Tag: May

Posted in Sunday Songs

Sunday Songs: 5/28/23

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles! I hope this week has treated you well. 🫶🏻

This is gonna be a fun one. By coincidence, the fault lines of Palehound Panic™️ and my recently reawakened Blur Breakdown™️ have collided in the span of a week. Let’s hope the results won’t be cataclysmic.

Enjoy this week’s songs!

SUNDAY SONGS: 5/28/23

“Black Friday” – Palehound

I’ve finally finished my quest to catch up on Palehound (the albums, at least) before Eye on the Bat. Over the past week or so, Black Friday has been in heavy rotation—it feels like El Kempner’s most cohesive and lyrically strong album, and it might just be my favorite of theirs so far. It was a feat to pick just one song from this album—“Worthy,” “Aaron,” and “Killer” were all strong contenders (GO LISTEN THEY’RE ALL SO GOOD)—but the title track, “Black Friday,” stuck out to me in so many ways.

Palehound often leaves the introspection for a handful of songs at the end of each album, but the personal threads run deep throughout the entirety of Black Friday. This song in particular hits a particularly emotional note—it’s a continued story of catching up with old friends, all the while having a nagging feeling that they don’t care about you now, and that they never cared much about you before, either. Yet somehow, you still feel tied to them by some kind of desperate obligation, a lingering thought that maybe things can change, but knowing they won’t; Kempner sings that “I’ll take being the last one that you call/You’re Black Friday and I’m going to the mall.” The chorus of “Before you said we’d keep in touch/I don’t hear from you too much/If you need to call me, I’m too weak to hold a grudge,” with Kempner’s layered harmonies, glitter like the edges of stars and ring out like a faint sound of a jet flying overhead. It was a song that felt like a punch in the stomach, all while I was just trying to give myself a nice manicure. Afterwards, I had to sit back for a minute…there will always be those songs that hit a little too close to home for comfort, and they always come when you least expect them to. But songs like “Black Friday” give a voice to the feelings that we think, in our darkest moments, are isolated only to only us. So thank you for that, El Kempner. Here’s to making friends with people who really do care, and not chasing after people who don’t.

“The Narcissist” – Blur

All is right in the universe. Nature is healing. We’ve got a new Blur album out in July…everything’s okay again…

…and this song is testing my ability to spell the word “narcissist.” I could’ve sworn that there was another ‘c’ in there somewhere…

I’ve got to hand it to Damon Albarn at this point—he’s having not one, but two of his projects (this and Gorillaz) releasing albums this year, and even if Cracker Island was a bit of a disappointment, the sheer creativity and talent is all there regardless. Knowing that the forthcoming The Ballad of Darren was a spur-of-the-moment kind of reunion makes it all the more impressive—they didn’t plan on making another album in the first place, and then they come out with this?

That being said…I’m not sure if it’s Blur’s best, but it’s still a great song. I didn’t listen to it on repeat while cleaning out my closet last week for no reason. It’s such a catchy tune—the instrumentals are a little understated, but it’s clean, it’s smooth, and it’s proof that Blur have mastered the art of a polished Britpop tune. My only problem, as much as I’ll sing praises for Damon Albarn, is that there’s too much Damon Albarn. It’s not something that I’d ever picture myself saying, but we live in strange times. “The Narcissist,” delightful earworm that it is, feels more like a solo Damon Albarn effort than a Blur song. Even though we do get Graham Coxon’s backing vocals, I find myself missing his captivating, intricate riffs. You can hardly hear the presence of Alex James’ iconic basslines. And Dave Rowntree’s precise drumming is still there, but again: understated. I just want more Blur, less Damon Albarn.

All that is to say that, for once, the fact that we’re getting a whole new Blur album overshadows most of the nitpicks I have about “The Narcissist.” I have a feeling that I’m gonna enjoy Hot Blur Summer.

“I Need Some Fine Wine and You, You Need to Be Nicer” – The Cardigans

If I didn’t know any better, I would’ve thought this was a Giant Drag song—it’s got a very similar kind of bite. I’ve only listened to First Band on the Moon, but this song has me wondering what happened between that and their final record, Super Extra Gravity. I wouldn’t call it a sea change—it’s still got the pop sensibility that Nina Persson perfected to a science, but there’s an undeniable roughness to the song that pushes it more towards the edges. Persson’s voice, although it retains her signature, dainty tone, curls into a rasp as the song begins with half-spoken dog commands—”Sit/good dog/stay/bad dog/down/roll over.” The rest of that song is as bitter as the intro suggests, singing of a relationship gone sour, dulled by alcohol and fleeting visions of lost love. The Cardigans have toyed with these kinds of songs, but this one really makes the feel come through—it’s still a pop song through and through, but the sharpening of the guitars on this one make the image really come to life. “I Need Some Fine Wine” is, in short, Nina Persson’s hairdo in most of the video—it coexists as the neatly braided crown and the spiky hairs coming out all at once.

