Continuing to listen to the album, I found “Wrong Places” starts much calmer. I personally like it better. It has a good beat and becomes upbeat, which keeps me entertained. Fort’s voice is much quieter in this song, and he does not increase his volume until the chorus. The song as a whole seems to be more formulaic, starting calm, raising for the chorus, then lowers in volume again in the end. I think it’s superior to the first song. It sounds similar to the music I choose to listen to for myself. With that being said, maybe that makes me biased. Perhaps they wanted to escape the routine and do something more experimental. And maybe it’s people like me that keep these artists in a box. I do not intend to. I want artists to find their unique voice and sound. However, the formulaic songs may initially grab people’s attention until the band becomes skilled in the experimental avenue. 

Moving forward, “Dancing On An Empty Floor” seems to have a similar formula to “Wrong Places.” Going to what I said above, maybe this is their standard format, and the first song was experimental. This song is also pretty calm, there’s hurt in their voice, but it’s not overwhelming. This song was good; I’d listen to it again. It could be my favorite of the album. 

So, I thought the others were calm and pretty quiet; their song “Terrified” disproves my theory. This song starts very quietly, but it gives the feeling that it’ll pick up later. It’s a slower song compared to the rest. I like the addition of violins in the background; I feel it adds to the emotion. Even as the background beat picks up, their voice stays relatively quiet. As it plays into the title, I believe this was an intelligent choice, encapsulating the listener with the feeling of being terrified. 

By the time it got to the fourth song, I wish there would be more in the album. I felt as if the album reached its climax, and it could use four more songs to come back down and conclude. I wanted to continue listening. I hope they continue create a more extensive collection of songs in the future. I feel they are doing well for a new band and are on the pathway to success in the music industry. I hope they continue to experiment, but as they do, I hope they reflect on their experimental songs and ask what do these sounds add to the song? I wish Mothé the best of luck as they continue on their music career. 

Check out Mothé here.

Take a look at Hailey’s previous article here.

The post Mothé, Up and Coming Artist Has Fun Indie Feel with Emotional Touch appeared first on SCAD Radio.

The EP begins with “braindead!” Note the exclamation— it’s loud, rowdy, and easily moshed to. “I think you should clean your teeth/With guilty truths and liars bleach,” he yells. Whether he’s staying true to his interest in politics or calling out a particular individual is left for the listener to decide. Over the course of his growing fame, he’s been open about his disgust about how the the government is run. Harrison believes it’s a requirement to be involved in politics in the time we’re in. With the line “I just want to be pretty braindead!,” he could be referring to citizens who prefer being “braindead,” or uninformed on the lies that politicians may be spewing from their guilty teeth.

Although the lead single “parents” appears to be a “screw you” to our predecessors on the surface, with a closer analysis it doesn’t seem to be the case. It’s truer to YUNGBLUD’s brand, encouraging listeners to be honest with themselves instead of letting the people around you dictate who you are. The single was quite the introduction to his EP—made to be catchy. The opening lyrics “I was born in a messed-up century,” follows through with references to being able to buy a gun at the age of 16, rampant homophobia, prescription drug addiction, and religious contradictions. However, even with being born in a “messed up century,” Harrison sings, “I know I’ll never be alone/It’s alright, we’ll survive/’Cause parents ain’t always right,” as a form of support towards those in the millennial/gen z generation that may feel hopeless when those with outdated views hold power.

The second single, “original me”, features Dan Reynolds from Imagine Dragons. It’s an ode to those who don’t feel comfortable in their own skin, instead wishing they were anyone else. The song expresses feelings of self-loathing, a shared experience that has appeared in the social media hive mind among today’s youth. It’s a support line; the listener is not alone in their feelings of worthlessness. The end of the song, “Don’t let ‘em waste your time/I’m the original loser/(Congratulations)” is a cheer—even if someone is feeling as if they’re the worst, it’s something to be proud of because no one can be you, and that deserves a some praise.

