The Feist Discography Rate: Same Trailer, Different Management. | Page 19 | The Popjustice Forum

The Feist Discography Rate: Same Trailer, Different Management.

Discussion in 'Charts, rates etc' started by Oleander, May 28, 2018.

  1. Eenie Meenie Miney Moe, which one of our remaining songs has to go? The good news for our trio of extras is that they all live to see another day. That means our album track streak continues as we must make our ninth album track cut in a row. To think this kind of streak would have been unheard of in the earlier stages of the rate. Anyway, which one of our albums must say goodbye to another song?































    Is it Let It Die?
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    What about Pleasure?
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    That means that one of the albums from the once impervious pair aka The Reminder and Metals must say goodbye to one of their songs. Considering how many tracks we have recently lost from the former, will we be saying bye to yet another one?








































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    Which means our eliminated track comes from Metals. I can already hear the boos. Anyway, the track we must get rid of is...












































    36. Undiscovered First

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    Average: 8.25
    High: 10 x 2 (@Oleander, @tobyboat)
    Well, this is the first 10 I have lost in a while.
    Low: 5 x 1 (@LE0Night)
    Do you have no sense of decency?
    My Score: 10



    I realize I gave out a lot of 10s in the rate and this is the first one I have lost in a while but let me still ask y'all to please stop getting rid of my 10s please and thank you. Having said that, we have reached the point in the rate where the most of the scores for each song are incredibly high so any remaining low scores or any non-10 scores are really the two factors deciding which songs get cut. Due to its title, it would have been ironic (or would it?) if Undiscovered First was the first song from Metals to be eliminated or the first song to exit the rate. It also would have been a damn travesty if either of those things happened because this song is way too good for such low and measly rankings. Instead, Undiscovered First winds up being the sixth song cut from the album in total but only the fourth track cut from the album's standard edition. If I've said it once, I have said it a million times but if it isn't clear to y'all by now, I LOVE Metals. It has no weak spots in my eyes so seeing any of the songs getting cut from the album, including to a slightly lesser extent the bonus tracks, was going to cause me a great deal of pain. However, that sense of sadness from seeing the album shrink little by little has become incredibly heightened at this point in the rate. I obviously love this track but if you were to ask me what other song from the album I could cut in its place....I don't think I could give you an answer. I just couldn't. Let me take a minute to remind y'all how strong the pool of songs left from this album is. The songs left from Metals in the rate are The Bad In Each Other, Graveyard, Caught A Long Wind, How Come You Never Go There, A Commotion, The Circle Married The Line, Comfort Me, and Get It Wrong Get It Right. I mean....just look at all the talent in this group of songs! There might be songs here that I scored slightly lower than others but that's because I felt the need to show some self-restraint for once and not give everything a 10. That's why I let y'all do the dirty work for me and decide the elimination order which in hindsight might not have been the best idea given how future eliminations are going to go but we'll get there when we get there ddd. Anyway, I honestly can't pick a song from this group I'd rather see leave in place of Undiscovered First. I just can't. Even if you threatened me to make a choice I would have to go all Ideserveitshootme.gif because I refuse to pick another song. It would be a lot easier for me to just accept Undiscovered First's elimination with gritted teeth like I will have to do when all of the remaining songs from this album are cut. I realize saying this contradicts everything I have just said but the funny thing about my relationship with Undiscovered First is that I wasn't always such a big fan of the song as I am now. Why is that? I honestly couldn't tell you because every time I listen to the song now it blows me away. I'd say that maybe its because it isn't as much of an emotional hard hitter as some of the other songs on the album like Get It Wrong Get It Right. I'd say that maybe it was too understated for me but those choruses are MASSIVE so that doesn't sound right either. I guess it's one of those questions that just doesn't have an answer to it which is very appropriate given that the song is kind of all about that ddd. Before we get to that, though, I want to talk a bit more about the song's background and creation. Or I guess I should say that I want to share what Feist has to say about that. First off, I just want to point out that despite having lost only one of its singles so far, you can technically call this the first true regular album track elimination from the album. Why's that? Well, this happens to be one of the few album tracks to not have received a music video. I realize that nowadays the lines between what is and was isn't an album track are blurred as more and more artists release multiple videos for their album cycles so again, the category you place Undiscovered First in depends on how you want to look at the song. For those of you who want to keep score along with me, the tracks that did receive videos are The Bad In Each Other, Bittersweet Melodies, Cicadas and Gulls, A Commotion, Anti-Pioneer, and Graveyard.

    Despite being "shunned" in that manner, Feist actually has an elaborate backstory for this song that actually would have made for a cool music video. In the interview Feist did with Paste Magazine for Metals, Geoffrey Himes points out that on this song "Feist sings the verses of these songs herself, as if speaking as an individual about a particular experience. But when she gets to the choruses, she’s usually joined by backing vocals, as if speaking as part of a community of romantic survivors. When the group vocals are in unison or parallel, they seem to be agreeing on the response; when the voices are counterpointed, they seem to be debating the response, but either way they have shared the same experiences of loss and recovery. In this way, she solves the dilemma of whether she’s singing just for herself or for a wider web of people." Feist then goes on to elaborate on this point by saying that on Undiscovered First "three voices share the harmony equally on the chorus. Howie Beck was mixing it as a lead vocal and two backups, and I said, ‘No, it was intentional that they are all at the same level.’ It should be like a Greek chorus, because I wasn’t the only one going through the experiences in these songs. I think of myself singing alone as a diary entry left behind by one woman in a 19th century daguerreotype, the kind of picture you find in a tea shop full of bric a brac. I think of myself singing with other people as one of those aphorisms, those folk-wisdom sayings, that some old woman will embroider into a cloth, frame and hang on the wall. Those sayings seem to declare, ‘We hold these truths to be self-evident,’ and that’s what choruses are for. That’s where you pull back from the details and deliver the moral of the story.” That's not actually the full story, though. For that we have to turn to a resource I should have used sooner, the track-by-track interview Feist did with Spotify for Metals. Not only does she doubles down on the Greek mythological origins of the song but she even admits that the song should have received a video. Here's what she had to say about Undiscovered First: "Undiscovered First is my attempt at filmmaking, kind of because it's the most visual song or me. When I was doing the mixing with Howie Beck I was explaining everything in very visual terms. The verses are about a solitary person is climbing a mountain, and they're going to see an oracle who's sitting at the top, who has a long beard that goes all the way down the mountain because he's been there for thousands of years. Along the way, during the chorus, the man meets three wise women (mountain climbers) who are floating above the mountain and speak in unison like a Greek chorus. They give this man a little bit of wisdom to keep him climbing. Finally, he reaches the top and he see's the wise man and all this wisdom comes to him in the form of more rhetorical questions that can never be answered. This causes an avalanche and basically the mountain crumbles under his feet. So that's Undiscovered First. I obviously need to make a video for that. Shit! I think that's like a $5,000,000 budget." Damn it, that sounds amazing, Leslie! Why didn't we get that video? I would have even accepted a claymation, stop-motion version of it like what we got for Honey Honey as that would have made it like how the original versions of those Hollywood interpretations on film (think the original Clash of the Titans film) of Greek myths were made. Ugh, at least she is self-aware? Anyway, let's get to the next segment before I getting more upset about what could have been. It's time for...

