, and even the sun can damage the record if left out.
2. 2008 was a bad year for CD sales
2008 was the beginning of the end for CDs as sales dropped, with 17 million people reported not buying the products. Although convenience has taken over with the continuous decline in CD sales, they are still sold in stores like F.Y.E., Barnes and Noble, Target, Meijer, and other large corporations where electronics are sold. At one time, CDs were one of the best storage systems for music, providing tunes stored in one small disc. Then the rise of streaming services like Pandora, iTunes, and Spotify came along. They offered an endless supply of tracks that could be played wherever, therefore ultimately being a better means of playing music than CDs.
1. CDs can be used for up to 200 years
Manufacturers have tested CDs in the past to see what environments the discs do best in with temperature and humidity levels. In one study, with a 77 degrees Fahrenheit and 50 percent humidity recommendation, the discs can be workable for 30 years, but this isn’t confirmed for all CDs. Some CDs have been known to work past 100 years if stored at the recommended temperature. Chemical reactions can occur, known as “CD rot” or “bronzing”, where the outer layer of CDs literally rots away and leaves the silver inner layer exposed. But since not all CDs are the same, no one set environment will work for all CDs. The basic gist is to store CDs in an environment with nonfluctuating temperatures to secure the longest lifespan.
Sources: Ars Technica, BBC, CLIR, Electrohome, Forbes, How Stuff Works, IMDB, Kodak Digitizing, Lifewire, Mirror, Retro Manufacturing, The Vinyl Revivers
Featured Image: Commodore Waves
(01/13/21 4:11pm)
by Conner Tighe
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Talented at the age of four, AJ Mitchell grew up in Belleville, Illinois, where he learned his piano skills from his father, a pianist. At six years old, Mitchell wrote his first song and, in high school, he was a member of the choir group. He performed at local coffee shops and bars until finding fame in 2016 on social media. His debut single “Used to Be” was released in 2017, which Mitchell claims it's his favorite song of his to perform.
With inspiration from Coldplay, Lil Wayne, The Beatles, and Bruno Mars, Mitchell writes creatively and has done so even more since quarantine began. The singer takes experiences in his life and crafts +them into pop tracks like his 2019 single “Down in Flames.” “I wrote that song about communication. A big lesson I learned was communicating. I saw two of my close friends get into a bad argument, and from my perspective, I saw how the situation could’ve been a lot different, a lot better if they communicated,” said Mitchell in a YouTube clip.
Mitchell is seemingly vulnerable with his fans. With posts from his childhood featured on his social media and many in-depth interviews with mostly entertainment publications, the artist appears genuine and wants the world to know he’s here for the craft and not the fame. His realistic approach when interacting with fans and social media gives Mitchell credibility with his music. His mannerisms, body language, and overall temperament shown in interviews linked above display what kind of person Mitchell is. Although the artist’s fame came quickly, he explains how his mom encouraged him to keep performing.
YouTube star Jake Paul sought out the young artist to be a part of his social media group called Team 10. During his time in the group, he met his future manager, who secured him a record deal after Mitchell left the group to pursue music. Mitchell released his six-track album Hopeful in 2018 that spoke about your average dabbles in angsty teenage romance with beautiful vocals and a range comparable to boy bands that capture hearts. Mitchell is the prime example of a newcomer musician on the verge of something greater, like Shawn Mendes in his 2014 era.
MTV’s Push highlights new and breakout artists where artists Taylor Swift, Billie Eilish, Eminem, and Future, among many others, have been nominated in the past for Video of the Year Awards, although Push awards artists in other areas like Artist of the Year, Best New Artist of the Year, Song of the Year, and Best Collaboration. Mitchell was featured on MTV’s website in 2019, where exclusive interviews about his life and music career lie, and in 2020 MTV featured Mitchell as a nominee for Best New Artist. The singer has collaborated with artists like DJs Frank Walker and Steve Aoki and rapper Rich the Kid. Recently for the holidays, he released “Blame It on the Mistletoe” with Ella Henderson. It will be exciting to see who else Mitchell strikes a collaboration with in the future.
Since late 2019, Mitchell has been talking about releasing his second soon to be album, Skyview. Heading into 2021, there’s no Skyview in sight, although on Instagram, Mitchell has been teasing the album's arrival with images of him recording in the studio. “If only could hear this…” he says on a Dec. 29 post.
The artist may introduce 2021 with Skyview as a good luck charm for a better year. Since the album wasn’t released in 2020, he may drop the album by surprise. Keeping an eye on his social media will provide excitement for his fans.
