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Black Veil Brides by Black Veil Brides Album Review

Black Veil Brides
Hearing that Black Veil Brides had a new album coming was possibly the best bit of news I had this year, especially with the hints that it was to be their “heaviest” and “darkest” album yet. As much as I like 2013’s Wretched and Divine: The Story of the Wild Ones, it was no We Stitch These Wounds (possibly my favourite Black Veil Brides album), and I was hoping for a return to that. When they released the first single, Faithless, I at first wasn’t keen, but it quickly grew on me and I thought that if the whole album was going to be like that, it would be pretty good. Then the next single, Heart of Fire, was released, and my expectations for this album just shot sky–high. That’s where the problem starts really: my expectations were too high. But do you blame me? I went to see them on the 16th of October, and as well as playing the two aforementioned tracks, they played one more new song which had yet to be released: Last Rites. When CC opened up with that drum line, my friend and I just looked at each other with the biggest grins on our faces – it genuinely made me think “this could actually be their heaviest album yet!” Needless to say, I was very excited for the 27th of October.

I woke up that Monday morning and raced right downstairs so I could listen to all the previews on amazon and iTunes – my plan was to wait for the post and listen to the full album, but I couldn’t wait any longer. I listened to all the previews that I could, and I was still excited – but I felt there was something missing. Every time I tried to reply the songs in my head, they all sounded so…generic, almost pop-y. I was hoping the full album would prove me wrong, and it did. Kind of.

The album opens with Heart of Fire, which is by far my favourite song of the album and so is a good starting point. It’s a really good song, and very catchy – I always get a stupid grin when I hear Andy sing “Not living for this anymore, you want a fight – I’ll bring the war”. I think it’s the lyrics combined with the melody, you have to smile! It’s definitely a strong opening song, and I don’t have anything against this one (although I hate that “fire” is pronounced “fiy-yuh” rather than how it should be…), which certainly makes a change!

Faithless is the second song on the album, and again is another strong one – I really love the opening, although I’m not keen on the moments where the sound goes almost muted. When I’m listening to it through headphones, the sound is great and all around me, then suddenly and briefly it’s like it’s only in one ear, which isn’t something I like. At all. But otherwise, it’s quite frankly a brilliant introduction to a really good song. I’d like to take a moment to note down my favourite lyric, which comes from the chorus: “Even when I fall down to my knees, I’ll never say a prayer I don’t believe”. The reason I love it is because of how ambiguous it is – while one person may take it as them saying they’ll never say a prayer because they don’t believe in a religion or the likes, another person may interpret it as them saying they won’t say a prayer that they don’t believe in. That’s not the only time I’ve loved the ambiguity of a Black Veil Brides lyric; although the only example I can think of at the moment is from the song Set the World on Fire from the album of the same name: “[…] children crying when all they knew was dying”. I like that one, as it makes me wonder if the children are crying because all they’ve known is death and dying, or if it’s because everything they know is just dying around them – there’s not much better than a song that makes you  think!

The next song, Devil in the Mirror, is another one with a good beginning, and it retains that throughout. The tune is catchy, and when I listen to it I find myself nodding along and tapping my foot – it’s that kind of song. I quite like the chorus too; it’s just as catchy as the rest of the song, but there’s just something about it that really makes me want to sing. Which I usually do, I’m pleased to say! The only thing I’m a bit iffy on is, strangely enough, the chorus – at points it seems like the kind of thing you might find in a more “pop” song than in something I associate with Black Veil Brides. I can’t really put it into words what I think of it, there’s just something there (that wasn’t there before) which doesn’t quite fit in. Regardless, it’s a very good song, and one that I look forward to getting to hear live one day!

Goodbye Agony is, for me, a song that, for the most part, is just…there. There’s nothing spectacular about it, nothing that really stands out to me. It’s a good song (when I remember it exists), but I don’t have anything of note to say about it, so to flesh out this paragraph a little I’m going straight on to song number five, World of Sacrifice. I think that fact that I was listening to this and thought I was still on the previous song says a hell of a lot for this one… I’m not saying it sounds exactly the same, it’s just pretty similar – and that’s something I’ve felt about a few of the songs on this album. There’s just nothing different and exciting! Oh well, at least they’re catchy I suppose, I’m sure that’s got to count for something?

Ah, now here we are at my most anticipated song of the album, Last Rites! Two words: what happened. It sounded so good when they played it, there were screams, it had an utterly FANTASTIC start, and it was just an altogether amazing song. But this? This just wasn’t what I was looking for. For one thing, no screams – that’s practically heart-breaking for someone who loves the screams! Even the introduction was lacking something that was there in the concert; I don’t want to go so far as to say it was lacking energy, but it definitely didn’t give off the “heavy” vibes that it did live. Again, it’s still an enjoyable song… unfortunately it just didn’t live up to my expectations.

But do you know what, that’s okay. Because the next song, Stolen Omen, really brings this album back up. And not just because there’s screaming (but that helps!), but because it’s overall great. I actually think this is the first song on the album that I’ve heard just the beginning and thought “this sounds pretty heavy!”, which being the seventh song in on an album claiming to be the heaviest yet probably isn’t great. This song though, it’s just so good. Words fail me, to be honest, but I do love it. That’s another one that would be amazing to hear live – so I’m looking forward to the next time they tour the UK!

Of course, no Black Veil Brides album would be complete without a nice, ballad-style song. On their first album, we had The Mortician’s Daughter (my favourite BVB song ever), on the second album we had Saviour, and on last year’s album we had Done For You. I was a little worried that they wouldn’t put a slower/softer song on this album, but Walk Away pretty much fits the bill! Admittedly it’s not as good as the aforementioned slow songs, and there’s too much “woah”-ing for my liking, but I’m so glad it’s there – I think I would have been pretty upset if they hadn’t put in the almost obligatory (in my mind) slow song, so hurray!

Ugh, again with the woah-ing?! That’s practically the first thing you hear in Drag Me to the Grave, other than, oddly enough, the cry of “Drag me to the grave!”, but luckily it doesn’t last long… until the chorus, it turns out. What is with the woahs? I don’t like them; they’re just not right for these songs. Frankly, they almost ruin them for me – they’re so off-putting! Ignoring that (I wish I could), it’s yet another addictive song with a catchy tune, and I always, always find myself singing along to the chorus. Even when I’m not singing, my foot’s tapping or I’m nodding my head, which I’m sure mildly concerns the people who share my buses.

