I don’t like this song for itself much, but from a nostalgic perspective I do. It reminds me of Riot Grrrl and when feminism was actually good. That’s back when we were all attempting to have fun, before identitarian BS took over and before men were treated like default rapists 100% of the time.
The song has all of two chords and is very repetitive, but in its own way it’s still fun. Though I won’t listen to it again.
Me gusta el gato de Candela. Y la canción también, claro.
This is one of the many reasons copyright needs to die.
I don’t give a fuck about copyright and I’d eliminate it 100% tomorrow if I could. As it is now, copyright is mainly a weapon to wield against opinions and ideas that large corporations dislike. But even if it weren’t it’d still be better on net to nuke it.
If you’re not violating at least a few dozen copyrights a day, are you even living?
I’m not certain about some of her clothing choices, but I really like the song.
Wow. This is some kind of gonzo clamorous masterpiece.
Sé que querían que ella estuviera más libre pa’ moverse, pero ese micro no me mola nada. Suena súper plano. Eso sí, buena actuación y me flipa su intensidad.
Me encanta Joaquina.
I love this entire set of scenes; a masterclass in filmmaking. And it’s all so nasty. You feel kind of dirty after watching it. Which is, of course, the point.
But it’s all so perfect. Juliette Gariépy just nails the creepy psycho vibe (very hard to do for an exceptionally beautiful woman, by the way!) and the music intensifies the feeling of dread that is and dread to be. I also like it because the director (et al.) made sonic and blocking choices I never would’ve considered — and these made the scene so much better than my tendencies here would have. (And yes, the entire film is in 4:3 format. It’s not some YouTube upload issue.)
Apologies, this is all in French with no subtitles and I’m too tired to translate, but the visuals, music and non-speech here are what really matter anyway.
A song by a very small artist I quite enjoyed.
Trop bruyant et fun, ça rappelle grave Stereolab.
I actually like Emily’s version better than the Waxahatchee original. Just has a little more melancholy and whimsy. And is much better-recorded and less repetitive.
And Beth! We miss you1! She was my second-favorite character on The Walking Dead. When she died I stopped watching the show for months. Emily did such a great job with her portrayal of Beth. It’s rare that an actor can play someone who is a bit naïve while also having them be realistically strong and capable. And demonstrating growth over time.
One time on a hairy jump in the army in too-high winds, a buddy of mine slammed into the side of a field ambulance at 30mph.
Somehow he broke no bones but sprained nearly every major muscle in his body and ended up with a huge amount of bruising. As I was talking to him later, I observed it was some sort of weird anti-paradox: he crashed into the ambulance that was needed to help him since he’d plowed into an ambulance.
He was not quite as amused by my observation as I was.
He made a complete recovery. And if you’re curious, video of the jump is below. Read the poster’s comment too. That was a very shitty jump that never should’ve happened, especially since it was done just to show off.
I know most of y’all are not used to looking at military jumps, but the paratroopers should not be moving nearly-horizontally across the screen like that.
A very bad day.
Holy shit, just noticed these comments. That was my friend!
That’s a great analysis. Such a difference when you watch someone who actually knows something about music.
Rick doesn’t usually talk about percussion, so I guess I will. The rhythm part of “God Only Knows” is just as interesting and as unusual as the rest of the song. It’s all completely intentional to achieve the ends of the song. It’s structured to highlight emotional beats rather than to “drive” the song as standard percussion does in most rock songs. Sometimes the percussion just disappears altogether and then resumes to highlight and elevate a phrase.
Sleigh bells in the intro and first verse make the song feel like stepping into a shimmery fantasy. The distinctive “clopping” sound in the song (perhaps coconut shells or wood blocks?) mimics a soft horse-hoof rhythm that makes one think of pastoral ease, of falling asleep in a meadow and awakening in a transformed world. Those sleigh bells I mentioned earlier make their return subtly during the instrumental interlude (just before the final chorus) and propel the fade-out, adding a soothing, ethereal sparkle. Sparse drum hits highlight repeated vocal phrases. Timpani rolls add drama and make the song feel orchestral rather than rock-like without overwhelming the progression and becoming overwrought.
Even drum phrases that might typically repeat do not. Instead, they shift and respond to the vocal lines. Check the end of the song particularly. Not one is precisely the same and all work exactly with the vocal part.
Most songs do not get better as you deconstruct them. “God Only Knows” does, though. There’s just so much in it. And it all fits perfectly.
This is ok, but Rick Beato doesn’t really like women artists all that much. Here’s a few women artists (in bands or alone) with songs that have good vocal intros.
“If I Die Young” by The Band Perry
“Down By the Water” by PJ Harvey
“Team” by Lorde (Really great vocal intro!)
Not really a music video, but I like the song.
Did they time travel straight from the 1990s?
I don’t know why the layers are collapsing or what I am supposed to do about it, but I like this song.