It’s finally fall! September has been busy for me, but it’s all worth it to see the leaves starting to turn.
Let’s begin, shall we?
GENERAL THOUGHTS:
September always ends up being kind of hectic for me, and college has certainly exacerbated that. Working out your schedule while trying to work on yourself is always a fun time. But it’s been nice, all things considered. Between the homework, I’ve had a few days where I could soak up the sunshine with an iced coffee and enjoy the last few dregs of warmth. Said dregs of warmth were too hot for my liking (why is it in the 80s at the end of September WHY), but luckily, it’s supposed to start feeling like fall sometime next week. I also declared a women and gender studies minor along with my creative writing major, so I’m super excited for next semester!
Reading and blogging-wise, it’s been slow going, but I’m now in a good place to start writing more regularly, which is always nice to have back in the routine. It’s the first time in years that I’ve been behind on my Goodreads goal, but I purposefully made it lower since college is a thing that exists in my life now. Plus, I got to re-read The Martian Chronicles for a science fiction class that I’m assisting, and any time that I get to read Ray Bradbury is a win.
Other than that, I’ve just been trying to squeeze in time for drawing, listening to all of the wonderful new music that September had to offer (Shakey Graves, Mitski, Soccer Mommy, Wilco—all excellent), watching even more Taskmaster (SEASON 14 NOW!), and waiting for the day when I can finally break out all of my fall outfits.
READING AND BLOGGING:
I read 15 books this month! (16, if you count me reading Palmer Eldritch twice. Readability was never a concern for Philip K. Dick.) It was always going to be a shorter reading month since I’m still settling into college, but I read more than I thought I did! I’ve been able to read some great books. I tried to throw a few books for Latinx Heritage Month and Bisexual Visibility Week into the mix.
I’m willing to go out of my genre comfort zone when it comes to finding books with good disability rep, and that was the case for this book; dark academia usually puts me off (see my review of Victoria Lee’s A Lesson in Vengeance for the gist of my gripes about it), but I’m always here for books by disabled authors! In this case, it was worth it, but the experience wasn’t the one that I think the author intended—The Whispering Dark was a mess, but in kind of a fun way. For the most part.
Delaney Meyers-Petrov is determined to prove herself. All of her life, people have perceived her as fragile because of her Deafness, but when she’s accepted into the famed, rigorous Godbole University, she knows that this is the ultimate chance to show the world what she’s really made of. But Godbole isn’t an ordinary college—its students are trained to jump between parallel worlds, tapping into arcane magic in order to travel through alternate dimensions. As Delaney faces ableism from her peers and professors, a boy from her past, and the pressure to get good grades, the sinister side of Godbole begins to show its face. For months, boys have been going missing, and the answer to their disappearance may be right in front of her. Will she be able to get to the bottom of what’s killing Godbole’s student body—and work with this mysterious boy?
TW/CW: ableism, murder, blood, gore, past descriptions of death, near-death experiences
Look, you slip the phrase “unholy affliction” into a sentence, and you’ll automatically make me think of Soccer Mommy. And the more I think about it, the more it feels like the vibe of that song is what this book really, desperatelywanted to be, but…wasn’t. At all.
Normally, I steer clear of dark academia—the really bad stuff just feels like a bunch of Donna Tartt copycats writing about rich people being “morally gray” (read: smoking indoors, wearing turtlenecks and forming vague “secret societies”) and trying to capitalize off of a popular aesthetic. However, the fact that this one featured a disabled character written by a disabled author (!!!), convinced me to give The Whispering Dark a chance. Here’s the thing: the disability rep? It’s fantastic. Everything else? Not so much. The Whispering Dark was an absolute mess, but it got to the point where its utter ridiculousness was honestly kind of fun to read, so it wasn’t entirely a waste of time.
Let’s start off with the disability rep. Although I can’t speak to the accuracy of the specific rep (Delaney, the MC, is Deaf), it’s so refreshing to see disabled authors writing disabled characters—Kelly Andrew is also Deaf! And even without being Deaf, Andrew wrote some of the specificities of Delaney’s experience with her disability beautifully; I loved the details about how Delaney moved through life, from how the noises around her are described to subtle details like the change in sound when the battery runs out in her cochlear implant. Along with that, Andrew’s portrayal of being a disabled college student really resonated with me, from the nerves about personally confronting professors about accommodations to Delaney’s desire to prove herself.
Aside from that, it’s hard for me to find anything genuinely positive to say about The Whispering Dark. There are more positives in my eyes, to be fair, but they aren’t necessarily about how I think this novel was meant to be taken. In my experience, this book was SUPER campy, but the kind of campy that unintentionally resulted from taking itself so seriously that it becomes almost hilarious. I still can’t believe that all of this was played so straight—this book fell headfirst into every cheesy YA fantasy trope like a 5-year-old being pushed off of a diving board, and we were somehow expected to take it all seriously. You’ve got your edgy protagonist with her dyed hair and her edgy nickname, a mysterious, Ivy League school that teaches its students to jump between parallel worlds, students showing up dead, and a romance with a mysterious, dangerous older boy, who is compared by the MC to Patrick Bateman (I wish I was kidding), but still ends up being the one for whom the MC falls head-over-heels in love with. The way Andrew wrote it felt like she thought it was the most original idea in YA in the last decade, and honestly? I had to laugh. It felt like watching a terrible movie for the irony. Solid unintentional camp. I mean, look at how goofy that cover is.
And look—as campy as The Whispering Dark was, I at least expected there to be a little bit of worldbuilding. Here’s the thing: THERE WAS NONE. Interested in learning about Godbole University and how you can jump through parallel worlds with magic, according to Kelly Andrew? You’re outta luck. There aren’t any explanations for anything—you just get tossed around to parallel worlds without any explanation as to how. Want to know how the various types of magic factor into this world-hopping? Sorry, come back later. Want to know how the villain is using said world-hopping to kill unsuspecting students? Nope, looks like you’ve used up your three wishes. Again, it got to the point where it just felt so bad that it was funny—worldbuilding? Who is she? And it only proves my belief that dark academia, as a genre, suffers from “no plot, only vibes” syndrome time and time again.