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    The lyrics to Undiscovered First go as follows:

    I had what I thought were clear
    Open eyes, bright blue
    Vision of a lake
    Carryin' pictures to lay on you

    Close the blinds, let 'em in,
    Don't mind openin' it's the edge of love
    You can't un-think a thought
    Either it's there or not


    Shadows of the mountain
    Don't tell them what's under
    The breadth and the height
    Of an undiscovered first

    Now hopeful mountaineers climb up
    To eclipse like the whole sun
    'Cause it's been said that two would know
    What to do, it'd been told

    Shadows of the mountain
    Don't tell them what's under
    The breadth and the height
    Of an undiscovered first


    Shadows of the mountain
    Don't tell them what's in store
    The height and the breadth
    Is it wrong to want more?

    Is this the right mountain
    For us to climb?
    Is this the way to live
    For you to be mine?

    Is this the right river
    For us to ford?
    Is this the way you live
    For me to be yours?

    Is this the way to live
    For me to be yours?
    Is this the way to live?
    Is it wrong to want more?

    (Is this the way to live for me to be yours?
    Is this the way to live? is it wrong to want more?)


    Once again we find ourselves faced with a song that is simultaneously very direct in its message but imbues its lines with enough poeticism and metaphorical language to give it a certain level of mystery even though the actual message is never fully obscured. That is really one of the strengths of Metals. Across the album we see Feist weave a musical tapestry from the large spectrum of human emotions she channels in the various stories she tells along with images of nature which reminds us of how intertwined we are with our surroundings especially once we become more intuned with our emotions and senes. Feist did an excellent job explaining the most fantastical/mythical interpretation of the song so I won't touch upon that and will instead focus on the more human side of the song. At its core, Undiscovered First is all about those moments in life where you get the feeling that there is something wrong and but you aren't sure if you should voice the problem and your concerns or not. More specifically, one could interpret the song as being about a woman getting seriously involved with someone and being unsure if it's what she wants or if she wants something more. Rather than start the song by building up the backstory, Feist throws us head first into the narrator's inner conflict with the first stanza "I had what I thought were clear/Open eyes, bright blue/Vision of a lake/Carryin' pictures to lay on you." What she's doing is called "in media res" or "in the middle of the action" which means we are being made to enter the story as the conflict is happening which only emphasizes the emotional tension the protagonist is feeling. The narrator starts off by telling us how she used to feel a lot more sure of herself but now she's left in a world of endless confusion. This stanza also beautifully uses nature imagery to not only describe the narrator's appearance but also highlight how sure of herself the woman used to be. The "blue" is simultaneously describing her eye color, the sky, and the lake which further blurs the line between human and nature. It speaks to how we must inherently rely on our senses while trying to navigate nature or a relationship while at the same time knowing that they can be unreliable. It can feel like we are wandering around aimlessly when we are stuck in a state of doubt. I feel like the final line is speaking about the memories the woman has made with the man which tie them together in spite of the woman's doubt. She seems to want to try and make the relationship work but that feeling is quickly replaced by an increasing sense of uncertainty. The next stanza takes things up a notch and is the true poetic core of the song: "Close the blinds, let 'em in,/Don't mind openin' it's the edge of love/You can't un-think a thought/Either it's there or not." There is honestly so much to unpack here. From the outset, we see just how conflicted the protagonist is as she simultaneously wants to keep the man out and let him in. It's as if she wants to love him but doesn't want anyone else to know. Or she wants to love him and wants to keep her doubts hidden but at the same time, she can't let her negative thoughts go when they take over. Then with the next line, we see her give in further to her negative thoughts by basically saying that the relationship is on the edge of breaking and she can't find a way to fix it. Then we get to the final two lines which are possibly the simplest lines in the whole song but also the most powerful ones. Those lines are speak nothing but the truth as once you let those doubt-fueled thoughts dig their way into your head, it feels like you can never get rid of them. It's as if they keep haunting you until they force you to do something to ruin the situation you are currently in. The whole song could be summed up in these two lines. You can't hide from the thoughts once they're there and pretend as if they never existed as if you had never thought them in the first place.

    After all that build up in terms of narrative, we finally reach the chorus which is where the song also begins to get more chaotic: "Shadows of the mountain/Don't tell them what's under/The breadth and the height/Of an undiscovered first." The use of the word shadows here is very interesting as you can see it as a reference to the doubts that are filling the woman's mind which would, in turn, make the mountain the "physical" representation of the relationship or at the very least of the man. In that sense, the thing that is hiding underneath the mountain are the problems that the protagonist sees that make her question whether she should continue to be involved with him or not. The mention of "breadth and height" is not only being used to refer to the mountain itself but also to the doubts the woman has and how at this point they are just as big and serious to her as the relationship itself, if not bigger. She's struggling to keep the secret doubt she has from her lover. Then we reach the line containing the song's title. You can interpret the title to mean a wide variety of things but I feel like the most prominent meaning it has relates back to the woman's doubts. It speaks about the woman's doubts which are "undiscovered" by her lover but also about how the woman has never found herself in this kind of situation and is trying to navigate her way through it. Then we get to the next stanza which takes us further into metaphorical territory: "Now hopeful mountaineers climb up/To eclipse like the whole sun/'Cause it's been said that two would know/What to do, it'd been told." The mountaineers aka the woman, believing they would know what to do, try to climb the mountain, or in other words the relationship, but there's still the underlying uncertainty. This stanza is describing the woman's effort to overcome her doubts and press forward with the relationship but her positive mindset doesn't seem to be enough to eclipse her doubts. I love how Feist makes parallels between the protagonist's own movements and those of the sun and the fictional mountaineers. The last two lines speak of how we all think we know how to deal with these situations or can find someone who does but in reality no one really knows how. You can only ever truly learn by being thrust into the experience and forced to take action much like how we were thrown into the conflict straight on at the beginning of the song. Beginning with the final line of the final chorus, rather than give us some kind of resolution, the song throws us into a world of questions: "Is this the right mountain/For us to climb?/Is this the way to live/For you to be mine?/Is this the right river/For us to ford?/Is this the way you live/For me to be yours?/Is this the way to live/For me to be yours?/Is this the way to live?/Is it wrong to want more?" Think of this section as the proper climax of the song both in terms of the instrumental, Feist's vocals, and the story. At this point, the woman is asking "should we do this, should we ignore the problem to continue this relationship even though there's always going to be something hiding just under the surface?" It's almost as if the doubts in her mind have finally eclipsed the mountain and have escaped out from under it and are therefore reeking havoc on her mind. They are no longer thoughts at this points, but almost personified demons that refuse to leave her alone. I also really like this portion of the songs as it leaves you feeling that in spite of the woman's doubt, she knows the answer and that all these questions she has are purely rhetorical. It wouldn't be unheard of as there are plenty of times when you can find yourself in a situation where you know the answer to your problems deep down but you don't realize you do or refuse to accept it. I also love this section because of how seamlessly it switches between those familiar nature references and the woman's life because it only strengthens the question of whether her life should continue to go on like this or not. It mimics how she is caught between two different worlds/impulses and can't find a way out. By the end, we can see the woman give in to her doubts as she's asking if it's wrong for her to want a more fulfilling relationship but she quickly coves it up with shame and even more doubt. She knows what she truly wants but she's afraid of being too demanding or appearing to be selfish when in reality she's asking for something very reasonable, a relationship where she isn't plagued with doubt. At the same time, this can be dangerous thinking as one never knows whether you're giving up a good thing by letting your Intuition take the reigns and possibly ruining what you already have. In essence, this song reminds us that there is never a true feeling of certainty in any area of life and it's up to us to decide what the best course of action is to take.