“Sinnerman” – Nina Simone

Full disclosure: I hoard reaction images. Too many. But even a refined reaction image connoisseur such as myself knows that some images are only suited for very specific, sacred times. You can’t go about wasting them willy-nilly, even if they are just…well, sitting on your phone. It’s not every day that something can evoke the feeling contained in this image, for instance:

But that’s how “Sinnerman” feels. All the way through.

Every TV show and film that this song has been featured in has cut it tragically short; and no, I don’t mean to call Gerard Way and Taika Waititi cowards, because they clearly aren’t, but also…if you’re going to include this song in anything, you have to go the whole mile—the 10:19 mile, to be exact. And if there’s any song that commands the listener to sprint through its entire length, it’s this one.

I can take longer songs, but there’s a specific art to crafting them: for me, if a song goes past the 6 or 7 minute mark, there has to be something that keeps me listening—that applies to any song, technically, but if you have that long of a song that mostly consists of repetition, you’ve started to lose me (lookin’ at you, LCD Soundsystem…you can pull it off sometimes…). Oingo Boingo’s sprawling, nearly 16 minute long swan song “Change,” for instance, has plenty of recurring musical motifs, but it keeps you on your toes, whether that be with artfully-placed oddball instrumentation or bizarre samples. But there’s a way that long song repetition can be done—my favorite song of all time, in fact, does just that; Blur’s “Tender” has a somewhat tidier format, but they bypass the LCD Soundsystem syndrome not just with breaks for Graham Coxon’s bluesy riffs and choir, but by fueling it with nothing but Emotion with a capital E—”love’s the greatest thing,” after all.

“Sinnerman,” however, does both of those things—it’s essentially the mother of every epic, extensively long song that you can think of. Even knowing the years that Nina Simone was active, it still amazes me that this was released in 1965. I could almost understand it if it had been the late sixties, when everybody started to realized how freeing musical experimentation was. Simone’s musical career was defined by pushing against so many barriers, from her protest music to her incredible piano skills, but this song pushed the envelope in such a wildly different way. Through all 10+ minutes, there’s an energy that seems to live and breathe and never stop—even when the music begins to die down in favor of Simone’s piano and a chorus of clapping. It’s a song on a desperate mission, one that takes no prisoners and never stops to catch its breath. Even though the song is an amalgamation of scattered 50’s songs, gospel, African spirituals, and remnants from her own religious upbringing, it can be easily reduced to a single word, one that Simone famously belts out near the song’s climactic ending—”power.” I can’t think of many other songs that grab you by the shirt collar and keep you hanging there quite like this—nothing comes close to how propulsive Simone is, with how purely propulsive both her voice and her piano playing are. Again—take my word with a grain of salt, but this really is a masterpiece. And knowing that she used to end her live shows with this song…WHEW. What a song.

“Sea of Blood” – Palehound

Whether or not it was intentional, it’s fitting that this song shares space with a song called “YMCA Pool.” Two dubious bodies of liquid on one single.

With some songs that end up as singles after the released of an album, you’re left wanting—what could’ve changed if that track was on the album, as originally intended? (see: “Bicycle”) But some songs were made to be tiny, standalone packages, never leftovers for works past or teasers for what’s to come. “Sea of Blood” works exactly this way—it’s got the sprightly beats and guitar work of something circa Dry Food or even Bent Nail – EP, but there’s something about the short, snappy atmosphere of it that doesn’t confine it to any of Kempner’s previous works. It might fight the catchier, brighter side of Dry Food, but it doesn’t quite match the introspection. It’s got the experience that Bent Nail hadn’t fully achieved yet. And yet it still sounds like a home demo, but so fully realized—a neat drum machine accompanies Kempner’s signature rasp, sharp lyrics, and climbing guitar fingerings all come together in what has the sound quality just above an iPhone voice memo, but the polish that comes from nurturing a tune like this for a long time. And leave it to Palehound to name a song something like “Sea of Blood,” a title you’d expect to come with throat-burning, heavy metal screaming, but start off the song with a line as innocuous as “I’m every bit as fragile as a baby bird.” You sly dog, you…hound?

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!

Posted in Sunday Songs

Sunday Songs: 5/21/23

Posted on by madeline @ The Bookish Mutant

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

Enjoy this week’s songs!

SUNDAY SONGS: 5/21/23

“What a Wonderful World” (Louis Armstrong cover) – Soap&Skin

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.

“Tomorrow Never Knows” (Beatles cover) – Junior Parker

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.

“Night Time is the Right Time” – Ray Charles

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!”

“See a Light” – Palehound

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.

“Cubist Castle – Part 1” – Alan Peter Roberts (a.k.a Jim Noir) and Steve Wareing

📢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!

Posted in Sunday Songs

Sunday Songs: 5/14/23

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles, and happy Mother’s Day!! Eternally grateful for my wonderful mom—who knows what I’d do without her. Love you 🫶🏻

Alas, even though “Cool About It” is still my most listened to song of the year so far, the Boygenius Breakdown™️ has made way for some Palehound Panic™️ (or, alternatively, a Palehound Party™️?) so I can catch up on everything before Eye on the Bat comes out this July (!!!!). Feast your eyes on the spring color scheme.