Sources: AllMusic, Instagram, MTV, Seventeen, YouTube
Images: Instagram
Featured Image: Euphoria. Magazine
(12/23/20 3:30pm)
by Lia Weisbecker-Lotz
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Growing up, punk music always had a special place in my heart. It offered me a way to let out all of my built-up emotions and frustrations. If I was angry at the world or my parents or my sisters, I had punk music to help me yell it out and face it. If I was scared, it hyped me up with its snarky attitude and raw power. Recently; however, I noticed that all the punk music I had been listening to growing up consisted of all-male bands. Which disappointed me, because I knew that there must be bands full of women who are also furious at the world and at how they’re treated. Women who also had an attitude and humor that was so commonly a part of punk. Here are some female bands I found that shared even more viewpoints on music, the world, and what punk really means to them.
Tacocat
[caption id="" align="alignright" width="389"] Image from Sub Pop[/caption]
Tacocat is a largely female, indie pop-punk band that originated, as many punk bands have, in Seattle, Washington. The band’s songs are coated in humor and sarcasm, describing silly situations and topics. But the band also discusses issues women face every day: catcalling, period-shaming, and mansplaining in their songs “Hey Girl,” “FDP,” and “Men Explain Things to Me,” respectively. And despite Tacocat’s vibrant look, their songs are less high energy and more surf punk. Their latest release was their 2019 album, This Mess Is a Place. The focus of the album is the weird reality of America after the 2016 election.
Glitoris
[caption id="" align="alignleft" width="388"] Image from The Rockpit[/caption]
This Australian punk band first formed as a one-off band for a festival, where they performed in nothing but glitter in 2014. However, the audience’s reaction to their music encouraged them to stay together and continue making music. Glitoris is well-known for its incredibly blunt, abrasive, and political songs. Their music has a chaotic, fury-filled energy to which goes well with the lyrics detailing their frustration with society and the obstacles it places in women’s lives. In 2018, they released their most recent album, The Policy, which showcases not only their political message but also their abilities as musicians.
Skinny Girl Diet
[caption id="" align="alignright" width="266"] Image from Louder Than War[/caption]
Skinny Girl Diet is a British sister duo that got their start in London. An indie band, these two have performed at various small venues, DIY spaces, and festivals. Skinny Girl Diet is a part of the Riot Grrrl movement, a subculture combining feminism, punk indie music, and politics. Many of their lyrics are about intersectionality in feminism and the struggles POC continue to face in the world. Their heavy grunge sound and biting lyrics even earned them a spot on Billboard’s 2015 “20 All-Female Bands You Need To Know.” The group was originally a trio consisting of the Holliday sisters and their cousin, but in 2017 their cousin decided to break away from the band. Their latest album, Ideal Woman, was released in 2018 and discusses the expectations placed on women and the lack of representation of marginalized groups.
Fea
[caption id="" align="alignleft" width="386"] Image from Blackheart Records[/caption]
This next band is incredibly reminiscent of the origins of punk, with a high-energy, edgy sound. Fea is a Latina rock band that originated in San Antonio, Texas. This all-women band brings intense guitar riffs and strong vocals back into the punk scene, and some of their music has a pinch of country twang that oddly goes well with the rock. That’s not the only thing that makes this band unique. A lot of their songs tend to be bilingual, often using Spanish, but also French, German, and a bit of Japanese. Fea’s most recent album, No Novelties, was released in 2019, and it covers a lot of topics including the negative effects of social media, financial hardships, and toxic relationships.
QUEEN BEE
[caption id="" align="alignright" width="404"] Image from Ziyoou-Vachi[/caption]
This is probably the strangest punk recommendation, but I wouldn’t put it on this list if it weren’t quality. QUEEN BEE is a Japanese rock band that describes itself as “fashion-punk.” Their music style is unparalleled as it’s a mix of j-pop, rock, and disco. This majority female band started in 2009 and has since risen in fame in Japan, with several of their songs being used in popular anime such as Tokyo Ghoul: re and Dororo. QUEEN BEE’s songs often offer commentary about identity and the struggle of trying to be oneself with beautiful imagery. Their lyrics are frequently in reference to being a part of the LGBT+ community and being a person of color. The band has released several EPs and albums, with their last one, BL, releasing in early 2020.