    In terms of vocals, this song shows a good bit of Feist's range and her ability to play with the dynamics of her voice. Her delivery starts off very understated and the best words I can think of to describe it are smoky and earthy. There is some grit and scorn there but mixed with a great sense of cautiousness and uncertainty which ends up making her sounds rather calm and controlled. Then she lets her voice soar up and down during the chorus and as was said in that article I shared above, the voices coming in to join her makes it feel like a Greek chorus trying to advise the woman. It's another great way of showing how universal the song is as many of us have found ourselves in similar kinds of relationship troubles. Then once we get to the barrage of questions, Feist really lets loose and sheds the cautiousness we heard earlier and turns the song into an old Western style testimonial with the sound cowboy boots and spurs hitting the ground, along with some drums. It's interesting how much power Feist shows in this song without every truly belting or becoming incredibly loud. She lets the various emotions the song require of her to portray to take full control and imbue her voice with an almost delicate kind of strength which ends up being a lot more powerful than if she had filled the song with vocal acrobatics. It makes the song feel all the more honest, raw, and painful for those who have been in similar situations. The instrumental like Feist's voice starts off pretty tame with some lowly guitar strums filling up the empty space along with faints whispers of what sounds like wind chimes or tambourine which moves more forward into the mix later on in the song. Then the drum beat starts to kick in subtly before it continues to grow across the song and give it a sense of urgency and earth-shattering rhythm. As for the guitar, it switches between that more restrained sound and a more coppery, bold, jagged, distorted, and swing-like rhythm which imparts a lot of attitude to the song along with a sense of catharsis. I love how the song makes use of handclaps and what also sounds like improvised drum-like sounds (the foot stomping) to build drama and tension before they get blended together with those gorgeous, sky-high horns. The way the horns go from sounding clear and majestic to tired, cavernous, and full of pain and doubt themselves is a wonderful touch on top of everything else going on. We only have one comment for this song but it's one of praise and not scorn from the one and only Trouble In Paradise (8): "Feist is such a master of dynamics and this song balances between loud and soft so perfectly. The crush of the chorus is such a moment on a complete listen to Metals." Once again, I agree with everything you said. This song shows just how much Feist has learned over the years about how to work with dynamics. Young Feist wouldn't have been able to do this kind of song which uses restraint and some subtle shifts in addition to some bigger leaps from quiet to loud. There's a lot of nuance to this song that was lacking from her Punk-Rock material. It's a great example of the magic Folk and Rock can make when blended together by someone who knows what they are doing.

    That brings us to the end of another elimination which means its time for some music!

    Our eliminated song.



    Y'all remember that live rendition of Caught A Long Wind I dedicated a whole Tastemaker Corner post to, well here is Feist's performance of Undiscovered First from that same concert.



    Since Undiscovered First wears it's Folk qualities on its sleeve, I have decided to share a song by an artist who is a true master of the world where Folk, Americana, Bluegrass, Country et al. overlap. The song can be seen as touching upon what will happen to the protagonist if she keeps her act going. You might recognize her name if you ever saw the film O Brother, Where Art Thou?



    To build off of Gillian a bit, here is a song from another master of her field, Loretta Lynn, that also touches upon troubled relationships and specifically about communication issues. It's from her famous album Van Lear Rose.



    To close this write-up we're going to step away from the world of Country, Folk, et al. and venture to a world inhabited by one artist and one artist only. That artists happens to be none other than Kate Bush and the song in question is King of the Mountain. I didn't just pick this song because of the mountain references in both this and Undiscovered First but because lyrically and sonically, the song is actually a good fit in this song collective.

     
  2. I am fucking learning so much, y'all.

    Absolutely fantastic write-ups, @Oleander!
     
  3. Phew, finally caught up with the rate. That was a lot of reading ddd. The Futurama rate reference was iconic. And Honey Honey being out before the top 40 is a damn mess. That song is a classic, and it's amazing live too.
     
  4. [​IMG]

    Hello everyone, that's right I am back.

    I first wanted to apologize for disappearing for a while but I've just been really busy with school. Honestly, I wasn't expecting things to start off as busy as they did and it's only gone up from there but I made it through this week so I can breathe for a little while before midterms roll around. It really takes a lot out of you balancing school work with having to run a club and attend all the mandatory meetings for club leaders along with the other things I am doing. Let me also take the time to apologize for all of the gaps between eliminations starting from the summer as things, in general, have been a lot more time consuming than I thought they would be. When I came into this rate I thought that I could get it done in the summer but then I decided to be myself and make my write-ups as detailed as possible dddd. Having said that, I thought that if it did run into the start of the school year that I would have enough free time to finish it quickly but we all saw how that turned out kii. However, I put too much work into this rate over the summer to let it die without a proper conclusion so I am determined to finish it, damn it! With that being said, I have made a decision that I was initially reluctant to go through with because of the very warm welcome I have received from all of you for the essays I have crafted for all 50+ eliminations so far. For my own sanity and to not sacrifice my devotion to my school work, I think the best route of action to take would be to streamline my write-ups and simplify them so I can finish the rate in a more timely fashion as I have already unfairly made you wait long enough as it is. When it comes time for 11s to be eliminated I will try my best to craft long write-ups and maybe even do it for the Top 10 if time permits and things lineup well. However, me being me, I can't seem to let the opportunity to overwrite as much as possible so my plan is that once the rate is over, I will go back and expand all of the shortened elimination posts and make them complete. I hope this change, of course, isn't too upsetting for all of you.