Enjoy this week’s songs!

SUNDAY SONGS: 5/14/23

“The Clutch” – Palehound

And just when I thought that I’d already gone through almost all of my most anticipated albums of the year…

Even though I haven’t filled in the sonic gaps between this new sound, Black Friday, and A Place I’ll Always Go, I’m all on board with this new Palehound! There’s power in every note of “The Clutch,” from first notes of Kempner’s voice to the unrelenting chords that follow the rest of the song. El Kempner has such a unique voice—it’s hard to think of any other artist whose voice is simultaneously whispery and rowdy, and she embraces the rough edges on every part of this song. Underneath all of the pounding drums and incredible guitar work is some of Kempner’s sharpest lyricism to date: “I didn’t mean to hurt you/You didn’t mean to show me how,” followed closely by “I’m glad that you know better now/And I’m glad that you found yourself/But you didn’t need my help…” WHEW those are some LINES right there…and what better way to close the song with a shouting outro of “you didn’t need my help”? If this song is any indication, Eye on the Bat is gonna be the perfect summer album—and a fantastic album in general. SO glad I got on this Palehound kick all the way back in September. Haven’t regretted a single minute of it.

“Humdrum” – Peter Gabriel

The only acceptable way to dance to this song is to dance like you’re one of those wooden snakes from the craft store. The ones that make those crack-crack-crack noises when you wiggle them around?? Please tell me somebody knows what I’m talking about, please…

right, THESE ones. Just gotta feel it. Flail. Castanets do that to a gal.

Usually I try to put my album listening in the hands of fate (read: the list randomizer), but after the Palehound Panic/Party subsides, I think it’s shaping up to become Peter Gabriel Summer 2: Electric Boogaloo. Why? It’s only taken 3 songs to convince me to listen to Peter Gabriel 1: Car (because he’s That One Guy who puts out 4 self-titled albums for kicks and giggles and refused to make any title more than one word long after that). I’d already heard this album’s iconic hit “Solsbury Hill,” but after hearing this back to back with the equally wondrously weird “Moribund the Burgermeister,” I just know that Car is gonna be a wild ride.

Fresh off of his split from Genesis, Peter Gabriel’s prog rock action has never quite ceased, but from just this song, it seems to have taken on a life of its own, morphing into something that’s purely him. It’s a song of many faces—starting with quiet synths and weary vocals for the first minute, and then breaking down into some absolutely INSANE castanet/accordion-aided craziness that lasts for all too short of a time. The instrumentals just feel so delightfully kooky (you know it’s gonna go nuts when the accordion comes out) before bursting out into some classically prog sprawl as Gabriel’s voice and lyrics deepen in scale: “from the white star/come the bright car/our amoeba…” And the amoeba, as it happens, was his first daughter, Anna-Marie Gabriel, who had just recently been born. I don’t know about you, but I’d be honored to have a song this weird to commemorate my birth. Just saying.

“Room” – Palehound

I was going to say that this was a left turn from the other Palehound song on this post, but…no, “The Clutch” is probably the one that’s a left turn, really, though I can’t say how much of one it is without having listened to Black Friday…nevermind, this is pointless without context…ignore me

After “The Clutch” came out, I made it my mission to start dipping my toes into more Palehound before Eye on the Bat comes out in July. A Place I’ll Always Go was next chronologically, so I went right in—I’m still torn on whether I like it better or as much as Dry Food, El Kempner’s debut, but it’s packed with songs that have kept me listening long after the first run-through. This one quickly became my favorite track off the album; it’s got a sound that’s so close to being fully-realized—all at once, it sounds purely like Palehound, but still reeks of Wilco influence. Kempner’s wry, meticulously constructed lyricism bursts forth in every measure (“Sun above her/never had a lover in my room”), but the instrumentation, even though it’s all her, just screams Wilco—the neat percussion and soft, restrained guitars have Jeff Tweedy written all over it. I can almost see the guy in a buttoned-up denim jacket and a beanie holding his acoustic guitar in a completely horizontal line somewhere in the background. But Kempner’s whispery rasp of a voice, slowing coming out of its burrow, makes sure that this track is all her own—and it’s an excellent one. I can’t help but nod at the endlessly hooky chorus—”she keeps me up/she keeps me up/she keeps me up/at night,” the last word drawn out intoxicatingly.

“Dawncolored Horse” – Fenne Lily

I haven’t made a habit of consulting any of Apple Music’s auto-generated playlists like I used to when I first started using the platform. But sometimes, when I’m in a musical drought, or if I’m just bored, I’ll have a look. Usually, I only ever find one or two interesting songs, but sometimes there are ones worth keeping.

