Discussion in 'Charts, rates etc' started by eatyourself, Nov 22, 2021.
This ship has sailed.
Open Sea as a whole is not better than blue blue at all!
That Kronologi version... it did what it had to do to be honest. It just HITS you in the face in a way that nothing else from Remember The Future does. I do like the "haunting" atmosphere all around the RTF version with these backing vocals drowned in reverb and so on.
As mentioned on commentary, I do find it curious that it was released 3 times. The "Ascend" version wasn't just a remix, but an alternative version. It's just very cool to see the way the song kept evolving.
Kin winning the thread poll displeases me greatly.
Me too. BLUE or bounty is clearly the correct answer.
Also, I'm genuinely quite curious who voted for EATBF and RTF.
I did for RTF! Blue is my ultimate favorite and probably the best iam project altogether, but RTF seemed to need it more with the amount of distaste in this thread.
It pleases me just as greatly.
I voted "BLUE" as the silly binch that I am, but it should in fact be "kin". Any of the two winning works, really.
"what is the melting point of my core?
when is the song forgotten?"
released: september 2020 | artist: ionnalee | album: MACHINEE
10.00 @sfmartin @AGiantSheep @Andy French @TéléDex @Zdarlight
9.50 @kal @Ana Raquel
7.00 @Glitterizer @ArronJustMight @Kadebostany
eatyourself’s score: 8.25
MACHINEE is a single by ionnalee. it was released in 2020, and in 2021 there was an LP edition with the b-side ANYWHERE i ROAM. MACHINEE was originally performed at the KONSERT installation.
it's a nice song, it's different for her. i don't have strong feelings about it.
glitterizer’s score: 7.00
@sfmartin (10) “She did lose me for a time after the relatively uninspired and unexciting future album, which sounded nothing of the sort. Whereas this...this is what I'm talking about. I heard this and I was back in love. Another compelling journey through dark twisted places, never knowing where you are going to end up. And just when you feel you've got a handle on the song, she pulls the rug right from under you. We are thrust into an underground industrial rave. Oh how I missed this sound from her. It's nearly 7 mins long but I could have easily taken another 7.”
@andru (9.75) “A great track to end KONSERT with, and one of Jonna's most exciting songs post-BLUE. I love that like with IN CONCERT and CONCERT IN BLUE, KONSERT was used to premiere a new song and that the studio version was released almost immediately after. I only wish the industrial influenced synthy parts were louder and harder hitting. Perhaps due to the visual of the KONSERT, these parts seemed to have a lot more energy live compared to the studio version.”
@DinahLee (8.5) “There's something missing in this one. The Live debut was amazing, and I like the direction, but there's something lacking on the studio version. It just doesn't hit as hard as it should.”
@He (9) “I want an album of this, blazing, violent playground and ripples, please. Give me industrial ionner.”
@Ana Raquel (9.5) “This was so robbed in the alt pop rate please don't let it be robbed here as well”
Ddd I thought the gif meant u-2 was going; this is a good elimination instead
Machinee is okay but it didn't have any right outlasting the last like 15 tracks.
Me every time I open the thread and see 'good worker' is still here.
"you can't be the night"
released: may 2010 | artist: iamamiwhoami | album: BOUNTY
released: april 2020 | artist: ionnalee | album: KRONOLOGI
10.00 @huntypoo @eatyourself @Ana Raquel @NightmareBoy @LE0Night
9.50 @sfmartin (u-2) @TéléDex @clowezra @Babyblue
2.50 @sfmartin (u)
4.60 @Untouchable Ace (u)
5.50 @Cutlery (u)
6.00 @askew (u-2)
eatyourself’s score: 10.00
u-2 is track #4 on BOUNTY. it features only one line of lyric: "you can't be the night", which people could have sworn was "knight" since there is a knight in the Y video and the words are homophonous, but alas!
this is, of course, the direct follow up to u-1. in the video we can see the cardboard box castle, the man in underwear going in and finding himself inside a labyrinth. the recording is distorted and the man is bug-eyed, with a body language that indicates some sort of intoxication. a very, very important element of the project is present here: the contrast between the natural world and the artificial one. we must remember that this video is the fourth one in the process of the mandragora turning into human, a process tha ultimately "denaturalizes" her, makes her into an artifice of man. as i mentioned in u-1, underwear man entering the castle is a metaphor to insemination, and it is backed by the flashbacks to the wooden house where underwear man is copulating with the sex doll from u-1. the video reaches its peak with the man finding the bottle (an egg) and dancing crazy around it. at the end he destroys the castle, probably angry that it was all a hoax - again, this isn't jonna's own womb, it is an artificial place made of cardboard box and probably represents the infertility of the doll that was left with underwear man.
there are several ways to interpret this. some say that the doll is, in fact, still jonna, now completely numb and helpless from giving up her own nature and assuming the form of a "human". others say, and i'm included in this category, that the sex doll was a dummy left by jonna to outwit the mage and run away from him. i find this more plausbile because of lyrics like "you gave me life, in return i'll torch pretense, you can watch it burn" and "you can't be the night", both indicating that she used him to become a human and then left him behind. another indication of that is that by the next video (N) jonna is back at the forest, half mandragora, half human, building a house for herself and her audience.
the song is an absolute trip. i may sound crazy but there are several bits of sound here that remind me of birds - chanting, flying in flocks, hitting on wood with their beaks. it's all probably just in my head, but it goes to show how subtle and subjective their music is. the trance-like vibe is where my mind goes to when i listen to things like ripple and BLAZING.
now looking at the difference of averages between the BOUNTY and KRONOLOGI versions... some of you just lack the intellect, i guess. i can't even feel empathy!
glitterizer’s score: 7.50
@kal (9) “Thankfully this picks up the pace after u-1 and is a true pop triumph. While the lyrics are pretty simple, I adore the production.”