Meet Me @ The Altar
[caption id="" align="alignleft" width="377"] Image from The Fader[/caption]
This pop-punk trio met online in 2015 and released its first album in 2017. Although Meet Me @ The Altar’s lyrics detail missing old relationships, mental health issues, and chasing difficult dreams, their music is upbeat and energetic. Unlike the previous bands, the core idea behind Meet Me @ The Altar’s music is their hope for the future. While the group doesn’t have many released songs, in October of 2020 they were signed to Fueled by Ramen, a record label well-known for their punk bands. This means there’s hope for future releases as they continue to pave their way into the punk community. Their latest release was “Garden,” a song about helping a loved one through a rough patch.
Sources: Bandsintown, Billboard, Fueled by Ramen, Gen Rise Media, Grinnell College, HistoryLink, Moshi Moshi, SpeakerTV, Spotify, The Music, Ziyoou-Vachi
Images: Blackheart Records, Sub Pop, Louder Than War, The Fader, The Rockpit, Ziyoou-Vachi
Featured Image: Kellyn Harrison
(12/20/20 1:00pm)
by Conner Tighe
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
2020 has been one of the best years for music, with many artists coming out of this strenuous year's woodworks. Some artists returned after leaving the spotlight for a bit, while others have dropped some of their best music out of nowhere. Although 2020 has had its share of mystery with the pandemic, the music industry has addressed issues worth discussing, such as love, masculinity, staying mindful, and saying what it means to have fun with music and friends.
[caption id="" align="alignright" width="229"] Image from Spin[/caption]
10. Plastic Hearts by Miley Cyrus
Cyrus incorporates rock into her latest album, which she’s only done a handful of times before with tracks “Wrecking Ball,” “Mother’s Daughter,” “Slide Away,” and covers of classic rock hits like “Heart of Glass.” She furthers her sound and music appeal by crossing over to the rock genre while sticking to her wild side. Cyrus is unapologetic in the album, revealing her vulnerabilities dealing with past issues like her recent divorce from Liam Hemsworth. Plastic Hearts features some noteworthy collaborations with Dua Lipa, Billy Idol, and Stevie Nicks to bring her music full circle. The singer remains unapologetic for her passions and charisma, and that comes through all 15 tracks to craft one of the singer’s greatest albums.
[caption id="" align="alignleft" width="214"] Image from Genius[/caption]
9. Positions by Ariana Grande
Grande released her highly sensualized album Positions, which surprisingly is her weakest link. Although the tracks' collection is met with Grande’s extraordinary vocals and is as memorable as all her pieces are, the tracks don't hold up as well. The album features decent collaborations from Doja Cat, The Weeknd, and Ty Dolla $ign, but they couldn’t save the album. The style is lacking. The production is bland. However, the artist did her best with what she was given to work with. If Grande weren’t mentioned in the top 10, it would mean I had gone tone-deaf.
[caption id="" align="alignright" width="229"] Image from The Arts Desk[/caption]
8. Notes on a Conditional Form by The 1975
The 1975 continues their exceptional sound with Notes on a Conditional Form. The album, which expands over an hour-long, provides the strongest collection of tracks the band has released yet. The band captures the true essence of LGBTQ+ living and love with tracks “Jesus Christ 2005 God Bless America,” and “Guys,” which deal with religion and inner doubt of self. The 1975 sticks with their club-esque vibes and slow tracks being a part of the alternative genre and visual representation of the LGBTQ+ community.
[caption id="" align="alignleft" width="220"] Image from Pitchfork[/caption]
7. In a Dream by Troye Sivan
Sivan’s seven-layered EP surpasses all his previous albums combined. As expected with Sivan, he’s always addressing what it means to be gay and the struggles with finding love in his past works, and it’s addressed in In a Dream. However, each track’s fast pacing drives the EP, keeping listeners interested instead of droning them out with melancholy. In a Dream represents the artist’s full potential stylistically and expressing vulnerability lyrically.
[caption id="" align="alignright" width="232"] Image from The Ball State Daily News[/caption]
6. This Digital Life by The Wonderlands
After witnessing the album being played live in August, no streaming app measures up to the wonderful Wonderlands. This Digital Life focuses on the calamities of friendship and keeping up with your wellbeing amid the technology that’s overtaken the world’s attention. This Digital Life is The Wonderland’s first album, and the band will be releasing more music in the future. Let’s hope the band never stops playing about relatable life nostalgia: from losing friends to drugs and finding oneself while young, featured from hits like “Danced Herself to Death,” “Trying to Reach You,” and “Feels Like.” You don’t have to be in Hollywood to achieve your dreams, and this local band stands by its dreams, originality, and exceptional sound.