All I knew about Fenne Lily beforehand was that she’d toured with Lucy Dacus somewhere along the line. But this song is so calming; sometimes, songs linger on the precipice of exploding into sound without ever getting there, but this song never feels the need to stretch itself to places it can’t go. It’s subdued, but subdued in the exact way that it should be. Lily’s voice is smooth like mercury, whispery at the edges but moving along like frigid water in a creek—the perfect indie-folk kind of voice. The song’s title was what originally grabbed me, but from what I’ve heard of her newest album, Big Picture, I love its thesis—trying to write songs about the small things and forgettable days that we let fly by. There’s a comforting coziness to everything about “Dawncolored Horse”—the soft, sparkly guitar riffs scattered throughout, Lily’s voice, and the gentle percussion. It almost feels like I’m in the tiny, model house on the album cover, looking through the glass. And just like the album cover, it really does feel like a tiny memory under a glass case.

“Times to Die” – Car Seat Headrest

And now, let’s end with a relic from my “not-like-other-girls” period in 8th grade trawled up by the enigmatic deep-sea fishermen of my iTunes library on shuffle, shall we?

I got swept up by Car Seat Headrest right in the middle of middle school (and not because of my early teenage crush on Will Toledo…yeah), and if I had to put a soundtrack to 8th grade, they would dominate the glut of it. Every bus ride, vacation, and absentminded hum were probably along to them—probably kind of concerning, given their lyrics, but we all do weird stuff in middle school. I’m almost positive that I bought this one off of an iTunes gift card that I’d gotten for…graduation? Maybe? It’s a distinctly April-May 2018 song for me—I can’t place a specific memory to it, but the feeling is so distinct that it’s become its own little time capsule.

And now, having not listened to it in years, some of these lyrics remind me of what endeared me to Car Seat Headrest all that time ago. Even though I didn’t quite understand it at the time, I still smile at a particular line near the end of the song—”most of the time, I’m just getting older/but I’ll get to heaven standing on your shoulders.” Despite most of this song’s complex grappling with religion (with the many references to both Judeo-Christian religion and Hinduism scattered throughout—he really just loaded this one up, no wonder it’s almost 7 minutes long) and life itself, there’s a darkly humorous element to it; “God” isn’t always God, but Chris Lombardi, the founder of Matador Records (“got to believe that Lombardi loves me”), and the strained chanting of “hey man, we listened to your demos” throughout. This one’s definitely a little contrarian as far as lyricism goes—early on, Toledo claimed that he was attempting to let the lyrics flow naturally and let the words speak for themselves without putting symbolism in beforehand. And yet…after that first verse, he just stuffed it with enough references and idiosyncrasies to fill a Thanksgiving turkey. It’s a rich song, from the callbacks to so much of his earlier catalogue to the thick web of lo-fi instrumentation surrounding his muffled, honeylike voice.

Or maybe that’s all for naught. Maybe it’s just as he claims:

“Bees?”

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!

Posted in Uncategorized

Sunday Songs: 5/7/23

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles!

Here we are in May, and I’m very nearly done with finals (and my first year of college? how 😀), and now I’ve got a fresh batch of songs, brought to you by a wikipedia rabbit hole, a beautifully cursed mashup, and what happens when you absorb too many Twilight memes by osmosis without actually watching or reading it. The internet is a lawless wasteland.

Enjoy this week’s songs!

SUNDAY SONGS: 5/7/23

“Ain’t Got No – I Got Life” – Nina Simone

does anybody know if this extended version is anywhere on streaming? I’ve only been able to find the shortened version…honestly a crime if you ask me

Like a lot of songs that end up on these posts, I stumbled upon this one fairly randomly—a Stereogum post on Instagram from a few weeks back commemorating 20 years since Nina Simone passed away. I just heard a snippet, and immediately went hunting for it on Apple Music—there was something so deeply captivating about it. And judging from the wikipedia rabbit hole I went on yesterday evening instead of writing this part of the post, it won’t be the last time. (“Sinnerman?” OKAY I DIDN’T EXPECT TO JUST…ASCEND THERE FOR A MINUTE HOOOOWHEE I’m gonna talk about that one in a few weeks at least, mark my words) But this one’s been on my mind a lot recently. From what I can tell, much of Nina Simone’s legacy is built from her more famous protest songs (see “Mississippi Goddam”), which damaged her career in the sixties but solidified her as one of the most important musical figures of the civil rights movement. This one slightly fits into that category—it’s a cover of sorts, mashing up two songs from the musical Hair (“I’m Black/Ain’t Go No” and “I Got Life” respectively). But even beyond the way Simone made these songs mesh together so effortlessly, there’s something more that she breathed into this song. Given the context of her life and her continued fight to help civil rights efforts in the U.S. and how much that affected her musical career, there’s something that she put into this song that nobody else could’ve. Even as her songs were banned from airplay and her career took a hit, she kept on producing this music, a commanding declaration of “I’m here, and there’s nothing you can do about it—You may have beaten my spirit, but here I stand.” Can’t get much more beautiful than that.