All in all, a novel with great disability rep, but that took itself far too seriously for the campy train wreck that it was. We disabled readers deserve our mindless camp too. 3 stars.
The Whispering Dark is a standalone, and Kelly Andrew’s debut novel; her next novel, Your Blood, My Bones, is slated for release in 2024.
Today’s song:
That’s it for this week’s Book Review Tuesday! Have a wonderful rest of your day, and take care of yourselves!
Happy Wednesday, bibliophiles! Hope this month has treated you well.
How is it already the end of May? It feels like I was trying to get dust bunnies out of the corners of my dorm room just a few days ago…(so many dust bunnies 😭)
Let’s begin, shall we?
GENERAL THOUGHTS:
Whew! May has been pretty busy, but everything’s…temporarily winding down. I finished up my finals and managed to make straight A’s this semester—I just found out I got on the dean’s list, too! Still can’t believe I’m already finished with my first semester of college; it was such a scary and jarring experience at first, but I’m already finding myself missing parts of it. What a weird and wonderful year it’s been. Now that I’m back home for the summer, I’ve just been trying to soak it all up—I’ve had a few quiet weeks, but I’ll be going back to the library soon, which I’m so excited about!
My reading and blogging have both still been slower, with all of the bustle of finishing…everything, but I’m starting to get back on track now that summer’s started. I’m slowly trying to get back on a writing schedule as well—I ended up deciding to write the sequel to my main sci-fi WIP, and once I finish outlining it (which I’m in the middle of right now), I’ll get back on my writing schedule. That’ll probably be what I end up working on for Camp NaNoWriMo in July…
Other than that, I’ve just been drawing more, playing guitar, watching Kindred (Octavia Butler deserves a better adaptation), committing to binge-watching my way through Taskmaster (there’s strength in arches, y’know), and enjoying being home. We’re still in the “summer, but not disastrously hot yet” stage here in Colorado, so I’m enjoying that while it lasts…
And more importantly, I’m going to a virtual Q & A with the one and only AMIE KAUFMAN tonight!! I CAN’T WAIT!!
READING AND BLOGGING:
I read 18 books this month! My reading’s still a bit slowed down after finals and moving out (!!!), but I still feel like I read a good amount. It was a really mixed bag, though—two 1 star books (one was a DNF, the other would’ve been had I not been trying to wait out a lightning storm before going to sleep 🥴), but THREE 5-star (one rounded up from 4.75) books! Can’t remember the last time the former happened. Either way, I found a ton of great reads for AAPI heritage month, and finally got my hands on some of my most anticipated reads of the year!
If this month’s 1 star reads are any indication, maybe the word “monster” is the problem…?
Happy Sunday, bibliophiles! I hope this week has treated you well.
This post was brought to you by the never-ending Dark brainrot (it consumes), my disappointment in Kindred’s TV show adaptation, and the continued Palehound Panic™️. But this is all merely the calm before the storm, because now we’ve got the news that Blur is coming out with a new album in July…BRACE YOURSELVES
Somehow, it was this song, and not the original, that made me realize that the line was actually “the dark, sacred night” and not “the dark, say goodnight.” Whilst I was crying my eyes out at the Dark finale. Whatever it takes.
It’s been about two weeks now since I finished Dark and got through that gut-wrencher of a finale, and I can say with absolute certainty that I doubt I’ll ever emotionally recover from…well, anything about that show. I’ll spare you any spoilers, other than the fact that this song is present. But hopefully that part shouldn’t be a surprise, at least, with how the show-runners have now triple–dipped with the Soap&Skin needle drops, including the theme song itself. I may be an atheist, but the atmospheric covers of Soap&Skin and the eerie, dew-covered-forest, small-town-murder-mystery-that-turns-into-something-way-worse aesthetic of Dark together is a match made in heaven. There’s something that she brings to this near-untouchable song (except for a third grade singing program that I did? I think), that no one else could have—it’s got all of the makings for the same haunting instrumentals of her cover of Robert Johnson’s “Me and the Devil,” but it’s impossible to take any of the love or hope out of this song. The synths make it sound like something that would’ve been in the running for a Golden Record candidate (or at least the backing track to a shot of a satellite in space), and Anja Plaschg’s rich, cavernous voice create a shadowy atmosphere, but one illuminated by an undeniable light at the end of the tunnel. It’s impossible to make this song sound anything but hopeful, but there’s different ways that hope can sing—and this was a perfect fit for the tearful, bittersweet ending to a series that’s taken up a welcome amount of space in this brain.
But while I’m here, I will offer the following…this was a great song to send off Dark with, but consider: “Blood of Eden?” Again, no spoilers, but…it’s all right there.
Except this time, one show is a time-travel masterpiece, and the other is FX’s adaptation of Kindred. Octavia Butler deserves better than THAT. (@ the showrunners: Kevin being a somewhat static character in the book was NOT a sign to make him into a total dudebro. The X-Ray Spex shirt isn’t fooling anyone.)
However, as generally peeved as I was with that show, if there was one great thing I got out of it, I’d point to this deliciously eerie Beatles cover. I’ve since given up the whole “don’t cover the Beatles” mindset, even if we are living in an uncharted sea of awful “Here Comes the Sun” covers, because with how influential they were on…well, almost every aspect of rock music that you can think of, there’s infinitely many things that can be done with these songs, classics as they are. Take picking this song to cover—the original song is nothing short of experimental, psychedelic insanity, deliriously noisy and filled with rubber duck noises at random intervals, as one does. It’s glorious. It’s a childhood staple of mine. But Junior Parker’s taken all of the trimmings off of it, slimming it down like a tree stripped of its bark. When the dust settles, all we’re left with is bass, soft drums, scattered keyboard chords, and Parker’s sonorous, bluesy voice. The bare-bones construction of this cover makes “Turn off your mind/Relax, and float downstream” feel like a chilling whisper of coercion, not a famous allusion to psychedelics. I never thought that this song could get quite this ominous—and, despite my general beef with the Kindred show, it was a perfect fit for the show’s atmosphere—definitely the best needle drop of the show, right at the end of episode 2. It wasn’t all bad, I guess.