Only two songs left, and then I’m done – I promise! The penultimate song is The Shattered God, and it definitely shattered something within me, possibly any and all hope I had for this album’s redemption… Well, it’s not that bad, I’m just being dramatic. But this isn’t a great song, in my opinion – it’s gone back to the almost too poppy to suit the album/band kind of thing, which is a shame. It’s not even one I can sing along with either; probably because when Andy sings “You are, you are the shattered god”, I was convinced he was singing “you are the shadow god/shadow of god”, until I discovered the song title – THEN I managed to hear the lyrics correctly. But hey, it’s otherwise a nice and cheerful song – my favourite is the part where he sings “You are, you are forever alone”. It’s like he’s singing right to me! All sarcasm aside, I do like that line, it’s one of the few I can understand.

And now, the final song, Crown of Thorns, bringing with it the burning question: will the album end on a high? Well it sounds pretty similar to the previous song…and the nine before that…  Honestly, that’s my main criticism of this whole album. It all just sounds so similar. With their other album, I can tell pretty much straight away what song is playing, but with this album it takes me a while because, bar at least the first two tracks, there’s not an awful lot to differentiate between them. And that’s a shame, because I was so looking forward to this album and wanted to see how they’d improved as a group. Don’t get me wrong, the band play extremely well, and seeing them live is an amazing experience, but they’re just lacking something on this album. I read a review on iTunes which said that although it was a good album, it sounded like it had been recorded in a bubble – and that’s exactly right. From my first listen, I’ve thought it sounded just too clinical and put together. It’s one thing having an album that flows well; it’s something else entirely having an album which sounds like one song…

Overall, I enjoy the album and think it’s good fun to listen to (and as I’ve said, I look forward to hearing it all live), but their first two albums – We Stitch These Wounds and Set the World on Fire – are far, far superior. As much as I’d have loved to have been able to give it 5–stars, I’m afraid it’s only really deserving of 3.5.

And don’t even get me started on that bad attempt at an Iron Maiden album cover…

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Victim To Villain by New Years Day Album Review

New Years Day

I start listening to bands for the strangest of reasons – I first heard of New Years Day because I got a poster of the singer, Ash Costello, in an issue of Kerrang! magazine, and thought that she looked really cool with her read and black hair. Then, when I saw that they had a song featuring Chris Motionless (singer of Motionless in White), it was practically set in stone that I was going to love them – and I did. I’d like to point out that I generally can’t stand female singers. To me, they mostly sound the same and they often seem to stick with slower songs, which I don’t have the patience for. Out of the CDs that I physically own, 30 of those bands/artists are male, whereas only 5 are female – likewise, my bedroom walls are covered with posters of male–fronted bands, with only a few being of female singers. I think the fact that these female singers are Taylor Momsen, Lzzie Hale, Emilie Autumn, and Amy Lee probably gives you a bit of a clue as to the kind of music, and indeed the voices, that I’m into.

So I was all prepared to not be a fan of New Years Day, but then I started listening to Angel Eyes, their song with Chris Motionless, and I was captivated. Not only is it such a great video, but Ash’s voice is amazing. I fell in love instantly, and replayed that one song for a very long time, until I finally bought the album Victim to Villain. I was a little worried that, what with loving Angel Eyes so much, I’d be rather let down by some of the other songs, but it turns out that many of them are just as good – and some are certainly catchier.

There are three tracks that I absolutely love, one of which is of course Angel Eyes. My second favourite track is most definitely Bloody Mary, even though it’s definitely one of those somewhat predictable ones. The legend of Bloody Mary is that she’ll appear to you in the mirror if you say her name three times, so of course the song repeats the line “bloody Mary” at least three times, if not more, which even as soon as seeing the title, you know they’ll do – but it’s a really enjoyable song, with some great lyrics, my favourites being: It’s imitation but I’m not flattered, and the chorus

It’s not right standing in my spotlight,
you can just lay in my shadow if it burns too bright.
Don’t trip following my footsteps
Or you’ll be up to your neck in regrets.

My final favourite song from this album is Any Last Words?, which is again an extremely catchy one. One of the main thoughts I’ve had whilst listening to the entire album is how much Ash’s voice reminds me of that of Hayley Williams. I know that’s the clichéd singer to compare any female to these days, but the similarities really come across in this song. I used to be a big fan of Paramore, with Riot! being my favourite album, and it’s that era of Paramore that I’m reminded of when I hear Ash sing. I don’t like to compare singers, especially not to Hayley Williams as she appears to be who EVERY female singer is compared to, but if you listen to any songs on this album, in particular this one, I hope you’ll know what I mean. Regardless, I love the song and it’s just really good fun to listen to. I mean, the lyrics are pretty morbid, but it’s such a cheery–sounding song that you can’t help but smile.

Although I’ve listened to the whole album quite a few times since I got it, none of the other tracks stick in my mind as much as the aforementioned ones do – that’s not to say they’re bad, because I do like them, but I don’t yet feel they’re the kind of songs that I’d have a lot to write about each one of them. I do, however, recommend giving the band a try, as their music is great and it’s another female singer I can add to the list that I actually like! I’ve also just heard that they have a new EP out in November, and one of the songs has just recently been released, so I’m away to listen to that (and probably fangirl over it too), but I’ll leave you with the video for the spectacular Angel Eyes.  http://www.youtube.com/watch?v=FHmSF-_6xlo

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Download 2014

Download_logo

How quickly time flies. At the time of writing (Friday the 20th), it had been a whole week since I arrived at Download Festival with my friends. A week ago I was pitching a tent (at least, that’s what I told myself I was doing; in reality I was creating a disaster and a source of mockery), and now I’m sitting here, trying to work out how on earth one is supposed to wear a dress. This is in preparation for my Leaver’s Dance – a far cry from Download.

 Although looking forward to the festival, I was at the same time dreading it – to borrow the over–used cliché and pet hate of English teachers everywhere, I was “nervous and excited”. Indeed, so nervous was I, I had actually contemplated not going, but faced with threats from my friends I found myself, at 9:30pm on Thursday the 12th, on the coach which would take me to Download. The only inconvenience being the 12 hour journey and the constant stopping to pick up new passengers – which meant the Blackpool Illuminations every time you finally managed to close your eyes. In all honesty the bus journey wasn’t all that bad; the seats were relatively comfortable, and the service–station stops did mean the chance to stretch our legs, so I’m very grateful that, after a few bus changes and having to rely on a sat–nav to walk from one station to another (not something I recommend!), my friends and I arrived at Download safely and not in agony from sitting on a cramped bus – it certainly got my weekend off to a good start.

