Leor Miller is a genderqueer musician and photographer from Evanston, IL who just released their album Gender Dysphoria Memes. Their lyrics and vocal style are reminiscent of Isaac Brock’s early days, especially on the pensive, lilting “Discover Myself.” Miller uses muted guitar harmonics and chiming riffs to decorate the lyrical arc of the song, which explores the cycle of self sabotage.
Generalising about an entire fandom and making them out to be rude/sexist/cheaters/bitches etc is about as ignorant as generalising about entire religions, cultures, countries. A lot of the 5SOS fam have been gracious and sweet about everything, so let’s not go blaming them or starting fights with the ignorant ones.
Besides, awards and accolades don’t equate to anything, they are what they are; happiness and SUCCESS do. With 3 lead singles going 4x platinum, a song in the top 20 on the Hot 100, and all of us being the most supportive fandom in the world, 5H have nothing to complain about, which is exactly why they aren’t complaining.
And neither should you.
(Oh, and let’s not dismiss last year’s VMA win. We DID THAT.)
One Direction have gone rootsy with the latest preview of their upcoming fifth album, Made in the A.M. Listen to new song “History” below.
The boy band’s latest veers sharply from the more anthemic, arena rock sounds of their most recent singles “Drag Me Down” and “Perfect.” On “History,” the quartet harmonize above acoustic guitars and hand claps. “You and me got a whole lot of history,” they sing together on the song’s chorus. “We could be the greatest team that the world has ever seen.”
On Twitter, Niall Horan revealed that fans were brought into the studio to sing on the track. “Actually, [longtime One Direction co-writer Julian Bunetta] and I brought some fans in the studio to record the chorus as like a crowd vocal,” Horan wrote. “So this song is really YOURS.”
Made in the A.M. is One Direction’s fifth album in five years and the band’s first without Zayn Malik. “There’s a lot of love and loss and success and failure crammed into this, and we just had the most fun you can ever have doing it,” Bunetta told Rolling Stone about writing the album with the band. “That’s the truth.”
The group recently wrapped up the U.K. leg of their On the Road Again tour in support of 2014 album Four. The band has no current plans to tour in support of Made in the A.M. and will be taking a “well-earned break at some point next year,” as Horan confirmed on Twitter in late August.
Welcome back, friends! This was the episode that reminded me that we are watching Arrow…dark, unflinching, emotional. We watch as Oliver struggles to find justice for Felicity, Thea struggles with the consequences of her bloodlust, and Diggle is torn between his love for Andy and Felicity. (Thanks God for Lyla!) We also see the consequences of the attack on Felicity. Let’s delve into the music, shall we?
Oliver - the tension between rage, justice, and helplessness
I got major flashbacks to Season 1 music in this episode with Oliver as he fights the Ghosts and Anarky in a relentless search for Darhk. There are certain musical sounds that are used throughout the series for the Arrow’s fighting that have been around since the pilot. Guitar harmonics, lower string pulses, moving sixteenths in the upper strings, horns, percussion beats and a few electronic low sounds. As the seasons progress, these musical elements come into play and extend to the Team but there are specific motifs used only when Oliver is present. Over time, the musical landscape has shifted but the recognizable instruments remain the same. The horns have become more heroic for the Green Arrow, less dark and brooding to befit a hero.
A$AP Rocky’s new album At.Long.Last.A$AP is an experimentally dark project leaked from the inside of Rocky’s drug-fueled mind. This release sees the Harlem rapper in a more confident light, seemingly unconcerned with proving himself anymore. Gone are the rap posse cuts and Skrillex cameos from his debut album, replaced instead by Rod Stewart collaborations, as well as guidance from a London busker named Joe Fox and one half of Gnarls Barkley. The result is an album highlighted by leftfield samples and collaborations, Rocky successfully harmonizing over slippery guitar, and raps that are fully self-realized, if not exactly well thought out. For someone who has a history of paying a lot of attention to his image, this purposefully insular direction may leave many of Rocky’s fans confused. To find out how confused, we spoke to two 18-year-olds.