    Eliminations will pick back up tomorrow evening so if you want to start making guesses as to what songs will be the next ones to fall, then go right ahead. Here is the list of remaining songs to refresh your memories.

    Gatekeeper
    Mushaboom
    Let It Die
    One Evening
    Inside And Out
    Now At Last
    L'amour Ne Dure Pas Toujours
    So Sorry
    I Feel It All
    My Moon My Man
    The Park
    The Water
    Sealion
    Past In Present
    The Limit To Your Love
    1234
    How My Heart Behaves
    Lover’s Spit
    The Bad In Each Other
    Graveyard
    Caught A Long Wind
    How Come You Never Go There
    A Commotion
    The Circle Married The Line
    Comfort Me
    Get It Wrong Get It Right
    Pleasure
    Get Not High, Get Not Low
    Any Party
    A Man Is Not His Song
    Century
    I’m Not Running Away
    I Mean Something (with Peaches)
    Know-How (with Kings of Convenience)
    La Même Histoire | We’re All In The Dance
     
  5. Thanks to both of you!

    And if you think Honey Honey's elimination was premature @soratami, just you wait. There is a lot of messiness to come.
     
    soratami likes this.
  6. I see what you did there.

    Anyway, welcome back! Looking forward to more eliminations.
     
  7. I think our 35 remaining songs have been getting off easy for just a bit too long and have become a bit too comfortable so let's pick up where we left off and give one of them the boot. Now let me just line them up, take a look at the spreadsheet, and get ready to fire. But the questions remains.....which song is the one that must bite my bullet? Well, let's stop beating around the bush and find out.

    Ready! Aim! Fiiiirrrrreee!

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    A perfect kill. Excellent. And our victim is.....

    Oh, would you look at that? It's yet another song from The Reminder.

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    That means that of the last eight eliminations, four of the songs that have left have been from this album. And the song whose corpse is leaving this rate in a body bag and join it's eliminated siblings is....














































    35. Past In Present


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    Average: 8.275
    High: 9.75 x 1 (@Trouble in Paradise)
    Maybe you should have gone for that extra 0.25 points after all ddd.
    Low: 4 x 1 (@LE0Night)
    You just love to be a damn beast piss in everyone's cornflakes, don't you?
    My Score: 9



    Considering that half of the scores this song received were 9+, I wonder how many of you are surprised by this elimination. I know I was surprised when I saw that this was the final result because the song started off doing incredibly well. Even though it received a 7.5 in the first half of voting which hurt it, the other four scores it received were 9, 9, 9.75, and 9.5. Unfortunately for Past In Present, it's success was not meant to last forever as the monster formerly known as LE0Night came around and tanked it with a 4. Honestly.....you need to go to a doctor and get your taste checked out because this score is nothing short of tragic. If you were to take out that terrible score, Past In Present's average would shoot up to 8.75 which would have been good enough for a spot in the Top 20. Given my high score for Past In Present, that would have been a much better placing for the song because while I do love it, I don't think it should have made the Top 10. Don't get me wrong, I love this song but objectively speaking, she has better. This song is a great distillation of all the things that Feist does in her music into a nice and neat little package but that condensing sacrifices the ability for the song to go beyond the emblematic grandeur it harnesses and become one of her true standouts. Geez...I sound like one of the snobs from Pitchfork ddd. So in a weird way, I guess I should thank that godless heathen......ha, as if that's ever going to happen. Unfortunately for Past In Present, it's going to have to settle with being the sixth song from its parent album to get the boot. As I said earlier, I am surprised to see this song fall so soon as it is so energetic and uplifting. However, what surprises me more is how well the remaining ballads on the album have done. I was more worried for them than I was for songs like Past In Present coming into the rate which goes to show you that rates always come with surprises even on a slow-song hating site like this one ddd. What I'm not surprised about is that this song was bested by I Feel It All. I remember when I first heard The Reminder I automatically thought that Past In Present and I Feel It All were like sister songs probably because of how life-giving and life-affirming they sound. I obviously don't that way anymore as the songs are in reality quite different but I still like hearing them back to back. A long time ago when I was feeling bored I remember reworking the tracklist order of this album and posting it on here and I think I ended up placing the two songs on two different halves of the album because I wanted to make the album's two halves to be more balanced. Looking back, I really shouldn't have done that because the tracklist Feist came up with works so damn well with this song as the midway point of the standard edition. It almost feels like it could be a closer because despite it's high octane sound, there is a sense of peace and acceptance at its core. Speaking of the song's sentiment let us take a closer look at the lyrics. It's time for a slimmed down version of...

    [​IMG]

    The lyrics to Past In Present go as follows:

    The scarlet letter isn't black
    Gotta know who's got your back
    Because they're right in front of you
    Because they're telling you the truth


    So much present, inside my present
    Inside my present so, so much past
    Inside my present, inside my present
    Inside my present so, so

    La, la, la, la
    La, la, la, la
    La, la, la, la
    La, la, la, la

    Feeling it from dark to bright
    When a wrong becomes a right
    When a mountain fills with light
    It's a volcano, it's a volcano
    It's a volcano, it's a volcano


    So much present, inside my present
    Inside my present so, so much past
    Inside my present, inside my present

    Inside my present so, so much past
    Inside my present, inside my present
    Inside my present so, so much past
    Inside my present, inside my present
    Inside my present so, so much past