 The walk from the bus drop–off to the campsite did take a little longer than I’d have liked, but to be fair we were carting all our things in extremely warm temperatures; not only am I Scottish, I’m also ginger, so as well as the sun and heat being practically foreign, it’s also a danger to me when it’s around! The jumper I was wearing probably didn’t help either though… However, one thing I was very pleased with was how quickly we managed to find space for all our tents. I was expecting at least an hour to find space, and even then we’d be slightly separated due to a cramped area. Instead, it was maybe only 5 – 10 minutes after leaving the campsite village that we found a space large enough for all our tents (we were balanced on a hill, though, which certainly caused me problems later on…). When it came to actually putting up the tents, I was again proven wrong as it didn’t take very long at all – although in my case that’s probably because I forgot to beg down the outer tarpaulin. Regardless, we were soon ready to make our way to the arena to see our first band of the weekend (Crossfaith).

 I reckon the walk from our tents to the arena took between twenty and thirty minutes, which was further away than I thought it would be – so when you’re heading, make sure you have everything you need, because you don’t want to get all the way there and realise you’ve left your money/phone/camera at the tent! On the Friday we got to the arena just about 1 in the afternoon and we didn’t leave again until about midnight – which meant we had some damn good views for most of the bands and it was well worth standing through the shit bands for (looking at you, Powerman 5000 and Skindred). The main arena was for the most part very tidy, which surprised me, especially considering the number of food and drink stalls and the sheer volume of people – and I swear I only saw about 4 bins (that said, I spent Friday through to Saturday morning complaining to myself about the lack of bins, before I suddenly realised I’d walked past one about 10 times).

 One thing I ought to warn you about is the price of the food and drink there. A bottle of juice costs £2.50, with water at £2.00, so I definitely advise bulk–buying your refreshments before going – that said, after standing in a huge crowd for hours, buying an ice cold juice/water is far more enjoyable than the lukewarm bottle you’ve been carrying around for 3 hours. As expected, food prices were pretty steep too – it would cost about £4.50 for a regular burger, with some of the more filling ones costing upwards of £6.00. Again, I recommend bringing your own food where you can, just bear in mind gas isn’t allowed on site so your only feasible way of having ‘hot’ food is either through paying for it, or bringing some disposable barbeques. Despite the prices, I do appreciate that they were kept pretty much the same at all the stalls, so you didn’t have to trek around looking for the best price. Also, there are places where you can fill up water bottles, so make sure you either bring a plastic bottle with you or keep at least one empty bottle of whatever drink you’ve bought – that way, you can just keep refilling your bottle, rather than having to pay £2/£2.50 every time you want a drink – and from my experience you’ll want to drink frequently, especially if it’s hot weather.

As I mentioned earlier, I was pretty nervous about going to Download, and one of the things I was most worried about was the crowds. I knew there would be well over 50, 000 people there, and I’m somewhat claustrophobic so I was dreading being stuck in crowds and was convinced I would have a fair few panic attacks (my first concert was All Time Low in 2012, and I spent the entire support act staring at the ceiling and thinking about all the ways I was going to die there). As it turns out, I was absolutely fine with the crowds, although that maybe down to the fact that we were pretty close to the front for most bands – seriously, there was one row of people in front of us at The Pretty Reckless – so I didn’t feel that I was being surrounded and crushed by thousands of people. Even the mosh pits, which are drawn to me like a moth to a flame, weren’t all that bad; if you find yourself getting caught up in one, I think it helps to push back against the person on your other side and hope that they’ll see the fear on your face and hold onto you so you don’t get dragged into it. I’m definitely not talking from personal experience here, no chance… In all seriousness though, the crowds honestly aren’t that bad, and the majority of people there are very friendly so you do feel safe, and there’s always going to be people around you who don’t want caught up in mosh pits either!

 Lastly, the toilets. I was a bit wary about them, what with this being a huge festival and having read some unsavoury reviews of them from last year’s festival. But when you consider the number of people there – not just the campers, but the day trippers too – then the toilets were actually very well–kept, particularly those in the main arena; probably because there’s be people there just for a day, so it was necessary to have clean toilets so as not to scare them off! The toilets were also easily accessible and as far as I was aware, the queues never took too long either – I had been half–expecting half hour long queues, just to be met with the most disgusting and un–useable toilet known to man, but that was never the case. I do recommend bringing some toilet paper with you, however, as they weren’t all well stocked 24/7!

 All in all, Download was a fantastic experience, and the majority of the bands were just superb. I highly recommend going if you have the chance, because you’ll have a great time – it’s also a good value for money, especially when you consider the ticket prices to see ONE bands these days! The atmosphere is an enjoyable one, and in my group we had people who saw plenty bands and we had people who only saw a few – but we all had a great time, regardless of the bands we saw.

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The Pretty Reckless “Going to Hell” Album Review

The Pretty Reckless

Although I’ve had The Pretty Reckless’ second album, Going to Hell, since it was released on the 18th of March, I’ve held off reviewing it because when I first heard it, I didn’t like it – in fact I can go so far as to say I hated it. But as I loved their debut album, Light Me Up, so much I didn’t want to jump the gun with this one and decided I’d wait and see if the album would grow on me – and it did. Of course, it took until last weekend for me to realise that, but my opinion on the entire album has definitely changed.

When I first heard The Pretty Reckless (henceforth abbreviated to TPR) were releasing a new album, I was pretty damn excited; as stated above, I loved their debut offering and thought it was brilliant. At the time, the two singles they had released off album number two were Going To Hell and Heaven Knows, both of which I absolutely adored – and I thought, if the entire album was going to be in that vein, it was going to be one hell of an album. However, when I first played the album, I sat there with a stunned expression on my face, and unfortunately I wasn’t in awe of how fantastic a follow–up it was to Light Me Up. Quite frankly, I was shocked at how bad it was and at how so much of it sounded the same. With Light Me Up, everything sounded different and it was all catchy – and you also had the amazing, ballad–esque track You, which is one of my favourite TPR songs. Yet it seems like on Going To Hell they decided to utilise the formula of that one track and spin out four more tracks like that – slow melody + Taylor Momsen’s husky voice = instant good track. Except, it didn’t really work like that this time. Generally when you write a song , you want it to stick in people’s minds, and for all the right reasons, but the four main slow track of Going to Hell (consisting of House on a Hill, Blame Me, Burn, and Waiting for a Friend) just become one jumble where you can’t really tell one song from another. Indeed it became so much like that, that I ended up mistaking the chorus of Fucked Up World for that of Goin’ Down, one of my favourite tracks from their first album – and I really couldn’t work out if that was fault on my part for not knowing all the words, or if it was the fault of Momsen and co. for managing to essentially rip off their own song – and I was inclined to (and to an extent, still do) think the latter.