[caption id="" align="alignleft" width="230"] Image from Amazon[/caption]
5. Changes by Justin Bieber
Bieber brought his faith full circle when he dropped Changes. This album marks his shift in life perception and love life that he’s struggled with until recently. After marrying the love of his life, Hailey Bieber, the singer has left his troubled past behind and focuses wholly on the future. Changes focuses primarily on his faith and his devotion toward his wife. The album is Bieber’s most diverse and unique album to date and his finest, using faith, a careful balance of R&B and rap, confidence in himself, and hope for his future.
[caption id="" align="alignright" width="238"] Image from Vulture[/caption]
4. Folklore by Taylor Swift
Swift took the world by surprise when she dropped Folklore mid-quarantine. The collection’s ominous tone and slow, melodic themes separate itself exponentially from Lover. But, make no mistake, the artist is incapable of a remarkable resurgence. The listener can visualize Swift drifting through a gray forest, illustrated in the featured artwork, wearing a cardigan that only she can pull off, through each track. Folklore is not a pure tale as the artist mentions her faults with past relationships, but one of melancholy, perseverance, and all things folk.
[caption id="" align="alignleft" width="225"] Image from Genius[/caption]
3. Remote by Wallows
Guitarist and vocalist Dylan Minnette played music throughout the pandemic, continuing to work virtually with his band, soon enough releasing Remote; a six-track EP that landed the band critical acclaim by several publications like The Daily Californian, Dork Magazine, and The Peak. Remote doesn’t disappoint, choosing to break away from their original sound yet keeping their stylistic approach. Indie, although monotonous at times, never phases the Wallows, and they continue to perform music all their own. With “Virtual Aerobics” talking about fun times with friends and “Coastlines” dealing with long-distance relationships, it only makes sense to name the EP after the process itself, Remote. Who can forget Minnette and the band dancing in front of a green screen?
[caption id="" align="alignright" width="237"] Image from KRNL Magazine[/caption]
2. Wonder by Shawn Mendes
Mendes had love on the mind when he dropped his latest album Wonder earlier this month. Mendes captures his emotions and insecurities that his girlfriend, Camila Cabello, helped him explore during the pandemic. Wonder features the long-awaited collaboration between himself and Justin Bieber with “Monster;” talking about living in the public eye. The album offers an original sound and introduces a fresh side of the artist. Mendes focuses on himself rather than a woman and changed his style to more melodramatic with less focus on lyrical beauty and more on production. The collection doesn’t stand as tall as his previous album, and although none of his work has ever been considered “bad,” Wonder lacked vision and was stuck in the clouds.
[caption id="" align="alignleft" width="229"] Image from Clash Magazine[/caption]
1. Rare by Selena Gomez
Gomez made her iconic return to not only the music industry but the world when she dropped her poignant and uplifting Rare. Inside, listeners hear Gomez’s journey to self-discovery while battling herself. The singer held onto her on and off past with Bieber, and this method was her way of letting it all go. Over the last two years, her health has had its ups and downs; one major event being the reveal that she was diagnosed with lupus, a genetic autoimmune disease, and was saved by her friend Francia Raisa who donated a kidney. The singer kept her pop appeal and delivered her best song to date, “Lose You To Love Me.”
Sources: Dork Magazine, Elle, Healthline, The Daily Californian, The Peak, YouTube
Images: Amazon, Clash Magazine, KRNL Magazine, Genius, Pitchfork, Spin, The Arts Desk, The Ball State Daily News, Vulture
Featured Image: Kellyn Harrison
(12/18/20 9:59pm)
By Conner Tighe
Three years ago, Foster the People carried their amazing dark vibes with Sacred Hearts Club. The band’s latest EP, In the Darkest of Nights, Let the Birds Sing, bestows its audience with another monument of sound the band is known for. After a first listen through, the album presents mediocre qualities but gets better after another run through. However, the band’s fourth EP doesn’t stand out from previous works like Torches, Supermodel, or Sacred Hearts Club.
In 2010, Foster the People released their first hit, “Pumped Up Kicks.” The band started with lead vocalist Mark Foster, bass guitarist Jacob Fink, drummer Mark Pontius, and pianist Danyew but picked up guitarist Sean Cimino and pianist Isom Innis in 2017. Sacred Hearts Club, released in 2017, was the first album to feature Cimino and Innis, coincidentally being the band’s best album. In the Darkest of Nights, Let the Birds Sing is the first EP featuring the two members, and the tradition continues with a peculiar stylistic technique and glorious sound. The band is slower in tempo this time around while maintaining the familiar Indie sound, but less focused on themselves and more focused on love.