    Unsurprisingly, this appears to be the simplest and most repetitive song from The Reminder which might be the reason that devil tanked it? I honestly don't know because trying to come up with a reason for doing something so illogical like tanking this song is practically impossible. Anyway, despite the short and repetitive nature of the song, it holds a lot of meaning to it. At its core, despite its very bright and bubbly sound, it touches upon a very powerful reality that can be hard to accept when we feel down. That reality is that we can't escape our past because it is what informs our present and in our darkest moments when we feel those ghosts of the past come back, it feels like our present and our past are one in the same. That's one way to see the change in the lyrics from "so much past in my present" to "so much present inside my present" and vice-versa. I realize that I might be making this very cheerful song out to be more serious than it really is but given how Feist likes to play with emotional contrasts in her songs, it makes sense that this song would do the same. It's not something you automatically realize when looking at the lyrics as the only lyric that alludes to something darker directly is the reference to Nathaniel Hawthorne's The Scarlet Letter. Y'all must know the story so I won't rant about it but I will say that it wasn't one of my favorite books that I had to read it high school dddd. Maybe now I'd feel different. Anyway, despite making such a dramatic reference, Feist actually subverts it and find the light in the dark with the opening line "The scarlet letter isn't black." What she means by that and the rest of that opening stanza is that things are not hopeless and unchangeable. You can learn to get over a past that haunts you and learn to embrace it by learning from the mistakes you made. She's making a reference to a negative experience in life but doesn't dwell on it because she wants to remind us that we can find happiness again, a happiness that will block out the darkness like how the song's anthemic and celebratory nature quickly consumes the pain it references. That's why ultimately if I had to create a story for this song, it would be that it's about someone who is always really depressed. Their past is something that they can't forget about in their day to day life and maybe a lot of tragic events led up to the depressed person she is. Then we see that classic Feistian shift something she doesn't expect will happen happens and a wrong turns right, she feels herself go from feeling dark to light. That duality is the song's greatest strength as it balances those opposing sentiments so well thanks in part to that jangly guitar which sounds simultaneously joyous like Feist's vocals but also jagged and heavy like the pain the song references. All in all, it's a jaunty little song that is undeniably catchy and always puts a smile on my face. Let's wee what y'all had to say.

    We had two commentators for this song and both of them happen to be two of the song's highest scorers. How surprising. We start off with the song's biggest fan Trouble In Paradise (9.75) who says: "One of Feist’s best up tempo moments. It’s full throttle energy and a great example of her guitar work pre-Pleasure. What I love about Feist is even when she ups the tempo, she keeps the focus on the lyrics. The chorus of “There’s so much past inside my present” is one of those quintessentially excellent pop moments when a simple lyric conveys such a massive truth." Once again, you capture yet another song's greatest in a much more succinct way than I ever could ddd. Your last point is especially important because she is talking about one of the big truths of life but presents it in such a catchy and simple way that you don't realize how sage her words are until later on. I guess that's another example of the balancing act that is her music persona as in songs she can sum up these great complex stories in very few words but in interviews, she rambles on and on ddd. I love that about her though. He gave the song 0.25 points less but loves still loves it all the same, here are tobyboat's (9.5) thoughts on the song: "I chanted “It’s a volcano, it’s a volcano, it’s a volcano, it’s a volcano!!” when I went to Iceland at pretty much every single roll formation I saw." Björk would be proud. Or maybe she'd sue you for copyright for stealing the lyrics to her next animated film song. The Comet Song found dead in a ditch!

    Now let's get some music in here.

    Our eliminated song.



    Feist performing the song live.



    Feist performing it live as part of a medley with Kevin Drew and his song Safety Bricks. I honestly love this, they work so well together.



    Here's the full version of Safety Bricks for those of you want to hear more of it.

    Since this song plays with the idea of the past invading the present and rendering it a clone of it and the mistakes it holds, I figured this Tame Impala song was the perfect song to feature in this write-up.



    And lastly, I have to include Rihanna's take on that Tame song because I just have to.

     
    Last edited: Sep 17, 2018
    Aester, berserkboi, Robsolete and 2 others like this.
  8. Ddddd....that was not intentional.
     
    berserkboi likes this.
  9. Oh, and it turns out the average I calculated for Monarch was slightly off. It was actually a teeny bit higher. 7.193 intead of 7.185. Let me go correct that image and reupload it.​
     
    berserkboi likes this.
  10. As you saw with the last elimination, it appears that our The Reminder slaughter is still very much a thing but is that about to change?


































    As said by LGBT icon Kim Lip, the answer is....

    rap no no no
    No.

    That's right, everyone. We are about to lose a second song in a row from The Reminder so the question is....are you ready?

    Well, y'all better make like Queen of Temptation Yves and say Yes, because it's happening whether you like it or not. Suddenly the Olivia Hye is you.

    [​IMG]

    (Buy [++] and it's two ~singles~ favOriTe and Hi High on iTunes.)

    Okay enough shameless promo, let's find out which unlucky song from The Reminder is about to get the boot. The answer is....












































    34. The Park

    [​IMG]
    (It's the return of the paper cutouts!)

    Average: 8.3
    High Score: 10 x 4 (@Oleander, @Trouble in Paradise, @tobyboat, @RUNAWAY)
    Team Taste. We also happen to be the four that have most consistently given high scores it seems ddd.
    Low Score: 6 x 3 (@ohnostalgia, @WowWowWowWow, @enjoy)
    Seeing this song get one 6 would be bad enough but three fucking 6s?!?!??!?! I should have let this rate stay dead so we could have avoided this travesty.
    My Score: 10



    Okay now, I have put up with a lot of heartbreak in this rate for many reasons, one of them being having to see great songs fall well before they should have (read: the songs from Monarch you heathens decimated) but this might just take the whole damn cake. HOW COULD YOU MONSTERS LET THIS HAPPEN! This song is fucking magical and this is how you repay it? I expect this kind of horrendous taste from WowWowWowWow but I'm so disappointed in you both, ohnostalgia and enjoy. I thought you were better than that. You know you fucked up when LE0Night, LE0NIGHT gives a song a higher score than you do. Okay, it's time to collect myself and settle down because in a way I sort of jinxed The Park by constantly saying how surprised I was by the performance of the slower songs in the rate ddd. But really.....it's not me, it's y'all and your horrible taste that did this. What makes this elimination hurt, even more, is the fact that we have now officially split up the inseparable pair/the dynamic duo that is My Moon My Man and The Park. I always knew the former would do better than the latter but I expected the distance between them to be smaller than this. At least My Moon My Man is guaranteed to do well....or is it? Anyway, this means that The Park becomes the seventh song from The Reminder to fall but luckily for us fans of ballads, there is still quite a few let in the rate. This is the most 10s we have seen in a long time but with all those 6s, it was only able to barely sneak past Past In Present even though the latter received a lower score than a 6. From an objective standpoint, I suppose I shouldn't be surprised that this song is leaving before some of the other ballads on the album as it is the most stripped down of all of them and the one that most embodies the Folk songstress side of Feist. It's is the most delicate, tender, and vulnerable moment on the album outside of Intuition and it really cuts straight to the heart. This song does sound sweet and maybe even slightly uplifting but in actually, the song is anything but if you look at the lyrics. Much like Past In Present, I could see this song working as the album's closer if Feist had wanted to give the album a more melancholic, more unresolved, more heart aching ending. As we have seen with Feist across all her albums, even her heavier ones like Metals, she is not one to end things on a sad note. She always emphasizes the idea of hope and reassurance in her closing tracks and while this song does balance opposing emotions much like Get It Wrong Get It Right does, it's clear that the dominating one is one of regret, longing, and sadness. It just doesn't appear that way at first because of how beautifully Feist sings the lyrics and imbues them with her signature sense of wistful optimism which misleads you at first. I realize I have said time and again that Feist is a master of delivering vocal performances that are very understated but upon closer inspection reveal themselves to be very layered, nuanced, and meticulously crafted, which is true. However, I think that this song, this song is where she perfected that technique. I feel like in the hands of someone else, they would emphasize the innate emotional despair of the song and overdo it. That goes for how they would sing it and also how they would probably try to add to the very simple production rather than leave it alone. The reason this song works so well is that despite being a song full of pain, Feist fights against that by delivering a very light and airy vocal which pairs beautifully with the acoustic guitar and piano-led instrumental with some dramatic horns coming in during the second half. There also the interpolation of bird and nature sounds which was genius move and a nice way to segue from My Moon My Man during the "running away into the outdoors" interlude that ties the two songs together. At the end of the day, Feist knows when to hold back and explore the full range of emotional possibility within a more "limited" sonic and vocal landscape rather than try to turn everything up to 11 and bombard the listener with dramatics. There's a time and place for everything and what this song demands is a detached but reality, very much attached delivery that leaving you feeling the woman's hope slowly fade more and more with each line. That is until the end when Feist indulges a bit in the song's painful story and lets her voice wash over you as she lets the regret bellow forth from her voice. Well, I kind of already did a bit of analysis of the song's sound but we still have to look at the lyrics so that means it's time for...