HOWEVER, these were all the thoughts I had when I first heard the album, and as I said, my opinions have most undoubtedly changed. Last week, when House on a Hill came on I was amazed by Momsen’s vocals, and I couldn’t believe that I hadn’t liked it the first time I heard it. So I decided to give the whole album another listen, and I was adamant that I wouldn’t let either my love for Light Me Up or my misgivings on my first listen of Going To Hell get in my way of forming a solid opinion. I was surprised to discover that actually, the album wasn’t anywhere near as bad as I first thought – but why did it have to take me two months to realise that?! Follow Me Down is a cracker of an opening song, and is one I liked from the very beginning. It’s got a brilliantly catchy chorus and in general is just a really addictive song – it’s quite high in my all–time favourite TPR songs. It’s followed up by the title track, Going to Hell, and Heaven Knows which I’ve already said I thought were fantastic, and they’re both still firm favourite, in particular Heaven Knows.

With these quick and up–beat songs out of the way, we’re then treated to the first slow song of the album, House on a Hill. Again, I can’t understand why I disliked it, as it truly is a fantastic song – like Follow Me Down, it’s also high in my list of favourite TPR songs, but is also probably my favourite song off this album. And I’m extremely grateful that a chance listening to this song forced me to rethink my opinion of the entire album, otherwise I’d be firmly sticking to my initial 1–star (2 at a push) review of it. Up next is Sweet Things, which I’m aware some people find quite creepy and truly bizarre – and I can’t deny that it’s true, but despite – or maybe due to – that, I love it. It’s another addictive and catchy song which I often find springing into my head, and whilst the lyrics aren’t exactly what you’d want going round your head in the middle of the night (i.e. “Hey there little girl/Come inside, I’ve got some sweet things/ Put your hair in curls/Paint you up just like a drag queen”), the melody is great. Dear Sister is not something I count as a proper song, due to it only sitting at 55 seconds, but I like it nonetheless. As much as I wish it were longer, I think it is perfect the way it is as otherwise there may have been a risk of it feeling forced.

The seventh song, Absolution, is one I’m still not very sure about. There are some parts of it I really like, but overall it just doesn’t have the catchy beat or addictive quality the others possess, so whilst I don’t skip it when it comes on, it’s also not something I actively seek out to listen to; instead I’m prone to forget all about it. However, it’s successor in the form of Blame Me, more than makes up for any sceptical feelings. It’s the second of the slower songs (I do like how they’re relatively spaced out, rather than clumped together), and although it doesn’t even come close to being as fantastic as House on a Hill, it’s an extremely good song nonetheless and very much worth listening to –it reminds me a little of TPR’s Nothing Left To Lose, from their first album, though I’m not really sure how. Burn follows, and is another pretty short song, though I think due to its slowness it feels longer, and again it’s a very good song, certainly worth a listen.

The next track, Why’d You Bring a Shotgun to the Party?, is one I’m pretty confident I don’t like, and no matter how many times I’ve listened to it, I just can’t bring myself to like it. The start, where Momsen sings “Alone, afraid,” always reminds me of the scene in 2003’s Peter Pan, in which all the children crowd Hook yelling “Old, alone, done for!”, although I do love that film so that reminder isn’t a bad thing – just seems very out of place in a TPR song! Otherwise, though, I really dislike this song. It’s too predictable for me, in particular the chorus: “Why’d you bring a shotgun to the party?/Everybody’s got one, there’s nothing new about it/ Wanna make a statement, you should’ve come without it”. I mean, I can’t be the only one who saw that coming a mile off, and if there’s one thing I hate in songs, it’s predictability. On top of that, the melody is nowhere near as catchy or addictive as it is in their previous songs, so it doesn’t stick in my head. Also, towards the end, you hear a gun being fired, and whilst it does add an effect, it’s just too overpowering. I feel that it’s louder than it necessarily has to be, and it distracts you from listening to the vocals, and to be honest, just annoys me. Don’t get me wrong, I won’t skip the song if it comes on, but it’s not one I’ll seek out to listen to. The penultimate track is Fucked Up World, and although I did used to mistake the chorus for that of Goin’ Down from their debut album, I do love the song. It’s just as catchy as the rest of the album, and I love Momsen’s voice on it; she’s great on everything, of course, but I just really like her here. I feel this would have worked really well as the album’s closing track, but as it turns out… Waiting for a Friend is just phenomenal. It’s the last song, and also the last slow song, and I don’t think I’ve loved a song as much as I do this. I said Momsen’s vocals were really good on Fucked Up World, but they’re simply superb here; she really suits this slow melody and the accompaniment isn’t too over–powering or over the top either, which is a huge bonus. This may sound bizarre, but the song – the tune at least – reminds me a little of Bob Dylan, what with the beginning on the harmonica, with it interspersed throughout the song, and just the plain guitar going on behind her. I have to admit, I’d have been quite interested to due how something between the two of them could have worked out, as I feel her voice in this song would really have complemented his.

Overall, it turns out that not reviewing this album as soon as it was released was definitely in my favour – as of March 18th, this would have a 1–star review from me, maybe 2 at a stretch. However, as I left it for two months before settling down to write it, it’s obvious my view as changed. I’m definitely not going to give the album a full 5–stars, as I don’t think it quite deserves that, and to be honest I’m not overly sure how many stars I do want to give it; I’m thinking 3.5/4 though, which a far cry better than 1.

Do I prefer Going to Hell to Light Me Up? Well as much as Going to Hell has some really stand–out tracks, including Heaven Knows, Fucked up World, and Waiting for a Friend, I don’t think it’s better than its predecessor, mostly because I loved Light Me Up from the moment I first heard it. However, it is certainly a very good album, I won’t doubt that, and I do highly recommend listening to both this and Light Me Up.

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Doctor Who Series 5 Soundtrack Review – Part 2

Doctor Who Seres 5

Now for part 2 of my Doctor Who Series 5 Soundtrack review (first part can be found here: https://thelonglifeofalifelongfangirl.wordpress.com/2014/05/01/doctor-who-series-5-soundtrack-review-part-1/ ).

