Hangyul and Dohyon participated on Produce X 101 and debuted in the group X1

Intersection: Spark

1. Prelude : with me: This song belongs in 2017. I really don't like the inst at all, especially during the rap verse, i feel like every artist has a song that sounds just like that. I do like the rap verse, he sounded really nice and the verse and inst complemented each other. 7/10
2. Crush on U: I dont like the inst, that edm is so loud and obnoxious for no reason, i wish this inst had instruments more prevalent, if the whole song sounded like the rap verse i would love it. I like the rap verse and the vocals are beautiful, i like the harmonies and i think overall the song is catchy. I love Hangyul´s voice in the bridge. 8/10
3. FLY: I like this song, the edm is not annoying or overbearing, it's really fun and it fits the song, i like the different changes in it all throughout the song. The song is very catchy, the vocals and the rapping are great. 10/10
4. I'll never say: I LOVEEE that inst in the beginning, is really beautiful, it reminds me of 90´s r&b. This is my favorite song, i love the harmonies during the rap Muzin, Dohyon and Doha´s verses. The rap is very soothing, their voices are very strong with a soft inst and background vocals is a beautiful mix, the vocals are all around angelic, the chorus is super catchy, all around i love this song. 10/10
5. Every little thing is you: I like the chorus which i think is very beautiful and a bit catchy and the rap which i think is definitely the best part of the song, the rest of the song is very nice, the vocals are beautiful but i think because of how slow and peaceful it sounds i would have to be in a very specific mood to want to listen to it. Still i like it. .9/10

Song ranking:

• Fly: 10/10
• I´ll never say: 10/10
• Everything is you: 9/10
• Crush on U: 8/10
• Prelude:with me: 7/10

Album ranking:

• Intersection: spark: 8.8/10

[Produce related groups Discogra](https://www.reddit

Back in the day I read online that the band chose to have a similar intro for all three albums so they could be listened to back to back to back, but that tradition ended for The Mindsweep. Is there a reason for that or did they just move on?

This is certainly not a complaint, I love both albums very much, just. curious

I'm referring to that style where the vocals are all chopped up and re-edited around in a super slick, silky, sleek, slithery, badass way...what's that technique even called? It's sort of like blippy vocal samples dancing around the rest of the music and I always just love the way they get cut up and reshaped juuuust right.

All 3 of the aforementioned artists incorporate this particular style rather prominently throughout their discographies. There are plenty of other artists that do as well that I could think of if I really wanted to....Baby by Four Tet for example or even Fantasy by Against All Logic come to mind as well randomly as I traiiiilll off into the sunse................

Oh ya I did type into google artists similar to Odesza and these were a few that caught my eye because I have seen them mentioned around before but have literally never heard anything by any of them...not even a single track. ....

Jai Wolf

Slow Magic

Big Wild

Emancipator

Griz

Illenium

Chrome Sparks

So let me know your thoughts on that too xD ....such as if any of them actually are similar, if any of them have any tracks like what I described, but most importantly, I am wanting to know if there are other artists or tracks in general that come to your mind that incorporate that style that I described! Thanks! :D

Speak Now is one of Taylor’s least known album among the general public, it didn’t really have a “big hit” and she hasn’t performed many songs from this album recently. It used to be one of her least streamed albums, but that has changed recently, mainly due to Enchanted going viral on TikTok.

It’s her 8th most popular album in total streams, with a total of 1,350,360,474 streams. It has 4 songs over 100M and 11 songs over 50M. The streams are distributed across its songs in the following way:

1. Back To December: 168,972,715
2. Enchanted: 167,755,913
3. Mean: 133,888,664
4. Mine: 119,407,577
5. The Story Of Us: 95,812,508 (there are two different tracks with the same name but different number of streams, so I’ve combined them).
6. Sparks Fly: 86,038,874
7. Better Than Revenge: 70,329,491
8. Dear John: 62,631,606
9. Speak Now: 57,482,935
10. Back To December (acoustic version): 52,764,952
11. Last Kiss: 52,197,749
12. Long Live: 45,489,617
13. Never Grow Up: 44,654,103
14. Ours: 43,167,645
15. Haunted: 42,249,690
16. Mine (pop mix): 33,384,719
17. Innocent: 26,121,073
18. If This Was A Movie: 22,036,993
19. Superman: 13,735,921
20. Haunted (acoustic version): 12,237,729

Back To December has been its most popular song for a long time, but looking at current trends it is safe to say that Enchanted will replace it as the top song in just a few days. This will be the first time that a non-single is the most streamed song in one of Taylor’s albums - I can see it getting the All Too Well treatment when Speak Now (Taylor’s Version) is released.