    [​IMG]

    The lyrics to The Park go as follows:

    Why would he come back through the park
    You thought that you saw him, but no you did not
    It's not him coming across the sea to surprise you
    Not him who would know where in London to find you

    Sadness so real that it populates
    The city and leaves you homeless again
    Steam from a cup and snow on the path
    The seasons have changed from the present to past

    The past
    There's hope to have
    In the past

    Why would he come back through the park
    You thought that you saw him, but no you did not
    Who can be sure of anything through
    The distance that keeps you from knowing truth

    Why would he think, the boy could become
    The man who could make you sure he was the one
    The one
    My one
    My one


    Did I just highlight the entire song? Why yes, I did. You got a problem with that? No? Good! In all seriousness though, despite this being one of Feist's shortest lyrical compositions, it packs a massive punch. If you didn't feel the song's sadness just by listening to it then you are sure to feel it once you take a look at the lyrics in isolation. When you hear a title as straightforward as "The Park" you are instantly transported to the said location which you most likely associate with feelings of brightness, calmness, beauty, and nostalgia. This song certainly incorporates those sentiments and connotations within the story it crafts but instead of coming together to form a narrative of hopefulness and romanticism, they create a story about a woman who fantasies about that same scenario but whose reality is sadly the exact opposite. What we have here is the story of a woman who has gone through a breakup and can't seem to let go of the image of her ex. She's walking through a park and thinks she sees her ex but quickly realizes that it's just wishful thinking because she is in London and he wouldn't know where to find her. Not that he would even try to considering things have ended between them. I highlighted the entire song but if I had to pick a favorite lyrical moment it would have to be that second stanza. I mean.......oh my fucking god, why did you have to go and sucker punch me right in the gut, Leslie? And then do it a hundred more times? That stanza is the definition of poetry and at the same time, it is one of if not the saddest lyrical moment she has ever put to paper. That first half to beautifully captures that feeling of being in a big city surrounded by thousands of people but feeling utterly alone in your despair. On the flip side, you can also see it as speaking to the fact that in those moments, our only company is our sadness which is not a good thing as that is the worst company to have if you want to try and feel better. Plus, that sadness will hopefully leave you eventually as well which is a good thing but in the context of this song just emphasizes how much you have lost when someone important in your life has left. Considering how the end of My Moon My Man segues into The Park, I imagine that the two songs are about the same person because the relationship referenced in this one obviously meant a lot to the protagonist. It's wasn't just some little fling, it was something serious. Or at least that's what she thought. The second half of the stanza conjures up a lot of familiar images to emphasize how much time has elapsed since the split but also embody her feelings. She is upset which is symbolized by the steam in the cup and she is unsure of what lies next, symbolized by the snow on the path. Once you reach the final two stanzas, you realize that maybe she was the one who ended the relationship because he wasn't man enough for her. Drag his ass, Leslie! She feels foolish and wonders why she thought the guy she had fallen for would be mature enough to have a serious relationship. The song is a realization that there is no future in a relationship. The man doesn't know you, he doesn't love you like love him. He wouldn't know where to find you, in fact, he wouldn't make a sacrifice to follow you. It's about the depression involved in realizing that a woman who has become attached to a man, and even thought of marrying him, needs to move on. The beginning sounds like she is talking to a friend but it quickly becomes apparent that she is talking to herself and trying to get over the relationship when she walks into this park and has this great realization that the relationship was not what she thought it was. She feels regret but not over the end of the relationship, she regrets committing herself to a relationship that was one-sided and which ultimately ended with her being alone again. One person left in one park, experiencing a breakthrough and processing the truth that he kept from her which she has only now found. Basically, this song deserves it's own movie because it is a masterpiece in storytelling and you're all a bunch of heathens for not letting it make the Top 20 at the very least!

    Well now that my rant is over let's see what y'all had to say. This is the one silver lining of the rate. The Park received comments from three different people which is the most we have seen so far in this rate. Talent only! Not only that but the commentary comes from my three fellow 10-givers! Team Taste is killing it! We'll start with Trouble In Paradise (10) who says: "Absolutely spellbinding in both the songwriting and the performance. When the horns come in it’s pure transcendence! When I sing along I change London to Boston cause I'm that extra." Yaaassss! Let the haters know just how fucking wrong they are! Also, that last bit does not surprise me considering all the commentary you submitted and how extra some of it is dddd. I'm eternally grateful for it though because I learned a lot from going through it all. Next comes tobyboat (10) who says: "Another contender for my 11. “Not him who would know where in London to find you” is one of my favourite Leslie lyrics of all time as well." Hmmm.....I wonder why that lyric is your favorite dddd. I'd say that maybe you should have given it your 11 but had you done that then Intuition would have charted even lower in this rate and that would have been even more tragic than it barely making the Top 40. Our last bit of commentary comes from RUNAWAY (10) who says the golden rule of the universe: "I can never listen to this album on shuffle because splitting up The Park and The Water would be criminal. The two songs are made to be played together and they both work so perfectly together." Agreed. Poor non-premium Spotify users ddd. Even when I made the alternate tracklist I'm pretty sure I kept the two songs together because they just can't be separated. If I did separate them then......I'm embarrassed and disgusted with my former self.

    Now let's get some music in here and cry ourselves to sleep.

    Our eliminated song.