Signora Rosanna Calvierri is another of the tracks from the Vampires Of Venice episode. It has a similar sorrowful melody that we found on I Offer You My Daughter so it ties in nicely with the beginning of the episode. However, it’s very obvious that this is a completely different piece, as it still manages to sound oddly soothing despite being a piece that is full of such longing and loneliness (to me, anyway). The ending of the piece manages to clearly bring to mind what’s happening in the episode, particularly when it starts to speed up – you can just see the Doctor running to stop Rosanna, and the final few bars are so ominous and very Jaws theme–esque which I find to be very fitting! Cab For Amy Pond is the penultimate track from this episode, and again it’s another very good piece. Unlike the previous few pieces from the episode, it’s definitely nowhere near as sad or melancholy, and instead hits you straight with a thudding beat that. The first thing I noticed when listening to this was that there was NO sign of The Voice! However, once the very sinister sounding Doctor Who theme part is played, The Voice does appear briefly, before the piece then slows down dramatically compared to the beginning. It’s definitely an energetic piece and a very good one too. The Vampires Of Venice is the quietest out of the tracks from this episode, and it’s one which gives me chills when I hear it. Despite how soft and quiet it sounds, it has a really sinister atmosphere to it. You can practically see Rosanna and her son baring their teeth at you as they prepare to make you into one of their own – or the next meal, if you don’t fit their criteria! As the piece reaches a crescendo, the image in your mind changes to one of the vampires transforming into their true form – a very strange creature indeed! I like the slow repeated pattern towards the end of the piece, especially as it suddenly cuts off and you get to one of my favourite parts of the entire piece. All in all, I think that the Vampires Of Venice episode contained some of my favourite Doctor Who music of all time as each piece was just so fantastic and really great to listen to!

Wedded Bliss comes from an episode that I wasn’t a big fan of – the one with the “Dream Lord” – but that doesn’t mean the music was bad. On the contrary, I rather like this track – it opens with the ticking clock over a melody that makes me think of a lullaby, until it pulls off before beginning again. But then you get the hurried and almost eerie sounding music, until the clocks and lullaby are back, and that really makes up the main structure of this piece. It’s short, but very effective in the episode. The Dream is from the same episode and it has a similar eerie melody to it that gets gradually louder, before sinking back into the original quietness of the piece. I don’t have much to say on this piece, as I’m not a huge fan of it – although I do feel the title is a tad ironic, because this makes me think more of nightmares than anything else! Rio De Cwmtaff is a really nice piece, and is something that sounds relatively cheery – it certainly makes me think of Welsh countryside and wee mining villages, rather than of aliens and the Doctor! However, that all changes towards the middle of the piece, where it becomes more menacing and you can definitely tell there’s something going to happen that really shouldn’t! The Silurians opens with the same menacing phrase that the previous piece closed with, which is great for linking both together and you can tell, by the title of the piece and how it links in, that it was the Silurians that didn’t belong in the closing bars of the previous piece. It’s a good piece to listen to, and certainly gets you on edge and you want to know what’s going on!

Paint is a little like the pieces from the Vampires Of Venice episode, as it’s very atmospheric and you can certainly imagine yourself being in 19th Century France – for some of it anyway! It has a melody that makes me think of France, but yet there’s still that extra something that makes it so obviously a Doctor Who piece. Vincent has definitely got a lot more of the very French–theme to it, and it’s beautiful and something I could listen to for ages. Hidden Treasures, like the two previous pieces, makes me think of being in France when I listen to it, but the odd little Doctor Who–theme interspersed once or twice throughout it. Next up is A Troubled Man, which is simply wonderful. It starts off with the typical Doctor Who theme, but played very slowly, and… Well, you know how there’s that music that you just automatically associate with French music? That’s how it’s played, which just adds so much to the atmosphere, and it makes me so happy to listen to. But at the same time, it makes me feel rather sad, because it’s so slow and played mostly on – I THINK – violins, or some other string instrument, and it really does make you empathise with poor Vincent as the music makes you realise how troubled he is. With Love, Vincent is the final track from the Vincent And The Doctor episode, and just like the others it is also very French. But it’s definitely more cheery than previous pieces, because you feel that something has been righted, and it’s a really lovely feeling – and a very lovely piece. Oh, and the ending! It’s just stunning. Really, really amazing. Just go and listen to it now, you’ll see what I mean!

Adrift In The TARDIS is something completely different from the last… goodness, 7 or 8 pieces! Whereas the pieces from The Vampires Of Venice and Vincent And The Doctor were mostly slow and melancholy, this piece brings in the strings again but they’re utilised in a very different manner. Alongside the other instruments, they really give off the essence of being thrown around in the TARDIS uncontrollably, and it’s such a fun piece to listen to. Friends And Neighbours is the kind of piece you would honestly associate with being around your friends, if your life was televised and had its own soundtrack of course! It’s a laidback and easy–going piece, possibly the first of its kind from this entire soundtrack! Doctor Gastronomy now, and although this episode is definitely not set in France, this piece still gives off a rather French vibe to me – I don’t know why, but it does! Well, until the end, anyway! You Must Like It Here is up next, and Murray Gold has managed to successfully compose a piece that sounds… conversational. How he does it, I do not know, but I appreciate it! It really feels as though the Doctor and Craig are sitting having a conversation, albeit a rather awkward one! And now on to one of my favourite pieces of all time… A Useful Striker. When I had been watching this particular episode the other day – it’s The Lodger – it got to the scene where the Doctor is playing football for the first time, and for the whole episode I had been focussing solely on what was happening and not the music. Until this piece was played. It pulled me under, hook line and sinker. I actually had to rewind just to hear it again, because my ears couldn’t believe what they were hearing. I don’t know what it is about this piece that I love, it’s just one of my firm favourites – it’s certainly my most played from the entire album! I think it’s a mix of the “sparkly” beginning, then the “Du, du du du du du duuuu du du” kind of rhythm that just gets gradually louder and more and more brilliant that I love, especially as at first listen it makes you think the Doctor has just come up with a really great idea and is off to save a planet – but he’s not. He’s just playing a game of football! https://www.youtube.com/watch?v=pNxmKuWaA6U Here, go and feast your ears J My only complaint about this track, though, is that it’s far too short!