@huntypoo (10) “Claes is WILD for this one.”
@sfmartin (9.5) “This knocked my socks off when I first heard it. Was not expecting anything like this. The jarring, abrasive opening wall of bass and synths crashing you over the head like a breeze block and then in the midst of it all is quite a delicate flower. I enjoy how by the end of it all it's swirling around together in a messy electronic soup.”
@andru (8.25) “I wasn't a huge fan of this to begin with, but it has grown on me over the years. At first it came across as a little basic due to the single lyric and repetitive structure, but the synth explosion is irresistible and something I anticipate whenever I listen to the track now. The IN CONCERT version put me off the song for a long time because that section of the performance is too long and the one time it dips in quality for me.”
@cleosnatchra (8) “This one was originally always by least favorite on bounty, but it's definitely grown on me over the years, and the Kronologi version made me appreciate the bonkersness even more”
@Babyblue (9.5) “beautifully frantic, one of their best beats.”
@Ana Raquel (10) u-2 “I ADORE the duality of both u tracks. While u-1 is structured in a way that I hate, u-2 is structured in a way that I adore. Her mind!”
u “This is a mix of a video game soundtrack with aggressive chaos. Needless to say, I adore both aspects!!!!!!!!!!”
u-2 is such a fucking complex triumph of a banger. I love the fucked up 7-bar meter structure of it, it makes the flow of the track so interesting.
OK, everything else from bounty needs to remain untouched for a while.
"sadly i have not defined
where you're taking me"
released: march 2012 | artist: iamamiwhoami | album: KIN
11.00 @lob0to @clowezra
10.00 @andru @Andy French @LE0Night
9.80 @Kadebostany @MisterNovem
2.00 @Wild Man.
eatyourself’s score: 8.00
good worker is KIN's third track. the video is simple yet meaningful in that we can see the dual nature of what jonna is going through. in simple terms, all we see is her being carried out of her home into the forest by the clump things, which represent her insecurities and fears. what is important to notice is that among the scenes of her laying on her back being dragged around we also see scenes of her inside a car, with the camera panned sideways so it looks like she's laying down. while BOUNTY and BULE are both commited to a fantasy narrative in a hypotetical setting, KIN's videos always seem to play at the boundary between jonna's artistic view and real life. this gets more evident in kill, but we shall get to that in due time.
in my opinion, good worker's whole message lies in its lyrics. jonna has stated all the imagery they create is based off directly from the lyrics of the song it accompanies. the line "from a lower point of view comes the underlying truth" combined with shots of her laying on the ground make for compelling storytelling, especially if we compare it to other more... abstract lyrical momets which might come off as not very elusive of anything. there are some jonna lee songs (especially in the last two albums) whose lyrics sometimes make me think "why all those words, sister?" but i digress. good worker is the perfect example of the opposite of that. i don't think any other song in her discography is this evoking of her own story. "you make a neat and tidy house" takes me back to her making a paper house in N. then the chorus comes and it reads as the perfect description of what the project represents to her, and how the group's relation to the public is. we follow up to "i make a good and steady friend, a companion through life, but who am i when all i am is your designated wife?", which i felt the need to quote in full because whew, what a line. so direct, so frank, looking straight into our eyes - in a time when nobody (even her) knew where this whole thing was going, and that is corroborated by the final two lines of the song that are at the top of this post. in the video, this line is sung by jonna in the car, but not by the one in the ground. there is a very important aspect to the volvo car used here (it is the same one as in T) but we will get to that too.
i used not to like this song for its intro, which sounded too randomic. i'm glad i grew out of that thought because this song is a very essential track to their discography.
glitterizer’s score: 8.00
@kal (9) “This brings back the magical hypnotic qualities from bounty and I love it.”
@sfmartin (8.5) “Another enticing song that keeps the quality high.”
@andru (10) “A highlight of mine from kin, and probably deserves a 10 for vocals alone. Jonna's voice is soaring!”
@DinahLee (9.5) “Some of my favorite lyrics of all time. "From a lower point of view, comes the underlying truth. (...) Denial is a virtue."”
@lob0to (11) “My 11 is a strange one and could have went to a few other tracks instead. In the end Good Worker, much like the often maligned Ripple, tickles my nostalgia receptors and always puts a smile on my face. Doubt anyone else will give it an eleven, so it's getting mine instead.”
@cleosnatchra (9.5) “This one grew on me and damn, became one of my twinkly favorites”
@clowezra (11) “So many songs come close to matching how intense and incredible this is, but it just takes the cake as my 11. The production, lyrics, melodies, all of it are just beyond, and every listen feels like the first.”
"good worker" is fantastic! Deserved Top 20 for sure, but someone sure had a personal vendetta against it! Sis it's not praxis to think anything with the word "work" in it is inherently capitalist.
Normal service of me throwing 10s left, right, and centre is about to resume.
Okay, but why don't you like a neat and tidy house?
Separate names with a comma.