Listen. I only know the basics of studio recording technology, but somehow, it’s “Night Time is the Right Time” that makes me appreciate what they were trying to do in the 50’s—not necessarily what it could do, but what it caught. The version I have on my iTunes library is plenty scratchy, cloaking almost everything in that signature fuzz you get from most recorded music up to the 60’s or the 70’s. It’s charming—it’s the sound of the era. But here’s the thing—the key word is almost. In almost every recording that I’ve listened to, no matter when it was mixed, Ray Charles’ voice sounds as clear as day. You could probably chalk that up to the main goal of said recording technologies being to record his voice first and foremost, but I can’t help but romanticize that in my head, Charles’ resonant voice soaring through any technology and defying any attempts at being aged. But no matter how fuzzy or remastered any recordings get, it’s always a beacon, the foggy gleam of a lighthouse across the sea.
And on the other side of the coin, there’s Margie Hendrix’s iconic voice—not spared the fuzz, but with what I’d argue is an almost equal amount of power. She put everything into that first call of “BABY!” and never slowed down. Her voice did fall victim to the scratchy fuzz, but her declarative growl of a voice almost fits with it; there’s a rough edge to Hendrix’s voice, the kind that makes my throat raw just thinking about belting out those notes. Knowing she was in her early twenties when she sang that makes it all the more impressive. It’s a voice that instantly conjures an image—screwed-up eyes, mouth open wide, putting every ounce of lung power into the verse that you have. The song is a testament to both of their talents, what little that I know about either of them—but either way, there’s a reason that they called Charles “The Genius,” and just as much of a reason for the influx of YouTube comments declaring their love for that iconic shout of “BABY!”
Another find on my quest to absorb as much of Palehound as I can before Eye on the Bat comes out, here’s a single that El Kempner released about a month before it all went wrong. February 27, 2020, to be exact. Yeesh. Simpler times.
I noticed a pattern after listening to both Dry Food and A Place I’ll Always Go—indie-rock lightness and guitar fun are the main priorities, but Kempner always has a few melancholy, slower tracks to balance everything out, nudged just past the middle (“Dixie”) or nestled at the end (“Feeling Fruit”) of any given album. “See a Light” allows this breed of Palehound to stand on its own. It’s the perfect vessel for Kempner’s whispery voice to flourish, drifting along like fog amidst the homegrown, shoegaze-y, bedroom production. It gently crawls along to a slow drum machine and glossy guitar notes, settling in your lap like a kitten. Distortion creeps in at perfectly calculated moments, fuzzing up the edges of the instrumentals and Kempner’s voice. Beyond all of that, it’s one of the best instances of album covers (or single covers, in this case) perfectly matching the feel of the song(s) itself—the combination of the handwritten typeface and the basketball hoop taken over by bright green vibes, set against a cloudy, gray sky, matches all of the bits that make me go back and listen to this song.
📢YOUR REMINDER TO SUPPORT JIM NOIR ON PATREON (link above) IF YOU CAN HE’S AMAZING📢
Ever since Jim Noir has started said Patreon, we’ve gotten a handful of his older catalogue in between the new EPs. One such offering is this—a collaboration from 2000, between himself and a longtime friend, now remastered from the original ten tracks and expanded to 30 (!). (For reference, the tracks are grouped into four chunks on the Patreon link.) It’s not the first time that Jim Noir, under whichever name, has offered up his experience with making ambient music (see Omission Sound, also available on Patreon). I’m not as well versed in ambient music in general, but I’ve gotten tastes of it from him over the years; usually, I’m ambivalent about it—for me, his ambient music functions mostly as background music, plus the odd sample with a nice layer of distortion thrown in. But “Cubist Castle – Part 1” feels different than Omission Sound’s Solutions—there’s something cheerier about it that sets it apart. Including an early version of “Everytime” (a bright soundtrack to many a painful hour studying during the pandemic), “Cubist Castle – Part 1” has calm woven into it. Although some of the later parts get plenty ominous, there’s something so gentle about this first chunk—the tinny, bubbly synths, samples of birdsong and beach sounds…it’s just nice, simply. Nice. Nice is often such an inadequate word, but given the background-music nature of this album, it fits. It’s like the auditory version of a baby sensory video. I’m just glad that all of the essay writing that I did to the tune of “Cubist Castle” didn’t ruin it.
Since this post consists entirely of songs, consider all of them to be today’s song.
That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!
I put this one on my TBR years ago, and I only fished it out of the void a few days ago, after looking for some books to read for AAPI heritage month. I’d read mixed reviews, so I went in with low expectations, but I came out with a fantastic and nuanced story of feminism in a high school setting!
Eliza Quan knows that she’s qualified for the position of editor-in-chief at her high school newspaper. She’s been with them since the beginning of her high school career, and sure, she may not be the warmest person 24/7, but she has what it takes to bring the newspaper to new heights. The problem? Her classmates don’t seem to think so.
When she loses the editor-in-chief election to Len DiMartile, who only joined the newspaper after an injury prevented him from playing baseball and decided to run against her on a whim, she feels as though all of her hard work has come to nothing. And she knows she’s qualified—so why does this sexist activity keep running amok in her school? After pouring out her thoughts in a manifesto, Eliza thinks it’s all over. But after the manifesto is posted to the paper’s website without her permission, it causes a ripple effect of protest and accusations. Among the sides being taken, can Eliza transform this drama into genuine change at her school?