Typical Murray Gold, we go from something so wonderful and that sounds so cheery, to A Painful Exchange which is a lot less “I’ll join the Doctor in that football game!” and lot more “Excuse me whilst I sit in a corner and be a bit scared”. It’s very good, especially towards the end, but I admit it’s not a piece I listen to often – but when I do, I like it! Kiss The Girl is the sort of title that makes you think it will be a really nice soft, romantic piece – but it’s not. I’m more thinking of someone running the hell away from that monster behind them, than a really happy couple, but of course the piece leads very well up to where the alien technology fighting stops and Craig FINALLY professes his love for Sophie! It’s a nice end to a very good piece, especially as you can hear the suspense throughout – will we die? Will we survive this? – and then it suddenly all changes and it’s just very lovely. Thank You Craig is the final track from this episode, and I have to say it sounds a lot more like a lullaby than I would expect! It’s good though, as it then goes into the Doctor/TARDIS music before stopping abruptly – which is a shame actually, as it’s rather short. River Runs Through It is the first piece from the episode The Pandorica Opens and it’s really quite good too. Like a few of the other more suspense–filled pieces, it starts off slowly and quietly before getting quickly louder, and faster too. It then goes back to being slow, with a whole new Melody (haha ;)) and speeds up again – you can definitely see River running away from someone… Or something!

And here we have it, the next 21 tracks from the Doctor Who: Series 5 soundtrack! Now to start on the final 21…

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Doctor Who Series 5 Soundtrack Review – Part 1

Doctor Who Seres 5The Doctor Who: Series 5 Soundtrack is the only Doctor Who soundtrack I own, and to be honest it will probably be the only one I ever own – but not because it’s a total let–down and a waste of money. Quite the opposite, in fact. The series 5 soundtrack is so stunning, so fantastic, that I feel the other soundtracks just won’t live up to it. Having not listened to many of the others, I can’t say whether or not that’s true, and what I have heard as been very good – but, I feel, not as good as Series 5!

I feel that this soundtrack really adds to the episodes, and when you listen to it you can work out exactly which piece is from each episode – without looking at the track listing! One thing I really like about the soundtrack is how every piece incorporates the Doctor Who theme, whether it’s just as an undertone that may only be noticeable to a practiced ear, or a full on orchestral theme. It just makes it so unique to anything else I have on my iPod, so even if I have it on shuffle and don’t look at the screen at all, I can still automatically say “That’s from Doctor Who!” – it’s just so recognisable, and possibly one of the most recognisable themes there is!

So onto the music itself. The opening track is, of course, Doctor Who XI and is the theme of the 11th Doctor. It’s probably the most recognisable piece from this soundtrack, alongside I Am The Doctor and although it’s short, it certainly packs a punch! To me, it’s a really excellent piece of music – and it leads very well into the second piece, Down To Earth. This is the piece played when the Doctor’s TARDIS is on its way to landing in the garden of Amelia Pond, and I feel it’s really fitting. It starts of quietly, but gradually builds up to a crescendo and you can just picture the TARDIS flying around madly when you listen to – it’s great! Then we have Little Amy. This is the first track on the album where THAT voice comes in. It’s so haunting, but so beautiful at the same time. As with the previous piece, you can just picture what’s going on in the scene; it starts off slow and haunting with the voice as Amy is sitting in her room, but then you hear the sound of something that doesn’t belong. Something that sounds like it doesn’t really belong in the piece – and definitely doesn’t belong in the bedroom of Amelia Pond!

We then go from a piece that sounds, as I said, haunting and melodic, to something that’s definitely a lot cheerier! Somehow, Murray Gold has managed to get Fish Custard to sound – of all things – curious! How can a piece sound curious? you may ask. Well, listen to this piece and you’ll soon understand! From the curiosity of the Doctor looking for food, you then get the fast–pace that really makes you think he’s found the food he’s after – just to discover that the beans are away down the sink, and he’s on the hunt again! This piece really captures the element of a strange Doctor, as you can practically hear him running around Amy’s kitchen, and the final few bars are just excellent because FINALLY! The Doctor’s found his new delicacy – Fish Fingers and Custard. Not something I’d try myself… If Fish Custard was a relatively cheery and kooky sounding piece, Can I Come With You takes that atmosphere and throws it to the wind as it brings back the voice that seems a pretty common feature in themes for Amy. It’s a piece that really tugs on your heartstrings, because of course we know what the Doctor is like, and how time is for him – poor Amy ends up waiting a lot longer than she bargained for – and to be honest, the melody of this piece is just absolutely fantastic. I love it.

Little Amy – The Apple is another track that I love, and I feel that it leads on very well from the previous one. Both contain The Voice (I’m going to start capitalising that now, it needs personified!) and the melody is somewhat similar, but at the same time it’s easy to discern between pieces. At first you think it’s quite a sad piece, and to an extent you’d be right, but there is definitely an element of hope in there which is something that makes it a lovely piece of music in my opinion. Track 7 is another comically named piece – but The Sun’s Gone Wibbly has none of the comic-y element that you found in Fish Custard. This piece is another quite fast–paced one, after the slow beginning, and you can hear that there’s definitely something urgent that needs a little help from the Doctor! At one point, there’s the noise of something a lot like alarms in the background, however it’s pretty quiet so you’d need to be listening carefully for it! About halfway through the piece, we get new Voices in, a mix of male and female chorus this time, and it gives me chills every time! And then comes the Doctor Who theme we know and love, before ending on a bang – quite literally! Zero is a piece that I at first overlooked as nothing really special, and whilst I’m still not a huge fan of it, I do appreciate the musicality of it. It’s definitely repetitive for a while, but that just adds to the effect, rather than make it dull and boring. Definitely a nice piece, just not my favourite from the album.

Talking of favourites… I Am The Doctor. This is, I think, the longest (or at least one of the longest) pieces on the album, and it’s just great. I adore it. It’s a mix of the 11th Doctor’s Theme, and the main Doctor Who theme, but then there’s a whole new theme thrown into it too. That description may make it sound rather messy, but in fact it’s the opposite – it’s very organised, and sounds amazing. It’s the type of piece that, when listening to it, you can feel yourself nodding your head or tapping a foot in time to it because it just makes you want to MOVE. In fact, just to try and show what I mean, I’ll leave the link here https://www.youtube.com/watch?v=5D-QPDGhCtM and I’ll urge you to listen to it – go, now! – and just try and see if you can stop yourself from tapping your foot along!