Other inspirations
There is a range of influences throughout this EP: The Smiths, The Beach Boys, and The Neighborhood—as arbitrary as it may sound—can be heard underneath some songs’ layers. “Walk with a Big Stick” is undeniably a 60s influence with harmonized vocals coming in and out. “The Things We Do” will immediately trigger 70s vibes with its keyboard and voice manipulation for exaggerated vocals, and it’s perfect. “Under the Moon” is dull and edgy sounding. The Smiths have a way with their voice that sounds drawn out and rough, almost unexplainable, but it’s present in the whole EP. Foster the People established their unique vocals long ago, and again with this EP, listeners are presented with freedom and artistry. It’s challenging to stand out in the music industry today with many artists sounding similar no matter what genre, but Foster the People are not afraid to stick with their guns.
“Kiss me a little/Kiss me before you roar/I'm yours, forever yours/And you are mine to take tonight”
The idea of having older bands popping up here and there in the EP goes back to what Foster the People and this EP is all about. The band has always been strange in their performances—not a bad quality, but unique—and all musicians take inspiration from somewhere. For example, In the Darkest of Nights, Let the Birds Sing is a shout out to other bands in a similar genre and presents this unity message within the music industry. Yes, the same music and tone are present here, but there’s also proof of cohesion and an established sound.
“Under the moon I cry/Waiting in the whisper of your name”
Under the moon in a Cadillac
EP four is the simplest of all collections presented by Foster the People, but here, that’s not a terrible thing. That same impression from Sacred Hearts Club persists with unified vocals and an indescribable Indie sound. Foster the People has always taken love (“I Would Do Anything for You”) or something more serious like school shootings (“Pumped Up Kicks”) and put an Indie spin to it. In the Darkest of Nights, Let the Birds Sing has Foster presenting his unique and talented vocals to the subject of love again, but here it’s plain weird and fun. The band presents a scenario of a man in love with a woman and waiting on her love in return. Every track in the EP either talks about the man’s qualities and compatibility with the woman or reflects on the good times with this woman. It’s vulnerable and sweet in the message but directs its audience away from crazier times with the band. Sacred Hearts Club and Supermodel, for example, focused on the craziness of life and youth, and the band may be moving away from this appeal. Painting an eerie picture either as fun or as something more sinister is an ability Foster the People can accomplish. Foster calls his girl a “queen” and wishes to present her with a palace. “Under the Moon” and “Cadillac” set the mood correctly in the eyes of Foster.
Top tracks:
Walk with a Big Stick
Lamb’s Wool
The Things We do
Recommended if you like:
MGMT
Cage the Elephant
Arctic Monkeys
Featured Image: Genius
Sources: Top40-Charts
(12/16/20 7:00pm)
By Conner Tighe
Taylor Swift showed the world what she’s been up to mid-quarantine when she surprisingly dropped Folklore in July. Now, with what she calls the sister album Evermore, listeners return to the Folk/Indie Swift with a marginally more sanguine tone and feminist undertones. However, after having heard Evermore, fans deserve a return to Lover or something more conclusive. The album continues the fresh take on Swift’s new style and sound but lacks pacing. Maybe next year.
Letting go
Evermore sounds like part two of Folklore with the artist saying adieu to someone who greatly influenced her life but now lives in the past. Swift has invariably been remarkable in sharing her struggles in past albums, which has given her a reputation for strong womanhood and femininity. All of that is here yet again, but the artist sounds like she’s far away, hoping to return to a life she once knew. Tracks like “Happiness” speak about sad recollections and give the complete opposite feel the title insinuates. Evermore begs the question if maybe Swift is dragging out her low vibes for her fans.
Haunted by the sound
Folklore’s continuation sounds nearly identical to its predecessor. Bon Iver returns for a collaboration named after the album, although Folklore’s “Exile” was better. Evermore is like an iceberg drifting on, and although Swift is a gifted singer, this new style of hers doesn’t correlate to prior albums. There’s not one song on the album that breaks up this slow trip through Swift’s past life, and with 15 songs, there was plenty of opportunity for improvement.
Swift continues to go for the edgy appeal, and it’s admirable and soothing to a point. Evermore features some country aesthetic that takes fans back to her roots. The familiar guitar twang can be heard throughout “Cowboy Like Me.” Like much of the album, the track paints a picture of a modest life and a dwelling on nostalgic memories that only Swift knows about.
“I’ve got some tricks up my sleeve/Takes one to know one/You’re a cowboy like me”
Gothic appeal
The slow, melancholy Swift has developed strikes originality compared to past albums. Evermore raises some confusing feelings because on the one hand, it’s done well — however heavy — but on the other hand, it’s unique from what the artist is known for. Swift is known for striking the strings of a guitar, telling an ex to shove it, or raise awareness of political issues with past tracks “Only the Young,” “You Need to Calm Down,” and “The Man.” There’s no politics in Evermore and for the better. However awful 2020 has been, Swift has blessed the world with two astounding, however gothic, albums we can treasure forever.