“Can I Go On” – Sleater-Kinney

There’s really no feeling quite like when shuffle digs up an old favorite from the depths of your music library. Unparalleled euphoria of remembering what it was like listening to a song for the first time…

That being said, I feel like I’ve lost Pretentious Gay Hipster™️ points since…this is only one of about three (tops) Sleater-Kinney songs that I actually like. Carrie Brownstein is great, don’t get me wrong—I love her work on what I’ve seen of Portlandia and in The Nowhere Inn, but Sleater-Kinney just rarely does it for me. I saw them live with Wilco a few years back, and…okay, I spent most of their set waiting for Wilco and hoping I’d like something, and I did like a few things. (There was also the secondhand embarrassment of them telling everybody to sing along during “Modern Girl” and very few people singing…oopsie) But I’ve never been a fan of either Brownstein’s or Corin Tucker’s voices—they work together, to a certain point, but they verge on grating for me. And other than this and “Modern Girl,” there’s nothing that’s really pulled me about most of their songs.

And admittedly, the minute that I found out that The Center Won’t Hold, which includes “Can I Go On,” was produced by none other than the woman, the myth, the legend, St. Vincent, it all made sense. I like this song because I like St. Vincent, not necessarily because I like Sleater-Kinney. There’s St. Vincent all over this song, from the plethora of effects on the guitars, which scream and shimmer in equal measure, to the chrome-like polish that doesn’t discredit the indie-ness of the band, but still makes it sound as smooth as ever. And even though I’m not a fan of their voices, the commanding harmonies of the chorus scream in perfect tandem, making for a rallying cry of a song that makes exhausted lyrics sound triumphant. A sprinkle of Annie Clark magic makes everything better.

“Supermassive Black Hole” – Muse

We know it. We love it. What is there to say about this song that hasn’t already been said? So I won’t bore you. I’ll narrow it down to it’s two biggest contributions to pop culture (I think):

  1. The Twilight baseball scene (I have never seen Twilight) (I intend to keep my exposure to scattered memes)
  2. This:

bask in the eternal glory of the supermassive bottom jeans. BASK.

“Wherever You Go” – Beach House

Beach House has been one of those bands that I really should be super into, given my somewhat shoegaze-leaning tendencies. The only reason is that I haven’t gotten around to listening to everything—I’ve loved the handful of isolated songs that I do know (“Space Song,” “Levitation,” “Woo,” etc.), and Bloom is on my insurmountable album list thanks to a recommendation from, of all people, my 9th grade honors English teacher. (I really shouldn’t be surprised about that. I bumped into him at a Spiritualized concert not long before I graduated last year. Shoegaze recognizes shoegaze.) The Beach House awakening, or something along those lines, is bound to happen soon, but for now, I’ll stick to random songs found in random places.

Like this one. Of course the song that I happened to randomly find in the background of a video was on their B-Sides and Rarities album. Again: I don’t have the Beach House experience to necessarily back this up, but with their other songs, I’ve noticed a slight degree of intentional production polish to make their songs sound as spacey as possible—which they absolutely do. But this song has all the lo-fi feel of a demo without losing any of that enchantingly drifting quality, with every instrument cranked up to sound as starry as possible. Victoria Legrand’s vocals always make me want to close my eyes and levitate (no pun intended), as the best shoegaze does—taking its sweet time to sweep you off your feet and into the clouds.

“Rubberband Girl” – Kate Bush

Unlike something like The Kick Inside, I’m not sure, even though scattered Kate Bush songs like these have grown on me a ton, that I’ll go all in on The Red Shoes. The only other song I’ve heard is “Big Stripey Lie,” and…okay, to the disappointment of Kate Bush’s #1 fan (my brother), I really haven’t been able to get into it, now matter how hard I try (sorry 😭). I appreciate the weirdness, but…it doesn’t do anything for me personally. And I’ve heard that the rest of The Red Shoes isn’t the best of her work, but I’m not about to diss everything about her. This queen just got inducted into the Rock n Roll Hall of Fame, after all, I’ll put some respect on her name. Why wouldn’t I be, since this song stands before you? IT’S SO WEIRDLY CATCHY. I LOVE IT.

This seems like it leans more on the radio-friendly side of Kate Bush, but even she can make radio-friendly as oddball as she can. Her voice transforms from her ordinary singing tone to a velvety hiss to something as springy as the rubber bands she sings of. It’s a delightful trickster of a song—it still sounds firmly 80’s, even though it was released in 1993, but then it devolves into Bush saying “here I go :)” all innocently, and then dropping into the most wondrously weird and distorted “uhh-UHH-uhh-UHH” chorus I’ve ever heard at around the 3:40 mark. There’s a full horns section. You’ve got some Van Halen-y guitar solos sprinkled in. Under the reverb-y, 80’s polish, her weirdness has never ceased. Regardless of how you view the merits of the Rock n Roll Hall of Fame, you can see how much of a shoo-in she was.

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!

Posted in Monthly Wrap-Ups

May 2022 Wrap-Up 🎓

Posted on by madeline @ The Bookish Mutant

Happy Tuesday, bibliophiles!