After that masterpiece, we have The Mad Man With A Box (I can’t listen to this without saying, either aloud or in my head, “I am definitely a mad man with a box”.) which once again features The Voice, but it’s different to the usual “Ooh-ooh oh” kind of thing, and is more “Da-da-da-da-da-duuuu” but obviously slightly more musical, and slightly, well… better than I’ve typed it! Once The Voice has left, we get a hammering theme which just adds to how “mad” a man the Doctor is, and it ends on some really lovely, singular notes that sound very sinister indeed! Amy In The TARDIS is reminiscent of some of her other themes, but at the same time it’s something new. It’s the kind of piece that when you’re listening to it and trying to guess what comes next, you assume it’s all the same, but then you suddenly go from the nice, relatively repetitive pattern to the Doctor Who theme, and you realise it’s not at all like you first thought – a bit like the TARDIS, really! When you look at it like that, Murray Gold did a pretty good job in making a piece of music take after the TARDIS! The Beast Below is another piece that I’m not too keen on. I’m not saying it’s bad, it’s just not a piece that I feel I could put on and manage to listen through the whole thing without wanting to skip it. I do like the middle of it, but as I said… not my favourite, I’m afraid.

And then we have Amy’s Theme. We know it’s an Amy theme, as The Voice is there, sounding very melancholy (in fact, I don’t think this Voice ever manages to sound truly happy) and there’s the underlying melody that I tend to associate with the Amy pieces. I’m a little bit on the fence about this piece; I don’t dislike it, and I don’t love it. I think that, because it’s so like some of the other pieces for Amy, it just seems a bit same-y and there’s nothing too special about it – but that doesn’t stop me listening to it. A Lonely Decision is up next, and it’s another sad sounding one, featuring The Voice. If Fish Custard makes you feel all cheery, and I Am The Doctor makes you want to move about, A Lonely Decision makes you feel just that – all alone. Goodness me, 14 tracks into the album, and most of them have either been sinister sounding, or something sad and melancholy! A Tyrannical Menace is another piece that Murray Gold has managed to make do exactly as it says on the tin. And boy, is the undertone of this piece menacing – the first few bars are enough to have you wanting somewhere to hide! But then comes the part that is basically saying to you “Don’t worry, the Doctor is coming”, and everything is alright again!

Well, it’s alright until… Victory Of The Daleks. This piece is another favourite, partially because after the opening few bars, the music reminds me of a mix between Elmer Bernstein’s The Great Escape and the finale of Rossini’s William Tell Overture. And then the music that makes it really recognisable as Doctor Who starts, and oh it’s wonderful! To me, it’s just a really great piece of music. Then the Battle In The Sky begins (not literally, fortunately, just musically!) and that is another very good piece, some of which reminds me of a piece, Robin Hood, that I learnt on piano years and years ago – this is a really good track, because as well as bringing me back to my past, it manages at the same time to hold me in my present (and hopefully future, if the episodes pick up…) of Doctor Who! A very good piece in that respect, although I’m not sure that’s how Murray Gold was expecting it to affect people! River’s Path is the next track on the album, and it’s another very good piece. Right from the beginning, you can tell that something bad is either happening or is about to happen – and as if to reinforce this point, along comes the very quick sequence of music that very much reminds me of someone trying to get the hell away from whatever is chasing them! You can definitely hear the suspense in this, and it is the kind of music you would expect to hear in a film if you were watching someone run away from some form of monster thing.

The Time Of Angels is up next, and I feel that it captures the essence of the angels very well indeed. The opening bars very much make me picture someone trapped with the angels, trying desperately not to look away from them… and trying not to blink. That sequence continues throughout the piece, although there’s usually a softer or haunting melody separating it. Then, when you least expect it, there’s the very LOUD note that makes you – well, made me at least – jump every time because you’re not expecting it – and you just know that someone’s blinked! So this piece definitely captures the angels very well. The 20th piece on the album, I Offer You My Daughter, is one that never fails to amuse me, as my friends and I have an inside joke with the title. But that’s not relevant to the piece, which is yet another excellent piece. It’s from the episode The Vampires Of Venice and when you listen to it, it certainly makes you think of Italy, and most importantly Venice. But not the beautiful Venice of today; oh no, this makes you think of the Venice that the Doctor, Amy and Rory visited – a Venice infested with vampires that are set to take over the entire city. It’s a very beautiful piece, and it certainly emphasises the sorrow with which Guido hands over his daughter, Isabella, to Rosanna and her ‘school’. Towards the end of the piece, it gets a lot more sinister and even if you can’t remember the episode, or haven’t even seen it, you can just tell something bad has happened to Isabella. Chicken Casanova (Murray Gold does like naming pieces after food…) is the piece after that, and is from the same episode. It’s a lot less sorrowful than the previous piece, but it’s definitely not what I would call happy or cheerful. There is one bar in it, towards the end and just before the slightly slower version of the Doctor’s theme comes in, that I just adore because it’s absolutely beautiful.

And that’s the first 21 tracks from the Doctor Who: Series 5 soundtrack reviewed – successfully, I hope! The next 21 should hopefully appear within the next few days 🙂

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“Violet” by The Birthday Massacre

The Birthday Massacre

I first heard of The Birthday Massacre through a friend, who had put two of their songs (Lovers End and The Dream) onto a CD mix for me. On my first listen to the songs, I was certainly interested, but didn’t really give them a second thought for another month or so, when I was putting the CD onto my iPod. That’s when I really got hooked on them. Chibi, the singer for TBM, has an amazing voice, and in fact the band has an amazing sound full stop. They’re not like anything else I have in my music collection; be that from their name or from their music.

I was looking today at some of their albums because I decided it was about time I got at least one, but after listening to a selection of songs from each of their albums, I still couldn’t decide which one to get. Both Lovers End and The Dream, which I already had, are from the album Violet, so I thought it would make sense to get that one… But the songs on Hide and Seek and Pins and Needles were SO good too! So I took to YouTube, in an attempt to decide between them. At first that didn’t help, because I listened to In The Dark from Pins and Needles and Looking Glass from Walking With Strangers, but then I listened to Blue. Although all the other songs I’d heard were good, and I loved them, I didn’t react to them the way I did to Blue. That song sent – and is still sending – shivers down my spine. I love the way Chibi sings in this; at first her voice is sweet and melodic, but at the chorus it changes so suddenly to something low and almost guttural. Both compliments the song’s melody so well and I fell in love. The video that goes with it… Wow, that was haunting, to put it mildly! Seriously, those dolls are really creepy – it’s a great video though! But if you haven’t already guessed from the title of this review, the album that Blue is from is Violet.