The least streamed song (excluding acoustic versions) is Superman, while the least popular non-deluxe song is Innocent. Among Taylor’s entire discography, Back To December ranks at number 38, while Haunted (acoustic version) is number 240.

Looking at the current listening trends, let’s see how this album did on January 5th, 2022:

1. Enchanted: 792,103
2. Back To December: 194,062
3. Better Than Revenge: 126,560
4. Mine: 123,910
5. Mean: 105,060
6. The Story Of Us: 104,816
7. Sparks Fly: 92,962
8. Dear John: 88,446
9. Last Kiss: 67,682
10. Speak Now: 67,386
11. Haunted: 58,437
12. Long Live: 55,746
13. Never Grow Up: 43,139
14. Ours: 31,265
15. Back To December (acoustic version): 29,095
16. Innocent: 28,942
17. If This Was A Movie: 20,976
18. Mine (pop mix): 19,816
19. Haunted (acoustic version): 11,910
20. Superman: 11,786

The album received a total of 2,074,099 streams, her 7th most streamed album tha

Part 1, detailing 1981 and 1991, can be found here: https://www.reddit.com/r/hiphop101/comments/rs7tp2/i_listened_to_pretty_much_all_rap_music_from_1981/

Having found a new creative outlet to inflict my music taste on the world in my previous post, here’s part 2 of my end-of-the-year wrap-up, featuring 2001. I’m yet again splitting a post, Reddit isn’t very kind to longer posts (I’m getting crazy lag while formatting these monsters of posts). I’ve listened to almost 2000 songs off 144 rap albums and a few hundred loosies, remixes, demos, or live tracks.

2001 is where things will get tricky for the first time. The closer we get to modern times, the more listeners on Reddit will have diverging music tastes. I think it’s still fairly easy to find some consensus of what constitutes ‘good’ rap in 1991 (and that’s especially so for 1981), that’s not going to be as easy for 2001. By 2001, the rap scene was thoroughly split: there were thriving underground and regional scenes. I’ve attempted to listen to all notable releases from the year, across these borders of subgenres.

I’m fairly certain I’ll get called out for omitting album x or song y by artist z, which is fine by me. It’s business never personal. My aim is to provide you with new rap suggestions and to provide an overview of rap songs. With that in mind, let’s jump into 2001.

AotY candidates

• Project Pat – Mista Don’t Play: Everythang’s Workin’
• Beanie Sigel – The Reason
• Cormega – The Realness
• Juvenile – Project English
• La Chat – Murder She Spoke
• Mac Mall – Immaculate
• Mack 10 – Bang Or Ball
• Max Minelli – Me & My Hustle
• Mystikal – Tarantula
• Bubba Sparxxx – Dark Days, Bright Nights
• UGK – Dirty Money

My best rap albums list of 2001 is heavily dominated by Southern rappers. At this point in time, there was still a lot of great rap music coming out the East Coast, though not always necessarily through great albums. Beanie Sigel and Cormega are the only two East Coast representatives, and especially Cormega’s album still manages to captivate audiences after 20 years. On the West Coast, it was slim pickings, but Mac Mall’s Immaculate and to a lesser extent Mack 10’s Bang Or Ball were both excellent efforts.

Down South, 2001 was right in the golden age of New Orleans rap music, with artists from Birdman’s Cash Money label (Juvenile and even Mack 10, a West Coas

>You see

>On this here stage tonight is something legendary

>He goes by the name of The Creator

>But you, you call him Tyler Baudelaire

Artist: Tyler, The Creator

Album: CALL ME IF YOU GET LOST

Tracklist and Lyrics: Genius

Release Date: June 25, 2021

r/popheads [FRESH] Thread: Here

Listen: Apple Music | Spotify | YouTube

#Introduction: Tyler, The Artist

If you have even tangentially followed hip-hop over the past decade, you have likely heard the name Tyler, The Creator. The California-born artist rose to prominence as a member of the alt-hip-hop musical collective OFWGKTA, Odd Future for short. Odd Future was the jumping off point for several artists who would go on to influence the future landscape of music. Among the folks who are alumni of OF: Tyler, Frank Ocean, Earl Sweatshirt, Jasper Dolphin, The Internet, Domo Genesis, and a number of other heavy-hitters. The collective gained a cult following in the early 2010s and grew from a scrappy young musical start-up to a massive (if extremely controversial) group of some of the biggest musical icons in the 2010s.

 

From the release of his 2009 solo mixtape Bastard, Tyler has consistently challenged the rap world zeitgeist. He was a talented and promising centerpiece of early-2010s rap discussion. In his early years, Ty

I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.

Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.