Don’t you just love it when you’ve forgotten about a book existing, so you go in with low expectations, and you end up dazzled? Top 10 feelings, for sure.
I’ve read my fair share of feminist, realistic-fiction YA in my day, and sadly, it’s easy for them to miss the mark, whether it’s introducing diverse characters for the sake of intersectionality and doing nothing with them (Six Angry Girls) or having a protagonist who only focuses on very surface-level aspects of feminism without getting any more nuanced (half of Watch Us Rise). But Not Here to Be Liked delivered the nuance, heart, and punch that it was supposed to, making for a powerful story of systemic misogyny and leadership.
I think some of the reviews seemed to miss the point when talking about Eliza—she’s a great character, but she’s not intended to be entirely likable. It’s in the title, after all! Sure—she’s determined to make the school paper as good as possible, and sometimes, that comes off as abrasive or strict. But that’s the point—were she a man, these traits would be praised: she’s “too harsh,” but he’s “willing to take charge” or “a fearless leader.” See the double standard? That’s what this book was trying to say all along. And Quach did an excellent job of having a flawed but incredibly root-able protagonist: every position that she takes is a laudable one that’s backed up more often than not. Eliza was robbed of her position, simply because a man’s charisma meant more than a woman’s experience and talent.
Not Here to Be Liked also portrayed how we think of feminism so well! As soon as Eliza’s manifesto is leaked and both support and vitriol begin to flow towards her, many of her classmates stand behind her, but their support is often half-baked; it’s a great commentary on that shallow, hollow white feminism that’s so prevalent among people who aren’t willing to do anything politically uncomfortable: slapping an “I am a feminist” pin on your shirt, saying “smash the patriarchy!” a few times because it’s briefly profitable, and being done with it. This novel does an incredible job of dissecting the true nuance of feminism and teaching others that making genuine change isn’t simple or easy—there are always more layers than you think there are. It’s never just about gender—it’s about race, sexuality, class, and so many other facets of our national (and international) identity. And even though this book doesn’t necessarily cover every bit of it—it’s a big ask for a single book to cover every single component that falls under feminism—it didn’t need to: misogyny and racism were the main focuses, and they were dealt with in a nuanced way. Apart from a misunderstanding of the Bechdel test (the book seemed to interpret a lot of it as how much real women think about men, when Bechdel’s focus was more about how female characters are written, especially in male-dominated Hollywood), it’s a great view of feminism in a YA setting.
Plus, with all of my gripes, Not Here to Be Liked did something of an enemies-to-lovers romance pretty well! Going into this novel, that part was what I was most suspicious about, but Quach, unlike many romances with “enemies-to-lovers” slapped onto them as a buzzword, actually handled in a way that felt authentic. The stages of Eliza and Len’s relationship didn’t feel like it was cut into neat, digestible slices—they had their ups and downs, and the result wasn’t entirely black and white, either. That’s what love is. It’s not quantifiable by any of the labels we put on it, and that’s how it’s supposed to be. Personally, I didn’t think that they had a whole lot of chemistry together, but their relationship was well-written enough that I could push some of that to the side.
All in all, an incredible story of one young woman’s fight for justice in her high school that scores high on its protagonist and depictions of feminism. 4 stars!
Not Here to Be Liked is a standalone, but Michelle Quach is also the author of The Boy You Always Wanted, which is slated for release on August 1, 2023.
Today’s song:
almost finished with Kindred on FX, and I have mixed feelings about it, but for now, at least I got this eery Beatles cover out of it
That’s it for this week’s Book Review Tuesday! Have a wonderful rest of your day, and take care of yourselves!
Happy Sunday, bibliophiles, and happy Easter for those celebrating! 🐣
I’m still riding the boygenius high, and I will most certainly be riding it for much longer (that is a threat), but I promise I’m listening to a few more songs…maybe…
Never in a million years would I have predicted having a song with banjo in it constantly on repeat, but life is full of surprises. All the better if said songs are delivered by the likes of boygenius.
I’ll surely be raving about boygenius’ recently released full-length debut the record for the next month, but this song, after their first four singles, is taking center stage in my head constantly. With a melody inspired by Simon & Garfunkel’s “The Boxer” and sparse, gentle instrumentation that lets each member of the supergroup bathe in the spotlight, it’s a quiet, introspective highlight. Julien Baker, Lucy Dacus, and Phoebe Bridgers take turns reflecting on the mixed emotions of painful, strained reunions with exes and old friends, hidden lyrics shine through in not-so-hidden lyricism—”I can walk you home and practice method acting/I’ll pretend that being with you doesn’t feel like drowning,” in Bridger’s final words. boygenius have let their joint talents meld together in a handful of different structures, but somehow, this neat, boxed-in sections where one singer takes the lead per verse make for a song that truly feels like all of them. And as gently as bubbling water in a creek, their harmonies rise as one for each chorus—my heart can’t help but leap a little when each of them harmonize to the final line of each verse: “even though we know it isn’t true…”
I’ve been meaning to get more into Graham Coxon’s solo work ever since my 2021 Blur frenzy, and through the nuggets of song titles that I seem to remember completely at random, I’m getting more and more excited about it. The only song of his that I know that isn’t a cover or from the soundtrack of The End of the F***ing World(which I still need to watch…), it’s an unadulterated dose of tight, anxious Britpop straight to the veins; even without Blur and all of the detriments that came with its fame, it’s clear that this is the kind of music that Coxon was meant to play. And he plays it well. Each punchy chord feels laid out on a precise grid, and from what I can gather about him, it seems like something he would do. “You & I” is a distinctly polished song—not in the way that an over-produced, Top 40 hit is, but polished in the way that every edge has been meticulously sanded down to perfection, not a note out of line. These nervous, uptight white guys know their stuff sometimes…
I’ve gotten bits and pieces of Japanese Breakfast over the years—I remember being in the car all the way back in middle school and hearing a piece of NPR about her debut album, Psychopomp, and being interested, but I don’t think I ever got around to listening to it then. With all the buzz around Jubilee and her acclaimed novel Crying in H-Mart, I figured I might get around to giving Michelle Zauner and company a listen. Like “You & I,” I remembered the title of this song at random, and I’m so glad I did!