We’re almost halfway through 2022 already (!), but I’d definitely say that this month was the most momentous one of this year.

GENERAL THOUGHTS:

Wow. So I really am done with high school.

I got distracted from all that with my AP tests at the beginning of the month (ecstatic that I’ll never have to take them again), but once the middle of the month hit, the realization started to sink in. Then I graduated—in freezing spring snow at an outdoor venue, no less. Certainly a day to remember. But it’s over now—strange to think that those four (very weird) years have come to a close. And now college is on the horizon…

With all that going on, I didn’t have as much time to read. It wasn’t quite as good of a bunch, either—I still had a few gems, but I had a lot more 2-3 star books and a DNF too. Haven’t had much writing time either—I did a little more outlining for the WIP sequel, but I’m turning my attention to something new—I figured that since my brother and friends are starting to suggest edits, it’s probably too soon to start the sequel.

Other than that, I’ve just been drawing, watching Heartstopper and sobbing at the coming-out scene, going to see Doctor Strange in the Multiverse of Madness (mixed bag, but it was fun) and Everything Everywhere All at Once (TEARS), seeing Spoon live (AMAZING), and listening to the new Wilco, Smile, and Arcade Fire.

READING AND BLOGGING:

I read 17 books this month! Less than usual, but it was a lot like April in terms of reading—I was super busy with AP tests, graduation, and all that jazz this month, but I was still able to read some good books here and there.

1 – 1.75 stars:

Forget This Ever Happened

2 – 2.75 stars:

The Chosen and the Beautiful

3 – 3.75 stars:

A Magic Steeped in Poison

4 – 4.75 stars:

The Final Revival of Opal & Nev

5 stars:

Art Matters

FAVORITE BOOK OF THE MONTH: Art Matters – 5 stars

SOME POSTS I’M PROUD OF:

POSTS FROM OTHER WONDERFUL PEOPLE THAT I ENJOYED:

SONGS/ALBUMS THAT I ENJOYED:

I’ve had this on repeat for almost a month straight not gonna lie
love this album but this song is my favorite
another great album, although I haven’t been able to let this one quite sink in yet
more soccer mommy!!!!
lovely album!
CAN’T BELIEVE I HAVE TICKETS TO SEE THEM IN SEPTEMBER AAAAAAA
not a perfect album, but when it’s good, it’s FANTASTIC—case in point


DID I FOLLOW THROUGH ON MY MAY GOALS?

  • Get through the AP tests: made it! sucked to have two in one day, but I made it.
  • Finish high school strong! (aAAA STILL CAN’T BELIEVE I’M GRADUATING—): got straight A’s, so I’ll say I finished strong! and now I’m done with high school! would you look at that…

GOALS FOR JUNE:

  • Read at least 20 books
  • Enjoy the first month of summer/pride month!

Today’s song:

That’s it for this month in blogging! Have a wonderful rest of your day, and take care of yourselves!

Posted in Weekly Updates

Weekly Update: May 23-29, 2022

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles!

My sense of time has been w a y off this week; I’m still recovering from all the chaos and festivities from graduation last week, so this week has all been coming down from all that. The weather’s warmed up after that big snowstorm we had on the day of graduation, and I’ve been trying to get some stuff done for college and get some more reading done.

I haven’t been able to read or write much this month, so I’ve been trying to remedy the reading part, at least. I’ve had more time to read this week, and it’s been a hit or miss batch this week, but I found some great ones (one of which was a graduation present from my parents—thank you! 💗) I have some Fantastic Four comics that I want to read next week (from my dad and my brother, after realizing that I hadn’t read any while we were discussing the new Doctor Strange), so that’ll be fun.

As far as writing goes, I haven’t written much lately—more outlining, but I’m not sure if I should go on editing the WIP, fine-tuning its sequel, or just starting something new. I’m leaning towards the latter, but I’m not sure what I’ll write…we’ll see.

Other than that, I’ve just been drawing when I can, playing guitar, seeing Spoon live (amazing, as they always are), listening to the new Wilco, and watching Everything Everywhere All At Once (tears were shed).

WHAT I READ THIS WEEK:

A Magic Steeped in Poison (The Book of Tea, #1) – Judy I. Lin (⭐️⭐️⭐️.75, rounded up to ⭐️⭐️⭐️⭐️)

Dreams Bigger Than Heartbreak (Unstoppable, #2) – Charlie Jane Anders (⭐️⭐️⭐️.5)

The Chosen and the Beautiful – Nghi Vo (⭐️⭐️.75, rounded up to ⭐️⭐️⭐️)

Art Matters – Neil Gaiman, illustrated by Chris Riddell (⭐️⭐️⭐️⭐️⭐️)

POSTS AND SUCH:

SONGS:

CURRENTLY READING/TO READ NEXT WEEK:

“Wait, it’s all Fantastic Four?”

“Always has been.”