    Feist performing the song live in a truly transcendent fashion.



    Not sure how many Bon Iver fans there are on here but during my research for the rate I discovered he covered The Park. I give him points for effort but he doesn't touch Leslie's version.



    Admittedly this next song is a bit out of place sonically with the rest of the highlighted songs but I referenced it in the write-up so I had to include it here.



    To close this write-up, let's listen to a legendary song which also talks about a park from the one and only Donna Summer.

     
    Aester, berserkboi, Robsolete and 2 others like this.
  11. I knew the Park's time here was limited but I'm glad it received four 10's!
     
    Oleander likes this.
  12. Yeah, that's almost half the voters giving it a perfect score!

    Sorry to keep y'all waiting but there is no elimination tonight. I'll try and get one up tomorrow if I manage to finish my group presentation slideshow contributions for our presentation on Wednesday. Fingers crossed.
     
    berserkboi likes this.
  13. Okay, let's get another elimination out of the way before things get busy again. I know what y'all are thinking....we're going to kick out another song from The Reminder, right?

    [​IMG]




































    So then...what track from one of the other albums are we losing?

    [​IMG]
































    That can mean only one thing. After a long break from eliminating a song from that section, the time has come to eliminate another extra. The question is.....which one of the three remaining extras must leave?







































    MisandryJustice lost.


































    33. I Mean Something (with Peaches)

    [​IMG]

    Average: 8.333
    High: 10 x 1 (@soratami)
    I guess it really is lonely up there at the top.
    Low: 6 x 2 (@Trouble in Paradise, @LE0Night)
    Looks like the rate villain is recruiting allies.
    My Score: 9.5



    I'll be honest with y'all. I was not expecting this little song to make it so far. As you can see by my score, I am a big fan of it but at one point I was contemplating leaving it out of the rate because I didn't think it would find a big audience of fans here. Clearly, I was wrong and made the right decision at the end of the day by including it which makes me feel quite happy. Let's just take a moment to give Peaches a round of applause for taking her only song in the rate all the way to the Top 33. While there are songs that Mocky and Chilly Gonzalez, Feist's other two long-time friends and collaborators in case you forgot, produced left, none of the songs featuring them are still in the rate. So in a way, MisandryJustice actually still won. Huzzah! I realize that the fact that this song made it so far with just a single 10 might be surprising for y'all but here's a little heads up....it's not the last song we'll see that only got one 10. That said, all the songs left in the rate have all received at least one 10. I guess me and my two fellow 9.5 givers should have bumped up our scores in order to bump this song up the leaderboard. Had we given the song 10s, it's average would have jumped up to 8.5 which would have safely placed it within the Top 30. Having said all this, I'm not surprised to see this song get some lower scores and I don't mean that just because of the in-your-face, hazy, and warped electronic-tinged sound the song has. Out of all the songs in the rate, including the other songs that have Feist as a featured artist, this is the song with the least amount of Feist's voice present on it. That's actually another reason why I wanted to include the song in the rate so that we could see another side to Feist. With this song, we get to see Feist, the hook girl and honestly she kills it and gives the song a great sense of contrast as her crystal clear and airy vocals perfectly bounce off of Peaches' cool and gritty delivery. Luckily for me, I found the perfect picture to pair with this song so I didn't have to use that one group shot that I shared at the beginning of the rate. As with Feist's other long-term friends and collaborators, I have shared a lot of info about Peaches so I won't give y'all an in-depth biography. Instead, I will share some interesting facts. Peaches is known for her own signature style of music that blends a wide variety of genres like electronic music, various forms of punk, dance, alternative, etc... In terms of subject matter, she plays a lot with the traditional norms of gender identity, sexual liberation, and more recently as seen on I Mean Something, issues regarding age and society's tired conception that once you're old you serve no purpose. Despite having built this uniquely singular musical path for herself, Peaches' music career actually started off in a very similar way to Feist's. Her career started in the 1990s when she became part of the Folk trio Mermaid Cafe. She later went on to form a rock band called The Shit and release her solo debut album, Fancypants Hoodlum in 1995. Her music has also wound up in a number of different places including a wide variety of TV shows (Lost Girl, The L Word, Ugly Betty, South Park, 30 Rock, True Blood, Full Frontal with Samantha Bee, Letterkenny, and Dirt) and films (Mean Girls, Waiting..., Jackass Number Two, My Little Eye, Drive Angry, and Lost in Translation). She has also appeared on albums by prominent forum figures like Pink, on the song "Oh My God" from Try This, Christina Aguilera, on the song "My Girls" from Bionic, and Major Lazer, on the song "Scare Me" from their album Free The Universe. I Mean Something is also not the only time Peaches and Feist have appeared on a track together. Feist also appeared on the song "Give 'Er" from Peaches' 2006 album, Impeach My Bush. I don't really hear Feist on this track but I'm guessing she's the one saying "ahahahahaha" and that's lack of Feist having a prominent role in the song is the reason I left it out of the rate. Meanwhile, I Mean Something comes from Peaches' 2015 album Rub. Now that you have some basic info about Peaches, it's time to give the song itself a closer look. Here's....

    [​IMG]

    The lyrics to I Mean Something go as follows:

    No matter how old, how young, how sick
    I mean something, I mean something

    No matter how old, how young, how sick
    I mean something, I mean something

    You can push me, no stare down
    Plug it up, no me, no shut down
    I'm on a rampage, it's my new rage
    Crisis but I'm singing in the mid range

    What you gotta say, gotta say
    What you gotta do
    What you gotta say doesn't matter anymore
    What you gotta do, gotta do

    Say you scared of me, then scary me
    Lookin' straight into their eyes before they bury me

    We could meet ends, we could be friends
    Pockets inside out before you press send

    What you gotta say, gotta say
    What you gotta do
    What you gotta say doesn't matter anymore
    What you gotta do, gotta do

    What you gotta say, gotta say
    What you gotta do
    What you gotta say doesn't matter anymore
    What you gotta do, gotta do

    No matter how old, how young, how sick
    I mean something, I mean something
    No matter how old, how young, how sick
    I mean something, I mean something