Top tracks:
Cowboy Like Me
Dorothea
Marjorie
Recommended if you like:
Selena Gomez
Ed Sheeran
Niall Horan
Featured Image: Genius
(12/16/20 5:13pm)
by Andrew Beckley and Arianna Sergio
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
A constant debate is the dispute between which streaming service is better: Apple Music or Spotify? Apple die-hards stick to their guns and defend Apple Music to the ends of time, while Spotify users hold their ground and refute every claim that Apple Music lovers throw at their face. So, which streaming service is better?
Apple Music is superior
There’s a good chance one of your friends uses Apple Music instead of Spotify and you and your friends make fun of them for doing so. And because your friends just dog-pile on top of that person, they can’t make any case for themselves. Well, I’m that friend that you make fun of, and I’m here to stand up for myself to make the point of why Apple Music is just as good and even better than Spotify.
To start, we must consider the price and the amenities that come with a subscription. With Spotify, you get Hulu, SHOWTIME, and the perks of Spotify Premium in the student package for $4.99 a month. The student version of Apple Music only gives you the same perks of the individual accounts, which is to be able to download as much music as you want and to be able to listen to it all offline. So, in that sense, Spotify takes the upper hand. This is due to Apple having to make deals with other companies — for example, Apple One. This bundles Apple Music with Apple TV+, Apple Arcade, and 50 GB of iCloud storage in the individual membership for $14.95 per month. Ultimately, this is a pretty good deal, because if you paid for those individually, it’d be $20.95 per month.
There is a big misconception Apple Music doesn’t make an end of the year playlist for you. This is a blatant lie! Apple Music has been making a “Replay” playlist for me since 2014. On top of that, Apple Music also keeps track of how many times you listened to an album/song and gives you your most listened to songs of the year, which Spotify does, but they don’t list the exact number like Apple Music does.
Some may think Apple Music is difficult to navigate, but I think this is a bad argument to make. However, I would counter by saying Spotify is hard to navigate. If a person were to spend an extended amount of time on Apple Music, they would still figure out all the features and how everything is organized on the app. It’s like when an Android user switches to an Apple device or vice versa. It’s odd at first, but eventually, a person gets the hang of things and will either love it or hate it. At the end of the day, it’s all subjective to which app a person prefers to listen to their music on — even though Apple Music is and always will be better.
This viewpoint is by Andrew Beckley
Spotify reigns supreme
Spotify is the best music streaming service there ever was. It has a multitude of features, but let’s discuss some of it’s best. Spotify has three main tabs: the home tab, browse tab, and radio tab. The home tab displays a personalized page for each user. This page includes your shortcuts, your recently played music, music that they recommend for you daily, your favorite albums and songs, the best of artists, the state of music today, the top of the charts, your popular artists, your popular albums, and last but most definitely not least Spotify customizes playlists for you. Yes, you read that right. The best feature that Spotify has is they literally compile music that you love and make new playlists for you on the daily.
Their browse tab includes a whopping 56 different genres and mood playlists for any occasion you could imagine. If you can’t find something to fit your mood here, I don’t think you ever will. This is something that I’ve never seen from any other music streaming service. When I first discovered Spotify in sixth grade, I practically lived on this page. I would browse through each genre and mood I was in and listen to the array of playlists Spotify created for each one. Each one being spot-on, never missing the mark.
They have a podcast page with 16 different categories to choose from and their own “Fresh Finds.” And to add to the genius that Spotify is, they have a charts page that includes “Top 50” or “Viral 50” playlists from different countries. They have a “New Releases” page which I’m currently obsessed with because I’m always on the prowl for new music. Also on this page is “New Music Friday” and “Release Radar.” “New Music Friday” is a playlist they update every Friday that lists the top songs released that Friday. “Release Radar” is another custom playlist of all the new music that was released recently from the artists you follow; this playlist also updates every Friday. They have a discover page which I am also obsessed with because it lists new artists and songs that you may like based on what you've listened to.
Spotify is like a virtual maid. It organizes your library into categories, which makes finding what you want to listen to as easy as can be! Those categories being made for you, recently played, liked songs, albums, artists, and podcasts. Another feature that is top-notch is that you can make your own playlists and follow other playlists, as well as other users. After you follow other users, you can see their overview, recently played artists, public playlists, and who they are following. It’s a great way to see what music your friends are listening to and a fun way to share music with others.