The EP slows down by the fourth song, “casual sabotage,” which references Harrison’s struggle with mental health. He describes the fight between someone who is struggling with their own existence, the negative thoughts in their brain, and even the ability to speak up about it. When released on YouTube, the single’s artwork displayed Harrison’s mouth with graphic makeup, as if his lips had been sewn shut by thick twine. He speaks to a common experience of mental health struggles; one that is “camouflage” and separates the individual from their own existence.

The introduction to “hope for the underrated youth” continues the slower tempo of the previous track. YUNGBLUD divulges his experience, one filled with hurt, one where he “ain’t got the patience to be someone else.” But even with his experience of feeling different, hurt, and wishing someone would put an end to the misery, he belts “There’s hope for the underrated youth.” The human experience lends itself to feeling pain, but Harrison suggests that even with our experience, there is hope for a better future and existence.

The finale “waiting on the weekend” ends the EP on a slow note. Instead of his typical politically charged style, “waiting on the weekend” lends itself towards pop trends of discussing a girl that appears to have been through better times. Following the timeline of his recent relationship with Halsey, it’s possible that this relationship influenced the lyrics, especially considering he stalled the EP an additional week, posting an Instagram video asking for forgiveness for the delay. It’s quite a lullaby to end the fiery alternative EP.

the underrated youth transitions from loud, pop-punk to low-key alternative, with YUNGBLUD staying true to his roots in the alt scene and breaking from conservative societal norms. But he lends himself to a more sensitive side about both his own understanding and those who have grown up in the same generation as him. This EP is meant to be hope for the underrated youth. It’s an anthem, a form of support to those who have struggled with their own existence in a fairly “messed up century.”

7.8

The post YUNGBLUD’s New EP Praises Being Different appeared first on SCAD Radio.

Dacus handles the wheel on the first song, “Bite the Hand”. Closing out with a succession of each announcing “I can’t love you how you want me to” is one of the many bits where the presence of all of their vocals produce a pleasing sound. Despite being a typical song of hopeless love, the mood-setting background guitar hammer down the downbeat world of their songwriting.

Bridgers follows up this heartbroken theme on “Me & My Dog”, but the three really put their minds together on “Souvenir”. Each drop a short but smart verse with another easing acoustic riff. The guitar riffs across the playlist are enough to assist the vocals, and they never overstay their welcome. Baker’s go brilliantly mashes biblical imagery and video games in true sadcore fashion with “Stay Down”. The three share the spotlight on many of the other songs, but Baker becomes the star here thanks to the sharp lyric writing.

The collaboration contains some smart words here and there, but the tracks often don’t reach a peak. There could’ve been more melancholy storytelling like what Bridgers did on her own hit “Funeral”. Instead, much of it doesn’t go beyond the breakup mold. However, their voices and styles merge seamlessly, backing up their label as a “supergroup”.

The boygenius collab may not be for everyone, but the 1-2-3 punch of Bridgers, Dacus, and Baker make the EP an absolute wet dream for fans of soft indie rock.

SCAD Radio gives it a 7.9/10.

The post Indie Darlings Team Up for Collab EP appeared first on SCAD Radio.

In creating this EP they broke another boundary. They tore down the wall between their upbeat pop rock and New Orleans’s soulful funk. They became participants in the culture that was hurting. The EP not only featured Bonerama but was made in partnership with them and released under both artists’ names. The release of the EP was more than just the profits to be donated, but rather about uniting as artists. They recognized the significance of this community in the music industry and sought not only to help them but to learn from them; for that and the resulting fusion, we are thankful.

The EP starts with a cover of David Bowie’s “Rock ‘N’ Roll Suicide,” progresses through a few revamped songs from OK Go’s previous album Oh No, and ends with a cover of Bob Dylan’s “I Shall Be Released.” Each seamlessly fuses the two genres, creating something new and refreshing and exciting that makes your heart hurt and your body dance and that sounds a bit different every time you listen to it (I can attest to this after listening to these songs on loop for the last couple of days).

The EP was released on Mardi Gras day 10 years ago, but it will surely make the perfect soundtrack for this year’s Mardi Gras.

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