“Everybody Wants To Love You” feels like the 2010’s, indie rock answer to a poppy love song of the 50’s or the 60’s. Everything about it feels cheery—the bright, practically glittering guitar tones, the sharp pep of Zauner’s voice, and the starry synths that seem to leave sparkling trails over every second of the song. Add a wonderfully catchy guitar riff and package it into the pop-standard 2 and a half minutes, and you’ve got something that feels like it could come out of any era. Well…maybe not any era—some of those lyrics definitely would not have flown in the mainstream before the 60’s, but that’s not the point. It’s just 2 and a half minutes of joy, purely and simply.
Over break, I went through the first season of Netflix’s Dark with my family, and ever since, I’ve ripped a solid half of the songs from that show and slapped them haphazardly into my music taste. Seems like that’s largely the case for a lot of the commenters on this video too (all of the Dark references have passed the vibe check with absolutely flying colors), and, among other things, Dark reminds me how good it feels to be so invested in every part of a show—not just the story itself, but every little detail that goes into it. Like the music.
I won’t go into how perfectly this song melds with the overall themes and the last episode of season 1 of Dark for fear of spoiling something so wonderfully intricate, but it’s chilling on its own as well. Blixa Bargeld boasts such a rich voice—it reminds me a lot of Jarvis Cocker, with that same rasp at the edges of the resonance you can feel in your chest. Just like Dark’s absolutely disturbing score, Bargeld’s vocals seem to buzz in moments, turning from something human into the hum of putting your ear next to a beehive. There’s a deeply poetic feel to everything in this song’s atmosphere, with the orchestral composition forming in the background and the gloom that seems to settle over every note like fog. It creeps along like frost, painted in the same grays as the album cover. What I’m trying to say here is this: whoever was in charge of the music direction for Dark—I SALUTE YOU. BLESS YOU.
Phoebe Bridgers is a distinctly 2020 artist in my musical canon. I first listened to Stranger in the Alps in the early months, before everything went…y’know, and Punisher came out that summer. But unlike Punisher, an album that’s a no-skip for me to this day, some of the songs on Stranger in the Alps didn’t do it for me on the first few listens. It’s understandable—Stranger was her debut, and with Punisher, she had more time to hone her craft and sound. But I’ve recently come back to some of those songs that I didn’t warm up to the first time; some of them still don’t impress me, but “Demi Moore,” along with the harrowing “Killer,” took a while to grow on me.
With a title borne from a misheard lyric (“I don’t wanna be stoned anymore” became “stone Demi Moore,” this song, like many of her others, lingers in the hazy, middle-of-the night lairs of vulnerability. Especially on Stranger, the instrumentals often take a backseat to Bridgers’ singing, letting the emotional side speak for itself amidst quiet synths that flicker like satellites in the night sky. Phoebe Bridgers’ voice floats along like misty fog over a creek, all at once thin and full of emotion.
And again—normally I can’t stand banjos, but these somehow work because of how…quiet they are? Sorry for the banjo slander here, but…I can’t help it, I’m sorry. I was forced to learn in 7th grade for school, but I didn’t enjoy much of it, save for trying to pluck out a rendition of “It’s A Wonderful Life” from memory. I’ll begrudgingly admit that it did help me get a bit of head start on playing guitar, but I still have a vendetta with the instrument. I digress.
Since this post consists entirely of songs, consider all of them to be today’s song.
That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!
It appears that my way of telling the world that I’m very done with winter, thank you very much, is by making brighter and brighter color schemes for these posts. The songs aren’t *all* necessarily happy, but hopefully a handful will bring some warmth to you into these chilly times. Bring on Spring already, huh?
You know those movie/TV scenes where the protagonist sees somebody from across the bus/train station, and then the bus/train/insert vehicle of your choosing passes by, and the person mysteriously disappears by the time the protagonist looks back?
forgive the, ah…interesting editing, this is the only clip I could find 🥴
Yeah, that. Sort of. Maybe a bit artsier. Not to dunk on the Sam Raimi Spiderman movies, my beloveds (except for this one, I still haven’t seen it), but I can’t think of an artsier example. More in line with the feel of the song.
My roundabout point is that this is how “Bicycle” makes me feel—I could either be the mysterious person who disappears behind the train, or the onlooker watching them from across the tracks. I can practically feel the beret, peacoat, and plaid scarf descend upon me, walking through puddles in high-heeled boots as the mysterious person from across the station vanishes…
As much as I adore St. Vincent’s shreddier side, I always feel a little nostalgic for her earlier, art-pop days when I hear songs like this. I didn’t even know it existed until I saw it hidden in her earlier singles, apparently a b-side to “Actor Out of Work” that never made it onto Actor and sort of faded into the background of her catalogue. And even though it fits more of the impressionistic forays of Marry Me, it’s a crime that this song doesn’t get any attention. With a slow build from a collage of light woodwinds and pianos, it feels like a watercolor painting of a city in the rain. Annie Clark’s voice, which rocks like gentle waves as she muses about a stolen bicycle and a pair of tennis shoes, creates an atmospheric painting of a song. The point at about the 2:36 mark where the background steps into a different key, practically feels like levitation. It’s a beautiful song, and it’s a crime that it took me this long to find. Either way, what matters is that I have the chance to listen to it now, and I’m already starting to listen to it nonstop until I’m sick of it. I doubt I’ll get sick of it.