Marvel Masterworks: Fantastic Four, vol. 1 – Stan Lee and Jack Kirby

Fantastic Four, vol. 1 – Jonathan Hickman and Dale Eaglesham

Fantastic Four, vol. 2 – Jonathan Hickman and Dale Eaglesham

Fantastic Four, vol. 3 – Jonathan Hickman and Dale Eaglesham

Fantastic Four, vol. 4 – Jonathan Hickman and Dale Eaglesham

Today’s song:

one of my absolute favorites from this album—and a serendipitous play while we were driving home after seeing Everything Everywhere All At Once

That’s it for this week in blogging! Have a wonderful rest of your day, and take care of yourselves!

Posted in Weekly Updates

Weekly Update: May 16-22, 2022

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles! Hope this week has treated you well.

It’s certainly been an eventful week on my end! It doesn’t quite feel like summer (especially since we got that Freezing Snow Even Though It’s The Middle of May™️) since it’s been so busy, but it’s been very momentous on my end—I officially graduated from high school! It was freezing cold and snowing the whole time (we were at an outdoor venue), but it was a great morning.

I haven’t had a whole lot of time to read because I’ve been so tired for the past few days, but I got through my library books, and I’m currently going through the books I bought last week. Haven’t written much at all either—maybe I’ll have to get on that next week after everything dies down…

Other than that, I’ve been getting into all kinds of festivities for graduation, listening to Bachelor and Soccer Mommy, reorganizing my bookshelf (it hit critical mass so I had to put a few books away in boxes lol), and looking forward to summer.

WHAT I READ THIS WEEK:

Loveless – Alice Oseman (⭐️⭐️⭐️⭐️)

A River of Stars – Vanessa Hua (⭐️⭐️⭐️)

Fire Becomes Her – Rosiee Thor (⭐️⭐️⭐️.25)

POSTS AND SUCH:

SONGS:

CURRENTLY READING/TO READ NEXT WEEK:

A Magic Steeped in Poison – Judy I. Lin

Dreams Bigger than Heartbreak (Unstoppable, #2) – Charlie Jane Anders

Today’s song:

listened to this album while I was organizing my bookshelves—good stuff!

That’s it for this week in blogging! Have a wonderful rest of your day, and take care of yourselves!

Posted in Books

YA Books for AAPI Heritage Month (2022 Edition)

Posted on by madeline @ The Bookish Mutant

Happy Monday, bibliophiles!

For those of you who didn’t know, in the U.S., May is Asian American & Pacific Islander Heritage month! I made a list of YA reads for the occasion last year (click here if you’d like to parse through), but since I’ve read so many more incredible books by AAPI authors since last May, I figured I would make another list. These are books from all genres, but all of them are from authors of AAPI heritage. And with all of these kinds of posts, I always want to impress the following: reading diversely should never be confined to one part of the year. That being said, it’s always important to uplift marginalized voices—AAPI in this case—and reading is a key way to do so.

Let’s begin, shall we?

THE BOOKISH MUTANT’S YA BOOKS FOR AAPI HERITAGE MONTH (2022 EDITION)

The Mermaid, the Witch, and the Sea – Maggie Tokuda Hall

GENRES: Fantasy, romance, LGBTQ+

MY RATING: ⭐️⭐️⭐️⭐️.5

One of my favorite reads of last year, The Mermaid, the Witch, and the Sea was a raw and tender read filled with pirates, mermaids, and resonant love. Highly recommended!

The Weight of Our Sky – Hanna Alkaf

GENRES: Historical fiction, fiction, mental illness/disability

MY RATING: ⭐️⭐️⭐️⭐️

A searing and powerful read that follows the story of a sixteen-year-old girl with OCD in the midst of the Malaysian race riots in the late sixties.

Gearbreakers – Zoe Hana Mikuta

GENRES: Science fiction, dystopia, romance, LGBTQ+

MY RATING: ⭐️⭐️⭐️⭐️.5

Gearbreakers is no ordinary YA dystopia—filled with mechs, found family, and fierce feminism and queerness, this is a must-read!

The Ones We’re Meant to Find – Joan He

GENRES: Science fiction, dystopia, mystery

MY RATING: ⭐️⭐️⭐️⭐️.5

Mind-bending and endlessly thought-provoking, The Ones We’re Meant to Find is a unique and unforgettable tale of sisterhood in the darkest of times.

Rise of the Red Hand – Olivia Chadha

GENRES: Science fiction, dystopia, romance

MY RATING: ⭐️⭐️⭐️

Rise of the Red Hand certainly wasn’t perfect, but it’s best element was its representation; it’s one of the only dystopias that I’ve seen that’s set in South Asia!

Forest of Souls – Lori M. Lee

GENRES: Fantasy, high fantasy

MY RATING: ⭐️⭐️⭐️⭐️

A rich and spooky fantasy that’s perfect for readers who like their traditional fantasy with a dash of necromancy, vengeful souls, and spiders.