And what an album it is. Honestly, how I was dithering between it and other albums is beyond me, because it is brilliant. Admittedly, I’ve only listened to it the whole way through once so far, but I can see it being on repeat for a very long time to come. The prologue, which at only 39 seconds long, really makes me think of something otherworldly, perhaps from Doctor Who or something like that. It also leads really nicely into the first song, which is Lovers End, one I was already familiar with. I’ve not yet decided on any favourite songs from the album, but I think this song is going to be really high up there. Her vocals are just fantastic and I love the chorus – “Take, just one last dare. Pretend you don’t care til twilight falls. Wait, is someone else here? And I can’t stop my tears, I’ve never been so scared.” The way she sings it is just so great, and is a real contrast to the way she sings the verses. There’s another part of the song that I’ve discovered I really like, and although I’ve obviously heard her sing it before, I’ve never really paid attention to what she was singing. But I have now: “1…2…3…4 Underneath the cellar floor, 5…6…7…8 Lovers will suffocate.” Isn’t that cheery? I almost want to go back to my blissful ignorance of what she was singing… Almost, but not quite! The next song on the album is Happy Birthday, which is not a cover of that well–known song, as amazing as that would have been. No, it’s far, far superior to that (although, is that really hard?) and again, Chibi’s vocals are fantastic, just as they are on the following song, Horror Show. It’s quite the accurate song title in reference to the entire album, and indeed the band’s name – I mean, The Birthday Massacre is quite the horror show–esque name, isn’t it? And when you look at the lyrics of songs such as Lovers End, well, it’s quite an appropriate description wouldn’t you agree?

The fifth track is what gave the name to the album, and so is obviously Violet. Listening to it, it seems very different to the other songs so far – it’s got quite a cheery, upbeat sound to it, and reminds me a little of the band Patent Pending. The lyrics are a bit contradictory to this cheerful tone, with lines such as “Past uncertainties combine, bringing tears to sleepless eyes. Memory runs the course of time; blood runs cold beyond the violet prison for violet visions.” Then, about a minute and a half into the song, and halfway through the first chorus, the song discards it’s earlier cheeriness and moves into something darker and the vocals are that little bit more raw as Chibi sings my favourite lines of the entire song: We’re never enough, we’re drowning in clichés. So desperate to love, we’re twisting every word they say”. They’re great lyrics, and so true too – in particular the line about drowning in clichés. Colours seem to be a bit of a running theme in this album, as the next song is Red, and there’s also Blue and Black. Then there’s the album/track 5 name of Violet as well. As it turns out, Red, much like Prologue, is a short instrumental piece, but it’s by no means pointless or boring. My favourite part of it is towards the end (no, not because it’s finishing), as there’s a bit where it sounds like water gurgling or bubbling, and it makes me think of someone drowning. …Because that’s not a morbid thought. Moving swiftly on, Red flows nicely into Play Dead, which in my opinion has a somewhat dark electronic beat to it. This is one that could become a favourite, if only for the lyrics – “Thinking hurts, and thoughts don’t rhyme to those of us who’ve never tried to find a face behind our lipstick smiles. And as our pretty faces die, our plastic hearts will wonder why the makeup just won’t hide the scars of time.” They are some really good lyrics in my opinion, because to me it’s like saying that appearances are deceptive, and with lyrics in the first verse such as “You’ve lived in their shadows trying hard to please them, but they’ll never change as long as they’re breathing” it’s saying a similar thing, and it seems to me as though TBM are singing about trying to fit in and conform, just to be accepted, but no–one’s interested in anything or anyone but themselves. At least, that’s my interpretation; yours may differ.

The next track is Blue, which I’ve already mentioned in the beginning, so I’ll just move onto the song after that, which is Video Kid. From the opening bars it really sounds like something from a video game – my first thought was Mario! – but there’s something almost sinister sounding lying quietly underneath it. What I like about this song is that, on first listen, you might think she’s actually just singing about a boy playing a video game – and with lyrics such as “Need a new game, need a new something more. Got a new face, got a new way to score”, one can be forgiven for thinking that. But if you look at it from a different perspective, in particular at the line “Turned him into a video kid like you”, then you may start to see that it could be about how society is trying to turn us all into being of one and the same, like robots – video game characters are controlled, just as society can be seen to be controlling us. Again, that could just be me who thinks that, but I doubt it. The next song is The Dream, which is the other song I already had. This is another one that I really love, and the opening melody is great. Despite the relatively fast-paced beat, Chibi’s voice is slower in comparison, but it works really well. When it gets to the short chorus, she speeds up slightly and her voice goes higher before dropping both in tempo and in range for the next verse. This is a song that I’ve not analysed terribly deeply (this review is getting long enough as it is!) and the only thing that really sticks out as to what it could be about is about a girl, again someone who stuck out from society, who ends up dying through whatever circumstances. At least, that’s what “Now she flies over clouds in twilight skies, nothing to bind her, no–one will find her this high … And for the first time she feels just fine” has led me to believe. We then go into Black, which is another instrumental, and another very beautiful piece. This then leads us into the penultimate song on the album, Holiday. Generally, that would give you connotations of something relaxing and enjoyable. But this is The Birthday Massacre. When you think of your holidays, I’m pretty sure you don’t immediately think “Deadlight holiday, killing time to make us stay. Hollow as the promises of yesterday”, although if you’re pretty cynical and don’t want to be there in the first place, then that might be what you’re thinking! Just like the rest of the album, this is another good song, although perhaps not a favourite one of mine.

Finally, the last track: Nevermind. I love the introduction; at first it’s almost like a lullaby, but then it takes on a bit more of an electronic tone, but still retains the lullaby theme. When Chibi starts singing, the theme to Ouran High School Host Club springs to mind, not because of the lyrics, but just because of the almost cheerful way she sings. Actually, the melody and even her voice sound considerably cheery, which kind of contradicts the lyrics if you ask me – “Five glasses changed my mind. Seems like the ticking hands are taking their time. I guess I’ve been at home for longer than it takes to unwind, so slap me if I step out of line”. I don’t know about you, but it just doesn’t seem to be the kind of thing you would sing to a tune that’s quite jaunty! It works though, and I really like it. Nevermind is definitely a great ending to an entirely phenomenal album. One thing that seems to have jumped out at me from the entire album is that there’s a sort of electronic-y beat running through all the songs, which gives off a sort of same-y atmosphere; however, I don’t mean that to sound like it’s a bad thing, rather I find it very good as you can immediately tell that it’s The Birthday Massacre, and it gives the album a sense of being united together, if that makes sense.

I really recommend giving this band a listen, whether it’s songs from this album, or any of their other albums – they’re all fantastic! Here’s a link to the video of Blue – I did warn you that it’s a little bit creepy though!

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