I found out about Wednesday completely on a whim while glancing at an article about NPR’S 2023 artists to watch. I came around to this song, and just like that, I’ve got another few albums added to my never-ending hydra of a list of albums I need to listen to. One song was all I needed to get hooked; Karly Hartzman’s vocals have a likably nasally quality to them, lingering in the quiet, guitar-plucked first minutes of the song, then soaring to the point of exhaustion as the guitars explode into fuzz once more. “Cody’s Only” is a song that keeps you on your toes: you think it’s just another quiet, sadgirl indie song for the first thirty seconds, but as soon as the heavy guitars and percussion kick in, you’re blown out of your seat. I’ve only listened to a handful of their songs now, but they remind me a little of Snail Mail, maybe with a bit of Horsegirl mixed in, but I’m sure that I’ll be hooked on at least a few more of their songs. I don’t want to get my hopes up too too high, but I might be a fan…
And you thought I was done with Super Furry Animals for the week? Gotta keep you on your toes somehow…
I already talked a bit about the Wendy & Bonnie sample at the beginning of this song last week, but I’d be remiss if I didn’t talk more about this song, especially with how much I’ve been listening to it lately. Despite how much said sample creeped me out, it’s a song I remember fondly from my childhood, and it still retains that signature joy to this day. Paired with the music video and its cheery, pseudo-pegasus creatures, it’s a song that brought sunshine into some of the freezing days of the past few weeks. After the distorted sample fades out, it launches into a perfect package of Britpop joy. It’s not as loud, explosive, or experimental as some of their other hits, but it’s pure comfort. Listening to it feels like you’re in the strange, animated world of the music video, bright, cartoony, and filled with…well, sunshine. It’s a song that’s begging for the hopeful end credits of a movie, and it’s a song that never fails to fill my heart with a little warmth in these cold months.
Another St. Vincent song that I had no idea existed until recently…I’ve given up all shame in doubling up on artists on these posts now. I am forcing you to listen to St. Vincent singles ca. 2008-2009.
You can’t deny how somber this song is (and Jackson Browne apparently wrote it at 16? never ceases to amaze me), but there’s some kind of intangible hope that Annie Clark’s take brings to it. This was one of the first singles she ever released as St. Vincent, a b-side of “Jesus Saves, I Spend,” and it’s hard to think of a better cover to go along with the art-pop sensibilities of Marry Me. The more delicate side of both Annie Clark’s airy voice and her intricate guitar playing suit this song; maybe it’s this that gives this version more hope: there’s a hidden brightness in her instrumentation, wistful, but not quite sunk in sadness. Clark might as well be a sort of musical, more positive King Midas—every cover she touches turns to gold, and even if it was already gold, she makes it shine even more.
(…except for that cover of “Funkytown.” We don’t talk about Funkytown.)
We’re ending on a happy note, trust me. Short and sweet.
I’ve recently started blowing through Only Murders in the Building (NO SPOILERS, I STILL HAVEN’T FINISHED SEASON 2), and it’s easily the most delightful show I’ve watched in ages. And given that the premise surrounds a true crime podcast and an actual murder, that’s saying something. But then you throw in two eccentric old guys and an equally eccentric Selena Gomez, an old apartment building in New York City, and some weird shenanigans involving a cat, and it’s instantly the most comforting murder show you will ever watch. And it’s almost enough for me to forgive Cara Delevigne for getting on my nerves so much, and that’s saying something.
Key word there is almost. The bar is in the Mariana Trench.
But one of my favorite parts of the whole show, the very thing that shouldn’t have a whole lot to do with the content of the story itself, is the opening credits:
I could go on for days about how wonderful the animation is, but half of what makes it shine is the background music. Even though it’s short enough for YouTube to constitute is as a Short™️ (and definitely not Trying To Capitalize Off Of The Success Of TikTok™️), it perfectly encapsulates the mood of the entire show; it’s all played in a minor key, giving it the slightest bit of a sinister air, but the combination of the strings, choir, brass, and the delightful little chime at the very end give it a strangely cozy, warm feel. It almost has the feel of some of the work Danny Elfman has done for Tim Burton (I know that doesn’t narrow it down at all, but hear me out); there’s an air of spooky around it, but there’s an undeniable whimsy that carries the entire song. A good theme song is hard to find in the days of the “skip intro” button (and anybody who skips this intro deserves jail time, I don’t make the rules), but this is an instantly memorable one.
Since this whole post consists of songs, consider all of them to be today’s song.
That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves.
I hate to end the month on a negative note review-wise, but I just wasn’t a fan of this novel. I’ve been following Adiba Jaigidar’s books for a little while, and for the most part (still don’t see why Hani and Ishu still gets that much hype), she does well with writing diverse YA romances. I was excited to see her take on a different genre, but to my disappointment, A Million to One read as a half-baked, flimsy excuse for a heist.
For my review of Hani and Ishu’s Guide to Fake Dating, click here!
Josefa, Emilie, Hinnah, and Violeta: four girls from radically different backgrounds, thrown together on the RMS Titanic. Their mission: to steal a copy of the Rubaiyat, embedded with jewels and worth a fortune. With all of their skills combined, the girls are confident that they can swipe the priceless book once and for all. But the Titanic is filled with distractions, romance, and all sorts of obstacles, and the job may be easier said than done. Add in the recent revelation that the Titanic is sinking, and the four realize that they may be in over their heads…
TW/CW: drowning, mentions of parental abuse, loss of loved ones, abandonment
Yikes. I think I’m gonna have to break up with Adiba Jaigirdar after this one. I loved The Henna Wars,Hani and Ishu’s Guide to Fake Dating was decent but nothing earth-shattering, and now A Million to One was just plain disappointing. Her books have just gotten progressively worse for me? I really appreciate that she’s branching out from romance, but it really seems like she bit off more than she could chew.
Before I get to all my gripes, I will say that I loved, as with all of Jaigirdar’s novels, the amount of diversity. It’s historical fiction, but we have Black, Pakistani, and Croatian characters, a sapphic romance, and all but one of the main characters are immigrants, which is always fantastic to see. The thing about A Million to One was that everything came down to the execution, and the execution failed miserably.