Iron Widow – Xiran Jay Zhao

GENRES: Dystopia, science fiction, LGBTQ+, romance

MY RATING: ⭐️⭐️⭐️⭐️

Raw, fierce, and relentless, Iron Widow is a searing ode to those who are unafraid to take down the status quo—no matter the stakes.

Mad, Bad & Dangerous to Know – Samira Ahmed

GENRES: Contemporary, fiction, historical fiction

MY RATING: ⭐️⭐️⭐️⭐️

A love letter to all of the women that history erases, Mad, Bad & Dangerous to Know is a sharply feminist story set in alternating timelines.

Summer Bird Blue – Akemi Dawn Bowman

GENRES: Contemporary, fiction, LGBTQ+

MY RATING: ⭐️⭐️⭐️⭐️

A powerful and unforgettable story of grief and starting over. Akemi Dawn Bowman’s writing never fails to stir up all kinds of emotions in me.

TELL ME WHAT YOU THINK! Have you read any of these books? If so, what did you think of them? What are your favorite YA books by AAPI authors? Let me know in the comments!

Today’s song:

That’s it for this post! Have a wonderful rest of your day, and take care of yourselves!

Posted in Weekly Updates

Weekly Update: May 9-15, 2022

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles! I hope this week has treated you well.

This week’s been surreal, to say the least. It was my last week of high school; there wasn’t much to do all week up until Friday, but it’s so strange that Friday was the last time I’ll ever have to wake up at 6 AM to go to school. (Not that I’m complaining about the “waking up at 6 AM” part.) We had a goodbye ceremony for us seniors, and tears were certainly shed. High school wasn’t perfect, but there are certainly things I’ll miss. (The fact that there was active construction going on at the school all year? Not one of them.) I actually graduate next week, so…

Reading-wise, I was able to read more than last week, but it was a hit-or-miss kind of batch. I picked up some more promising books at the library yesterday, and I stopped by the bookstore and picked up some books as well, so hopefully next week will be a little better!

Other than that, I’ve been drawing, petting Ringo, listening to the new Smile album (AAAAAAH), and trying to wrap my head around the fact that I finished high school. It’s weird. But I’m seeing the new Doctor Strange this evening—been looking forward to it all week long!! (No spoilers!!)

WHAT I READ THIS WEEK:

The Psychology of Time Travel – Kate Mascarenhas (⭐️⭐️⭐️.5)

Light from Uncommon Stars – Ryka Aoki (⭐️⭐️⭐️.75, rounded up to ⭐️⭐️⭐️⭐️)

Gallant – V.E. Schwab (⭐️⭐️⭐️.75, rounded up to ⭐️⭐️⭐️⭐️)

Saving Montgomery Sole – Mariko Tamaki (⭐️⭐️)

Song of the Crimson Flower (Rise of the Empress, #2.5) – Julie C. Dao (⭐️⭐️.5)

POSTS AND SUCH:

SONGS:

CURRENTLY READING/TO READ NEXT WEEK:

A River of Stars – Vanessa Hua

Loveless – Alice Oseman

Fire Becomes Her – Rosiee Thor

A Magic Steeped in Poison – Judy I. Lin

Today’s song:

That’s it for this week in blogging! Have a wonderful rest of your day, and take care of yourselves!

Posted in Weekly Updates

Weekly Update: May 2-8, 2022

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles, and happy Mother’s Day for those celebrating! I don’t know where I’d be without my amazing mom—thank you for supporting me through thick and thin, always. 💗

This week’s been a bit exhausting; I had all three of my AP exams this week, two of which were on the same day. (@ the comparative gov multiple choice: WHAT) It was rough, but I feel alright about them in general. And this means that I’m all done with AP tests! Good riddance.

As a result, I haven’t had as productive of a week in most other departments. I got through most of my library books, but two of them ended up being duds. (Shoutout to The Final Revival of Opal & Nev for pulling me out of the momentary slump.) I picked up more at the library, and they all seem fairly promising.

Other than that, I’ve been drawing, watching Heartstopper all the way through (anybody else sobbing at the coming out scene 🙋‍♀️), watching The Power of the Dog (WHOA), going out to brunch for Mother’s Day, and trying (and failing) to get Ringo to stop biting my feet. Ringo’s a good boy, though.

WHAT I READ THIS WEEK:

Beyond the Ruby Veil – Mara Fitzgerald (⭐️⭐️)

Forget This Ever Happened – Cassandra Rose Clark (DNF – ⭐️)

The Final Revival of Opal & Nev – Dawnie Walton (⭐️⭐️⭐️⭐️.5)

POSTS AND SUCH:

SONGS:

CURRENTLY READING/TO READ NEXT WEEK:

The Psychology of Time Travel – Kate Mascarenhas

Light from Uncommon Stars – Ryka Aoki

Song of the Crimson Flower – Julie C. Dao

Gallant – V.E. Schwab

Saving Montgomery Sole – Mariko Tamaki

Today’s song:

That’s it for this week in blogging! Have a wonderful rest of your day, and take care of yourselves!