    No matter how old, how f***ed, how s***
    I mean something, I mean something

    No matter how old, how f***ed, how s***
    I mean something, I mean something


    While the verses of the song do add quite a bit of variety to the song, it's easy to see that the song follows a pretty similar pattern throughout its runtime. I feel like that might have been one of the reasons certain voters might not have liked it but the song is really more about its message of empowerment and it's very ear-catching instrumental. As I said above, Peaches has more recently placed a lot of attention on the topic of age and that's exactly what this song is all about. The truth of the matter is that we still live in a society obsessed with youth and with this song Peaches and Feist are both comforting and empowering women by speaking the honest truth......you still matter regardless of what society thinks of your age. Peaches being the artist that she is had to send that message in her own way and that's exactly what I Mean Something does, and it does it very successfully. The song is a great blend of swagger-infused verses, a haunting chorus/hook that reminds us that we can't just talk the talk but also walk the walk as well, and that cool as hell instrumental. While the instrumental does stay in the same rhythm throughout, there are a lot of little additions and subtractions made that keep the song from getting boring. One of those are those distorted and pitched vocals that weave in-and-out of the song with their what I assume are a bunch of "Yeahs" being said over and over. The beat that drives the song is pretty simple but its very addictive and builds wonderfully off of the swagger Peaches delivers in the verses. Then there are all these little electronic sounds that pop in at random times and give the song little sparks of energy and life. That slowed down section is something I never would have thought to add to a song like this but it works very well especially since it focuses on Feist's voice and makes her sound even more haunting than it already did. I think Feist's "wooowooowoo" parts suit the song as they give it that "scary" factor that Peaches references in lines such as "Say you scared of me, then scary me/Lookin' straight into their eyes before they bury me" as they help emphasize the idea that Peaches is embracing her "scariness" and making it a strength rather than a weakness. The main reason I didn't give the song a higher score is that I would have liked Feist's part to be a bit more substantial but even as it is, I really enjoy her contribution to the track. It would have been nice to see her in the video as well, but maybe she was busy dddd. Speaking of the video, it pairs perfectly with the song as we see Peaches and her crew composed of women from all walks of life embracing who they are, and confidently rocking all kinds of clothing from punk-fueled outfits to lingerie and swimsuits. The scenes with the three dancers feel a bit out of place but I they're still pretty cool. Oh and we also see Margaret Cho make a quick cameo but I won't spoil what she wears in case you haven't seen the video.

    Now let's see what y'all had to say about the song. Unfortunately for Peaches, we only have one piece of commentary for I Mean Something and it is not positive. In a surprising turn of events, Trouble In Paradise (6) decides to shade a song: "I love Peaches but her music is a world away from Feist’s." Well as I showed in this write-up and the various other write-ups that included Peaches, that statement isn't really true. You're just finding excuses to hate the song, ho. I guess you're not a real Peaches fan after all. No, but in all seriousness, I do agree with you....in some aspects ddd.

    That brings us to the end of another write-up which means it's time for music!

    Our eliminated song.



    For our next three songs, let me share the songs I mentioned above which feature Peaches. We'll start with Oh My God by Pink.



    Next up is My Girls from Xtina.



    Lastly is Scare Me from Major Lazer.



    To close this write-up, here is the wonderful song Peach by Broods.

     
  14. And since I mentioned Bionic, I feel obligated to tag @send photo wherever he may be.
     
    Robsolete, send photo and berserkboi like this.
  15. My highest rated extra, (not that it was hard to be ddd) two icons and I love that photo you used for the artwork, @Oleander.
     
    berserkboi and Oleander like this.
  16. @Oleander sis you okay? I was really enjoying this rate!!
     
  17. RainOnFire

    RainOnFire Moderator

    Would anyone like to take over? I have the required info so just let me know.
     
    Oleander likes this.
  18. I don't have the time/energy/health/general range etc. for an extended @Oleander-style essay extravaganza (unless they're all prewritten and stored somewhere) but I could probably manage to at least wrap it all up, eliminating three or four songs at a time with a brief summary for each with whatever's been submitted? Give or take a couple of days depending on how much material I have to sift through and/or gather.
     
    Oleander, ohnostalgia, Aester and 5 others like this.
  19. Hello, children.

    [​IMG]

    The rumours are true, arrangements have been made; due to Oleander's sudden and extended absence I will be taking over the rate and finishing it all up for him.

    [​IMG]



    Since it's been a few months since the last elimination, let's just have a quick Reminder™ of where we're at before we start.


    [​IMG]


    Monarch (0/10)

    [​IMG]

    Let it Die (7/13)
    Gatekeeper
    Mushaboom
    Let It Die
    One Evening
    Inside And Out
    Now At Last
    L'amour Ne Dure Pas Toujours

    The Reminder (9/16)
    So Sorry
    I Feel It All
    My Moon My Man
    The Water
    Sealion
    The Limit To Your Love
    1234
    How My Heart Behaves
    -
    Lover’s Spit

    Metals (8/14)
    The Bad In Each Other
    Graveyard
    Caught A Long Wind
    How Come You Never Go There
    A Commotion
    The Circle Married The Line
    Comfort Me
    Get It Wrong Get It Right

    Pleasure (6/11)
    Pleasure
    Get Not High, Get Not Low
    Any Party
    A Man Is Not His Song
    Century
    I’m Not Running Away

    Extras (2/23)
    La Même Histoire/We’re All In The Dance
    Know-How

    So, what do we think? The Reminder having the largest batch left, not surprised, Let It Die having had that many eliminations, horrendous, but Metals coming in second and Meme History still being here is exactly what they deserve.
    My own general no-spoilers outlook on the impending proceedings:

    [​IMG]

    There are some cute girls that have gone and will go quite a bit further than they need to, one in particular y'all have somehow almost allowed to Scameron Michaels its way directly into the more esteemed part of the rankings but overall, every single remaining album makes up a decent percentage of the top 20, and as far as the winner goes, well.

    [​IMG]

    (I'm not mad. I think.)

    (If, by the way, anyone should have any lingering regrets concerning commentary, now would be the time to speak up or forever hold your peace etc.)

    Now, I'm going to need some time to get everything in order, calculate some averages, get the commentary sorted (@Trouble in Paradise chucked in 10 fucking pages all by his lonesome phew), prepare some gifs, figure out which one of y'all overrated The Reminder the most, make everything look nice etc.
    I would love to get cracking immediately, but my mother will be stopping by tomorrow for a rest en route to the hospital for what will hopefully be her final treatment and I want to make the evening extra nice, so, I'll take the liberty of putting things on hold just for a day longer.
    And whatever certain posts elsewhere on the forum might suggest, I'm not a particularly verbose person, so beyond the odd sentence or three here and there the floor will mostly be entirely yours so by all means, pipe up whenever you feel like it. We might even have some.. surprise guests, along the way.
    As far as eliminations go, we've all waited long enough I'm sure so when we get going I'll be speeding things up just a bit, I'm thinking 4-5 a day until we hit the top 10, at the very least.

    So, in short, just hang on tight for a day or three while I make everything presentable, I'll be back A$AP.

    [​IMG]


    And vote for talent in @ohnostalgia 's charts xx

     
  20. Yay! I’m so excited!!! Also sorry for all the feelings in my commentary!
     
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