If I had to sum up A Million to One in brief terms, it feels like Jaigirdar was watching your garden-variety heist movie, fell asleep half an hour in, and then tried to write a book from that memory as soon as she woke up. All of the beats of a typical heist were technically there, but they all but stood around and did nothing. Everything that should have been interesting about this novel—getting the gang together, the Titanic setting, carrying out the heist, the romance—was glossed over in favor of a good 100 pages of dithering in between each major plot point. It was the skeleton of a heist, lacking all of the meat and muscle that would have made it substantial.
For instance: the first few chapters of the novel. These were dedicated to Josefa assembling her crew, which is the kind of beat that I really enjoy in any kind of heist plot. However, all it consisted of was Josefa randomly going up to the rest of the characters with seemingly no explanation and offering them the job, and them either agreeing to it immediately (???), or, if we were lucky, having a paragraph of deliberation before agreeing to it. This could have been a perfect opportunity to develop the characters (especially since they weren’t developed much at all throughout the novel anyway) and introduce their personalities/roles in the heist, but we got absolutely none of that. It wasn’t like A Million to One was so long that this part of the plot needed to be cut down for time—it’s barely over 300 pages. There was no excuse for that.
And for the amount of opportunities that Jaigirdar had to develop these four characters, most of them were shockingly underdeveloped. Other than some insight on the motivations of Violeta and Emilie, all four characters had nearly indistinguishable voices, personalities, and no reason for being on the mission other than a vague role. We got a bit of a tragic backstory for Hinnah, at least, but a tragic backstory with nothing else to go off of does not a well-developed character make. In addition, we only got a vague idea of what the characters’ roles were—the actress, the thief, the acrobat, and the forger—often with no context. For instance: Violeta was supposed to be an actress, but we got no idea of her background, her training, and how she got to be so good. For a novel that seemed to market the diversity and individuality of the crew, it would’ve been leagues better if I had been able to tell who was who without the chapter titles.
The majority of the novel ended up being a bunch of meaningless dithering about on the Titanic, which was intended to…build up the suspense, I supposed, but it felt like far too many pages of The Gang running around the ship, chatting with a boy or two, trying to throw the guards off their trail, and making no progress whatsoever. There was supposed to be a romance somewhere hidden in there, but it ended up being my problem with Hani and Ishu, amplified: two characters just got thrown together with zero prior chemistry, insinuation, or anything that would suggest love. It got to the point where any movement in the novel was indistinguishable, and by the time I finally got around to the actual heist, any semblance of suspense or action had vanished. The only thing that managed to partially grab my attention was the fact that the Titanic had started to sink, but by then, the only aspect that somewhat grabbed my attention was that half of the main cast died. If major character deaths are the only thing that are keeping your reader interested, then something is very wrong with your plot.
All in all, a break from form for Adiba Jaigirdar, but one that ended in a half-baked, borderline boring disaster. 2 stars.
A Million to One is a standalone, but Adiba Jaigirdar is also the author of The Henna Wars, Hani and Ishu’s Guide to Fake Dating, and the forthcoming The Dos and Donuts of Love.
I’ve already posted once today, but have another song anyway:
such a lovely cover 😭
That’s it for this week’s Book Review Tuesday! Have a wonderful rest of your day, and take care of yourselves!
Happy Sunday, bibliophiles! I hope this week has treated you well.
We’re reaching the end of the month now, and it’s shaping up to be another great year for music already! Also, we’re not even a month into this year and I’m already on another relentless Super Furry Animals kick, so…do with that what you will. It’s fine. Bring on the (Welsh) Britpop craziness.
To the elation of the girls and the gays (and to the dismay of a bunch of butthurt boomers in the comments of Rolling Stone’s instagram account, apparently), boygenius are back, and they’re already coming out swinging with three fantastic singles. Although all three showcase the joint talents of Julien Baker, Phoebe Bridgers, and Lucy Dacus, “$20” is the true powerhouse of the trio. Baker’s vocals, from most of her solo work, tend to be restrained at worst, but she lets loose on this single, filled with punchy guitars and equally punchy lyrics. It never slows down, feeling more like riding a wave, thinking that you’re safe in the current, and then getting hit with a powerful mouthful of saltwater with what may be the best Phoebe Bridgers scream yet. More than ever, the harmonies of Baker, Bridgers, and Dacus fit each other like chiseled puzzle pieces, as though they were always destined to work together in near-perfect unison. Needless to say, I doubt I’ll come down from the boygenius high for a while here. I KNOW YOU’VE GOT $20.
If you described the bare elements of “Ice Hockey Hair” to me—nearly 7 minutes long, heavy on autotune, a minute-long outro with almost nothing but random beep-boops strung together—I doubt I’d be immediately sold. But that’s the magic of Super Furry Animals; they can take any number of weird, outlandish elements and string them into something that’s not only cohesive, but an instant earworm at that. Laden with heavy guitars and drums and backed by a consistent fuzz and an effortless vocal harmony, “Ice Hockey Hair” never makes me lose interest through all 7 minutes, going above just keeping a steady pace and making for the perfect, prolonged Britpop song. I barely ever like autotune, but what sells me about the way that Super Furry Animals use it is that they just embrace the weirdness of it—it’s not to make their voices sound better, it’s just to make it sound weirder, to make it blend into all the screeching static and beeping faintly humming in the background. They’re masters of making their voices into instruments, and not just that, but making them into something just as weird as what’s going on in the rest of the song.