The end of the year is coming near and Spotify “Wrapped’ is something every single one of its users looks forward to. Spotify “Wrapped” is a year-in-review summary of your top five most played artists, songs, genres, and how many minutes you listened to music in total. It’s the time of the year where everyone admires their music taste and what they listened to. People see this as their "badge of honor" and like to show it off to other people.
All in all, Spotify has everything you need. It’s the streaming service you can always explore more on and find more than meets the eye. It is and always will be better than its inferior competitor, Apple Music.
This viewpoint is by Arianna Sergio
Pros of Apple Music and Cons of Spotify
You can get Apple Music in the Apple One bundle; which also includes Apple TV+, Apple Arcade, and 50 GB of iCloud storage in the individual membership for $14.95 per month. A deal that would typically be $20.95 per month
Apple Music has its annual “Replay” playlist
Apple Music lets you know how many times you listened to a song over the year
Apple Music is easier to navigate
Cons of Apple Music and Pros of Spotify
Spotify’s monthly subscription is $4.99 a month, with the student package, and you get Hulu, SHOWTIME, and the perks of Spotify Premium
Spotify has a custom page/makes personalized playlists for you
Spotify organizes your library
You can follow other users and see what they are listening to on Spotify
The annual Spotify “Wrapped”
Sources: Apple, Apple Insider, Spotify
Images: Adele Reich
Featured Image: Adele Reich
(12/13/20 4:00pm)
By Conner Tighe
Troye Sivan’s EP, In a Dream, broke barriers regarding equality not only in the LGBTQ+ community but the heterosexual community, too. Sivan’s “Easy,” concentrates on leading a double life in both worlds and struggling with self-identity within one’s sexuality. The initial song was already impressive in its sound and originality. However, collaborators, Kacey Musgraves and Mark Ronson add to the song by introducing a different perspective to the story. Musgraves lends a woman's viewpoint to the piece and an outside perspective on identity crisis. Overall, challenging the norms of womanhood and society, saying she’s “not a saint.” Ronson provides slightly different background music compared to the original. Ronson’s version is quicker, like most of his remixes are, and since the initial song was fast, there was little he could offer.
“Easy” talks about a man finding himself while still being with a woman. Musgraves and Sivan play these parts well as they’re already opposite stylistically, but their voices joining together is brilliant. The two bring a sense of unity and a powerful message of equality. The collaboration is a leap in progression with the music industry, as pop and country are two opposite genres. Although it’s not the first time a collaboration like this has been done, it spreads hope for a future of equality through a stylistic lens. The two coming together seems improbable as the artist’s collaborations in the past don’t compare to “Easy.” “Glittery” from The Kacey Musgraves Christmas Show Soundtrack is slower. Again, this collaboration is a metaphor, even the title itself. “Glittery” has a more feminine connotation, and the two use the word to their advantage, explaining how their love interests make them feel inside. This song was just another celebration of equality and love.
“When you see me out/I hope the taste in your mouth/Is still as sweet as I wish it could be”
Sivan’s music has always belonged in the pop genre with his upbeat and catchy lyrics. Much of the artist’s music talks about issues appealing to younger audiences like breakups and individuality. But Ronson blended in new country, giving the song a fresh feel. The remix isn’t poor, and it’s superior to the original as it’s more upbeat. This is one of the few remixes Ronson has been a part of that sounds nearly the same as the original song. Because the initial song was already so well done, adding on to the song was a bold move but was accomplished decently. The remix provided little in how the piece sounds compared to the original. There’s slightly different background music.
Recommended if you like:
Lauv
Conan Gray
Kacey Musgraves
Featured Image: Lab.fm
(12/09/20 3:00pm)
By Conner Tighe
Shawn Mendes’ latest album Wonder is astoundingly distinctive and inviting in more ways than one, compared to his past albums. All 14 tracks recount a story of where the artist was a year ago and how he’s rebuilding his love life and – it seems – his sound. Mendes wants his fans to experience this journey through wonderland as much as he does. It’s clear enough through his overall playful tone and whimsical lyrics that leave my ears ringing with gentle whispers and kisses of lyrical bliss. Wonder may very well be all of Mendes’ past, present, and future rolled into one story of true love and passion no other artist can express through sheer vocal beauty.
Shaping into a new man and new life
Although Wonder reveals many points on the roadmap, including manhood, the journey through his music, and friendships, there’s one true target being addressed here — Camila Cabello. Mendes is the modern Romeo proclaiming a six-year-long lovefest to Cabello, who Mendes has had his sights on for years after meeting on tour years back. The guy gets the girl, and in this collection of potential singles, he’s the king of the mountain.