I haven't seen this done here in a little while, and I just went through their main discography again so I thought I'd share this to maybe spark some conversation. This goes without saying but they really don't have a bad album, so even lower placements are still enjoyable. This is what I've got for the moment, though it'll likely change:

1. Girl with Basket of Fruit
2. Knife Play
3. A Promise
4. Fabulous Muscles
5. Plays the Music of Twin Peaks
6. Forget
7. Angel Guts: Red Classroom
8. The Air Force
9. Always
10. Nina
11. OH NO (I'm sure this will grow on me)
12. La Forêt
13. Unclouded Sky
14. Women As Lovers
15. Dear God, I Hate Myself

Howdy! Welcome to Day 5 of the r/indieheads Album of the Year 2021 Write-Up Series, our annual event where we showcase pieces from some of our favorite writers on the subreddit talking about their favorite records of the year! Up today, u/modulum83 is talking The Killers' new one, Pressure Machine.

August 13th, 2021 - Island

Listen:

Apple Music

Spotify

Background by /u/modulum83:

I mean, do I need to do this introduction? Headed by quintessentially Vegas frontman Brandon Flowers and named after a band in a New Order music video, the Killers are one of the most popular rock bands of all time, easily one of the most prominent bands to rise from the post-punk revival scene of the 2000s. Their 2004 debut Hot Fuss spawned mammoth singles “Somebody Told Me,” “All These Things I’ve Done,” and of course “Mr. Brightside,” which is at this point basically the national anthem of the United Kingdom.

Here’s where you should start paying attention, though - in reaction to the massive popularity of Hot Fuss, they released the 2006 follow-up, Sam’s Town, which started their long-running fascination with the American mythos; the album is still to this day considered the cult favorite among fans of the band. The Killers’ next few records - Day & Age, Battle Born, and Wonderful Wonderful - all spun off hits of their own and have their devoted defenders, but are generally seen as dropoffs from the cultural presence of those first two albums. They never truly returned to the Hot Fuss sound though, instead solidifying their presence as a megalithic arena rock band with soaring choruses and more than a few nods to Americana along the way.

The Killers returned in 2020 with Imploding the Mirage, which seemingly marked the beginning of a new era for the band. Featuring collaborations with k.d. lang and Lucius, and with production from Shawn Everett, previous producer for The War On Drugs, Imploding the Mirage saw the Killers merge their trademark sound with a style that felt more indebted to pure heartland rock and indie rock. The album garnered far more critical acclaim than their last few records, and the band saw fit to quick

(For people uninterested in my explanations, I posted my mixes at the bottom of this document!)

Intro

Awful, great, and middling, the 2003 surround sound release of Oasis’s album (What’s the Story) Morning Glory? is an odd creature, to say the least. Without the involvement of the band, Sony commissioned mixing engineer Neil Dorfsman and assistant mixing engineer David Swope to create this surround sound version of the album for the company’s newly-created SACD format. An SACD (or “Super Audio CD”) could hold both a stereo mix and a multichannel mix, and Sony intended the format to become a successor to the immensely popular CD format. While sales of this SACD in particular are not known to the public, its failure is likely the cause of Sony axing plans to release a surround sound mix of Heathen Chemistry, and no other studio albums by the band have been remixed in surround sound since.

Despite its sales, this disc remains important not only for presenting the band in surround sound, but more importantly, for its radically different instrumental timbre (the quality of the sound), giving elements a level of clarity that wasn’t present in the original release. This creates quite a different experience for the listener, one that could be arguably better than the 1995 version, if not for the numerous errors that pervade its final release.

Definitions

Before getting into the mix itself, it’s first important to understand some aspects regarding surround sound. This SACD surround sound mix is a 5.1 mix, consisting of 6 channels. Channels are the segments of the mix intended for each speaker.

Here is an example of an edited version of “Wonderwall” I created. The channels from top to bottom are the front left, front right, center, LFE (low frequency effects; this is sent to the subwoofer), back left, and back right channels, respectively.

(Image source: https://helpguide.sony.net/ha/strdh77/v1/en/contents/TP0000965687.html)

A 5.1 setup consists of 5 directional speakers—front left (FL), center (CNT), front right (FR), surround left (SL), and surround right (SR)—and 1 non-directional speaker—the subwoofer (SW). (Some people call the two surround speakers “the rears”, I call them

Do your worst!

Welcome to a series inspired by r/weezer, I am going to go through all 258 Red Hot Chili Peppers songs. I hope to compile as much interesting information for each song as possible and hopefully introduce some b-sides to people who aren't as well versed in RHCPs discography.