Along with Super Furry Animals, I’ve stumbled into another St. Vincent kick as of late, and although I’ve always loved her work, I’m reminded of how rarely she misses (we don’t talk about MASSEDUCTION) in any aspect of her artistry. Actor is only her second album, and already, she’s showcasing her clear virtuosity—lyrically and musically. Even before her rightfully famous electric guitar shredding became an essential part of her music, Annie Clark’s complex, acoustic guitar pickings create an atmosphere that always feels alive, and with the added brass and driving drums, “Laughing With A Mouth of Blood” is a poignant landscape of a song that you can’t help but lose yourself in. St. Vincent’s music never loses its quality with the passage of time, and every listen feels like the wonder and joy of listening to it for the first time.
I was so used to seeing the album cover of Taking Tiger Mountain By Strategy (now that’s a title) from really far away, so…am I the only one who thought that Brian Eno was wearing a beret, and it wasn’t just his hand patting him on the head? Is the hand about to give him the Gary Oldman cheek stroke, or is it just to cover up the pseudo-Riff Raff haircut?
…okay, I really shouldn’t be roasting the guy. He’s just doing his wonderful art-pop thing, and I love him for it. So much. Songs like “Cindy Tells Me” have further convinced me that I should listen to more Brian Eno, and this one I like almost as much (though it’s hard, considering how long I had the former on repeat back in October). For a song loosely written about one of the deadliest plane crashes of all time, it’s strangely laid-back, meandering along with bright, jangly guitars and synths in the similar tone. It’s a song to gently sway your head to, one to revel in the multi-layered composition of it as the guitars slowly climb up and down the scale. Brian Eno’s just doing his Brian Eno thing, and I’m so glad he’s doing it.
It’s hard to take a cover and put a spin on it that feels completely new—especially if it’s Jimi Hendrix that you’re covering. But Robert Smith and company make it look easy, putting their signature goth touch on a rock n’ roll classic. Smith pulls the meaning of “haze” to an entirely different direction, layering the song with an eerie, synth-laden atmosphere and distorted vocals. It really does give the song the feel of a haze, like some kind of cloud or curtain that you’re walking through to try and find the heart of the song.Different pieces of instrumentation fade in and out, as though you’re losing consciousness. The guitars are understated, but I think it’s rightfully so—you really can’t touch Jimi Hendrix in that regard, for one, but it’s the fog of distortion and synths that make this cover so memorable. It’s a cover that wouldn’t be out of place at some kind of shady Halloween party (as most of the Cure fits anyway), a musical fog machine that transports you to another realm where you can’t seem to differentiate which way is up or down.
Since this post is all songs, consider this post to be today’s song.
That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!
Happy Saturday, bibliophiles, and happy New Year’s Eve!
Whew. This strange, chaotic year is coming to a close, but what matters most is that despite everything, we’re still here. Whoever you are, I’m proud of you for making it through another year. You did it!
GENERAL THOUGHTS:
December was certainly a little stressful at the beginning, what with my first finals season in college. Most of my classes were fine, seeing as all of my English *finals* were mostly essays and portfolios, but stats and bio anth were a little tougher. But in the end, I got out with good grades, and I won’t have to take a math class again in my college career. You have no idea how happy I am about that.
The great thing about being in college (in my case, at least) is that we have a really long winter break! After the chaos of finals, I’ve had a lot of time to settle down, relax, and spend the holidays with family. I’ve been in a major reading slump since finals, but the combination of some finds from my dad’s comic shelf, some Christmas gifts, and the haul from my Barnes & Noble gift card, I’m back into my regular reading rhythm! I’m so excited to read the rest of my haul!!
Other than that, I’ve been drawing more, putting together a puzzle (of David Bowie, who else would it be), watching Andor (SO GOOD), Glass Onion (I cannot stress enough how wonderful this movie is), and Decision to Leave (I still don’t completely know how I feel about this one), seeing The Smile live (CRYING CRYING CRYING), and enjoying spending time at home with my family over the break.
And yes, I know it’s New Year’s Eve, but there is a MUCH more important holiday going on today, and that’s Ringo’s first birthday!! My boy turns 1 today!! Everybody say happy birthday to Ringo
Also, I figured it might be fun to share some highlights from my apple music wrapped, sorry, replay—I’ve always wished that apple music had a wrapped equivalent, so, uh, Christmas miracle, I guess?
unsurprising, given that I spent a 2-hour plane flight listening to “Metal Guru” on repeat and nothing else 🥴I am nothing if not predictable (David Bowie was #6 and Radiohead was #7 lol)PFFFFFFFF ROCKY HORROR MADE THE CUTDo I get Welsh street cred for this one?
READING AND BLOGGING:
I read 15 books this month! It was my worst reading month as far as reading goes, but it was also finals week, so it’s all fine. I completed my reading challenge of 200 books and read 224 books in all this year!
fantastic on its own, but it was incredible to hear live with The Smile!!
unpopular opinion—this is my least favorite Blur album that I’ve listened to so far, but that doesn’t mean I didn’t enjoy it. this is certainly the best track
I never thought I’d say this in my lifetime, but new Sparklehorse just dropped?? and it’s not sad??????
again, this was so much fun live, but it’s great to finally hear the album version!!
I stumbled upon this one while trying to cite On a Sunbeam for my final comics paper—according to Tillie Walden, this is the song that inspired the title! fits the vibe of the comic for sure
SUCH a creative cover, wildly different from the original but in the best way possible
a great album to end the year on!
It’s been a scary and jarring year, but it’s been wonderful too. I graduated high school and started college, and I pushed myself out of my comfort zone more than I have in ages. I made new friends, I went to so many amazing concerts and read so many fantastic books. It’s been weird and uncertain (and I cried a lot), but in the end, what matters is that we got through it. No matter how good or bad of a year you had, I hope 2023 brings hope, love, and good things to each and every one of you. We got this.
Have a wonderful new year. Spread love, be kind to each other.
— madeline
Today’s song:
came for the Gorillaz, stayed for the Suzuki flashbacks
That’s it for this month in blogging! Have a wonderful rest of your day, take care of yourselves, and have a happy new year!