Mendes has changed both mentally and artistically if one reflects on his history. From Vine to YouTube, to the radio, to record albums and touring with the likes of Taylor Swift and Cabello, Wonder seals the artist’s soul to the fact that he’s worked far too hard to give up now. With controversy in the past involving his personal demons with masculinity and what it means to be a man, album four symbolizes a remarkable milestone in the young artist’s life, a milestone to be performed.
Standing strong with a new sound
Wonder features one collaboration. “Monster” with Justin Bieber speaks true to the realities of stepping into the spotlight at a young age. One can only “wonder” what that must be like. Instead, Mendes addresses both how life is a celebration of friends and what makes us all messy as humans. This is the artist’s first album with only one collaboration, but that’s not the only separating factor. “Look Up at the Stars,” “Piece of You,” “Always Been You,” and “Can’t Imagine” all show a new side of the artist, fulfilling a pensive and aesthetically pleasing sound never staying monotonous.
“It's a Friday night/And the streetlights are all saying your name/They always say your name”
The artist is taking this awful year and spinning it into something creative for his fans and himself. Although much of the album is for the fans, much of the work is for Mendes himself. Imagination can run wild with Wonder gazing at the celebration of life and its many struggles, more within this year than ever before. “Call My Friends” is a personal shoutout to the artist’s closest friends to which it seems he’s had little contact with at least in person. Something many of us can relate to. There’s a spiritual and emotional connection throughout each song, flowing till the last track. “Can’t Imagine” depicting the singer’s philosophy of what life would be like without Cabello. Time stands still in album four with love and dreams of a perfect world.
The “Achilles Heel” of it all
Although there’s a substantial appeal and fans get to see a side of Mendes yet not explored before, the album doesn’t stand up to his previous album, although close. “Lost in Japan”-Esque Mendes was his hype and the peak within his career. The aesthetic was shown ultimately in Shawn Mendes, and it’s present in Wonder but not as strong. The new album overall lacks the artist’s fast pace previously displayed, which may be just me, but it's expected at this point in his career.
Top tracks:
Intro
Call My Friends
Look Up at the Stars
Recommended if you like:
Justin Bieber
Harry Styles
Charlie Puth
Featured Image: Genius
Sources: Billboard, The Boar
(12/07/20 7:00pm)
https://soundcloud.com/user-519363288/remixed-s5e11-music-needs-no-translator
Welcome back to another episode of Remixed! Tune in as we discuss foreign music, why more Americans should listen to music in different languages and genres, such as metal. Why are people hesitant to listen to music not in their native language? Why are people hesitant to listen to other genres of music? Find out all this and more on this week's episode of Remixed!
Hosts: Sam Shipe & Shwetha Sundarrajan
Edited by: Sam Shipe
Graphic by: Kellyn Harrison
(12/06/20 6:00pm)
https://soundcloud.com/user-519363288/remixed-s5e10-beats-by-politics
Welcome to another episode of Remixed! Tune in as we talk about musicians in politics, protest music, & musicians endorsing political candidates. Why do political protest songs matter? Is it bad for musicians to endorse political candidates? Find out all that and more on this episode of Remixed!
Hosts: Sam Shipe & Blake Chapman
Edited by: Sam Shipe
Graphic by: Kellyn Harrison
(12/05/20 5:00pm)
https://soundcloud.com/user-519363288/remixed-s5e9-from-the-eyes-of-a-musician
Welcome back to another episode of Remixed! Tune in as we discuss underground music from more of a musical perspective, music theory, and the life of a musician! What underground artists deserve more limelight? Why is being a musician so hard? Stay tuned as our hosts discuss their personal favorite underground artists and more!
Hosts: Sam Shipe & Grace Marshall
Edited by: Shwetha Sundarrajan
Graphic by: Kellyn Harrison
(12/05/20 4:09am)
(12/05/20 1:26am)
https://soundcloud.com/user-519363288/remixed-s5e8-dmca-copyright-vs-twitch
Welcome back to another episode of Remixed! Today, we talk about Twitch's music problem, where the company has started sending out DMCA copyright warning notices to streamers. What will this mean for Twitch streamers in the future? And what will the DMCA copyright act mean for underground artists? Tune in as we discuss this and more on this week's episode of Remixed!
Hosts: Sam Shipe & Liam Zach
Edited by: Sam Shipe
Graphic by: Kellyn Harrison
(11/26/20 6:30pm)