Week 9- Leverage of Space- Greatest Hits Sessions

Not many fun facts with this one, but I do hope to introduce it to some people. The song comes from the elusive Greatest Hits sessions. In 2004, the Chili Peppers went to record just a couple songs for their upcoming Greatest Hits album, but accidentally had a huge creative spark which led them to making an album worth of songs. For quite unknown reasons, it was never released. It is speculated that is is because Frusciante was unhappy with his guitar playing and didn't want to have to play the songs live. Either way, Leverage of Space is one of the songs from the sessions.

There is probably a studio version in the vault, but for now we only have the 6 times they did it live. Most famously, from the 2004 Hyde park album.

Anyway, I love this song. The guitar plays such a cool riff and I love when Frusciante slides down the guitar to create this overdrive effect in the pre-chorus. The drums are also incredibly creative. But this is truly Flea's song. The bass is incredible. It holds the song together. The bass solo is transcendent. I just really want a studio version of it. Kiedis is also on top of it with solid vocals and mysterious lyrics seemingly about regret in a relationship.

The Song

Click Here

Lyrics

Click Here

Let me know your thoughts on 'Leverage of Space'.

Let me know how I can improve the format and if you want to see more.

Every Song, LMK if I forgot any: Doc

Song Sheet: Sheet

Anthony Kiedis- Vocals; John Frusciante- Guitar, Backing Vocals; Flea- Bass; Chad Smith- Drums

For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.

I said "hey look, an escaPEA"

No one near me but it didn't half make me laugh for a good hour or so!

Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂

Because she wanted to see the task manager.

They’re on standbi

BamBOO!

Pilot on me!!

Nothing, he was gladiator.

Dad jokes are supposed to be jokes you can tell a kid and they will understand it and find it funny.

This sub is mostly just NSFW puns now.

If it needs a NSFW tag it's not a dad joke. There should just be a NSFW puns subreddit for that.

Edit* I'm not replying any longer and turning off notifications but to all those that say "no one cares", there sure are a lot of you arguing about it. Maybe I'm wrong but you people don't need to be rude about it. If you really don't care, don't comment.

Heard they've been doing some shady business.

I won't be doing that today!

Where ever you left it 🤷‍♀️🤭

[Removed]

This morning, my 4 year old daughter.

Daughter: I'm hungry

Me: nerves building, smile widening

Me: Hi hungry, I'm dad.

She had no idea what was going on but I finally did it.

Thank you all for listening.

There hasn't been a post all year!

You take away their little brooms

Why

I recently listened to TheFatRats 2021 album Parallax, here are my thoughts:

Tracks:

Hiding In The Blue (03:41): 8/10*

This album starts of very solid with a short little intro, showing the listener instantly what style of music you are going to hear for the next half hour. The Japan style sounding chorus makes this first track dam solid and definitely doesn’t disappoint to satisfy you for the entire ride. A solid start to the album and a good track on its own 2!

Arcadia (03:05): 6/10*

I have always had a huge respect for instrumental tracks since they can’t rely on a good vocal performance to hold up as a good song like a lot of pop music have to. In EDM however the instrumental tracks almost always shines as great and respectable show off of the artists talents and this isn’t an exception. This track is a good one that explores a lot of cool elements in order to bring a track that doesn’t suffer from being boring even though 3 minutes isn’t very long overall. However this track feels out of place on this album. It doesn’t really follow the same kind of atmosphere that the other tracks do and it almost feels like the end of the song came a bit out of nowhere. Therefore Arcadia gets a low track rating from me but by all means make it as a solid track on its own!

Pride & Fear (02:46): 8/10*

This track is great and even if it doesn’t ruin the track on its own. I would really have liked to seen it come after Hiding In The Blue instead of Arcadia. But that doesn’t change the fact that the track is a very solid one and deserves your attention even if it is the shortest track on the album!

Upwind (03:12): 9/10*

As I said about Arcadia. Instrumental tracks in EDM are some of the best instrumentals out there and Upwind is an amazing example of that. This tracks fits amazingly in after Pride & Fear, it follows the same vibe without being repetitive in any way. This is actually one of the best instrumental EDM tracks I have ever heard and I have nothing bad to say about it!

Our Song (03:11): 7/10*

I really enjoyed this track, it had a very groovy feel to it and I enjoyed it a lot for not being my preferred style of beat or vocal style. However I feel like the first 15 seconds of the track could have had a little intro before the vocals started. On its own it works but on the album it feels a little bit like a super quick stop in the flow from the previous two tracks. There for it looses a point from me here but overall it works and isn’t worth

I'm surprised it hasn't decade.

It really does, I swear!

When I got home, they were still there.

What did 0 say to 8 ?

" Nice Belt "

So What did 3 say to 8 ?

" Hey, you two stop making out "

It was about a weak back.