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Meet Me @ the Altar clap back with new single, music video
In their first single since their 2021 release Model Citizen, breakout pop punk trio Meet Me @ the Altar offer a cathartic response to online hate.
The band’s latest single “Say It (to My Face)” have had it with online haters. Frontwoman Edith Victoria smacks down commenters who accuse the band of being industry plants and insulting her specifically before mocking them for their fixation on her.
“It’s so obvious you really want my attention/Hope you’re having fun,” Victoria sings in the pre-chorus.
Her attitude really comes through in the second verse, where she says she very nearly didn’t even finish the song she’s singing because that’s how much she cares (“you’re so irrelevant, almost didn’t commit/almost didn’t write you a second verse”).
In an interview with Kerrang, the band say the song isn’t just a diss track, but a call for empathy.
“When our fans listen to this song and encounter bullies in their day-to-day life, we want them to remember that those people are only cruel because they’re hurting!” they said. “Part of growing up is figuring out how to not internalize anyone else’s bad vibes and just loving yourself instead.”
That’s not to say the band doesn’t get their revenge. In the music video, they track down the one person commenting negatively on their content and trash his mother’s basement where he dwells. While petty and not exactly the ‘shake it off’ attitude the band wants to promote, who hasn’t had a fantasy like this in their youth?
While the song isn’t as lyrically strong as previous releases, the instrumentation is high energy as usual and Victoria delivers the song with her signature passion and sass. Here’s hoping there’s more where this came from.
What did you think of the song? Let us know!
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Riot Fest Retrospective: Rage On!
This may have been one of the best Riot Fests in recent memory (fight me). Let’s break it down day by day.
FRIDAY:
Many Riot Fest attendees used Friday as a spectacular opportunity to camp out the Riot Stage, including these authors: even with arriving around two o’clock to grab drinks, scope out the new punk super group L.S. Dunes and finally take their place behind the barricade to join the crowd, they didn’t miss out on a damn thing.
Riot Stage’s first standout was Australian minx Aviva, who kept rapt attention whether she was shaking her hips or using her microphone chord to mime a noose. Her stage presence evoked a black widow spider or a venomous asp, seductive with dark unknowable motives. Yet, there were times she seemed blissfully unaware of the crowd, lost in her own smoky world. *Adorable as she is threatening, Aviva is definitely a star to watch out for on all the music magazine covers.* Standout tracks “Dead2me” and “Grrrls” should be added to every goth night playlist, immediately.
“Played those little games, only got yourself to blame…” When British rock band Placebo had to pull out of Riot Fest, El Paso rockers Sparta quickly stepped in; but, don’t call them a filler band. Mainstays in the scene since 2001, Sparta stepped in to provide Rioters with some goddamn great punk rock, plain and simple. Songs like “Glasshouse Tarot” and “Miracle” kept fans entertained and engaged between frontman Jim Ward stumping for Beto O’Rourke, who is currently running for Governor of Texas against Greg Abbott. With a new self-titled album coming this October, there’s plenty of time to continue their crusade while putting out great music.
“Static screams deaf the masses, but what do they have to say?” Taking Back Sunday was incredible, as usual. Frontman Adam Lazzara addressed the crowd with the fervor of a Southern Baptist preacher *(even going as far to suggest that God parted the clouds to see His favorite band live)* between iconic tracks “You’re So Last Summer” and “MakeDamnSure,” among others. It’s difficult to find words to describe a band this consistently great, especially with Lazzara being as happy to be there as the fans. Whether it’s just pure nostalgia or the band’s electric onstage chemistry and passionate performance, Taking Back Sunday was a can’t-miss band this year and in years prior.
“And all I need to know is that I’m something you’ll be missing…” With over 90 bands on the roster, one reigned supreme. A sea of emos, elder and otherwise, baked beneath the Chicago sky from the moment the festival doors opened. Only the breeze and the promise of their favorite band kept them cool and (mostly) conscious: My Chemical Romance. This legendary quartet almost seemed mythical as the day drew closer and closer to their performance but the crowd exploded the moment members began stepping onstage, before they even kicked into their newest track “The Foundations of Decay.” The setlist included classics like “Teenagers” and “I’m Not Okay (I Promise),” as well as deep cuts “Boy Division” and “Thank You for the Venom.” Through squished toes and allegations of broken limbs from the excitable crowd, who had to be reminded between songs by Gerard himself and a prepared “pick up your friends” slide on the big screen to calm down and back up, it was a wild night be experience and behold.
Many waited anywhere from two to ten years (or more) for this moment and, while My Chemical Romance has stated the contrary, it’s safe to say they’re not men to these dedicated fans. They’re heroes.
“Like tiny daggers up to heaven…” SATURDAY:
Charlotte Sands began our Saturday before we realized, as her bombastic performance was engaging even from miles away. She was even more incredible up close, commanding the stage like a seasoned veteran with years of hits under her belt despite being just 26 with two EPs under her belt. A clear standout from her setlist was her viral hit “Dress,” which amassed over 1.3 million views on TikTok. If that’s your cup of tea, “Every Night Ever” and “Want You Like That” are two other bangers to steep because Sands is a rising star with nowhere to go but up.
“You’re so masculine, sweet like cherry cola…” The Rebel Stage was home to most of the more hardcore punk acts, so it’s no surprise War on Women wrecked house. Whether making calls of violence with “Aqua Tofana” or calling out racist politicians in “This Stolen Land,” frontwoman and total badass Shawna Potter knows how to rile up a crowd. Potter added humor to her politics by addressing the band’s Riot Fest 2016 performance where she destroyed a Trump effigy onstage…only for him to get elected. She announced she would not make such a grand political statement at the time to prevent electing someone else “who shouldn’t be elected.” It’s beyond clear War on Women knows the power they hold, as they should be.
“Shake the cages and storm the gates, the clock is ticking and they can’t wait…” Rocking out the Roots Stage was South Yorkshire native YUNGBLUD, sporting a bloody knee and an electric energy that ran through an audience ready to see what antics he has in store. While it could be construed to be for the show, it wouldn’t be hard to imagine YUNGBLUD taping up his knee minutes before his set time due to some wild antics backstage. Running back and forth, jumping and gyrating, this rocker really drove the girls on the barricade wild. Performing crowd favorites “superdeadfriends”, “I Love You, Will You Marry Me?” and a cover of MGK’s “I Think I’m OKAY” featuring jxdn doing Machine Gun Kelly’s part, YUNGBLUD proved that it doesn’t have to take a full band to cover a stage. Sometimes you just need a drummer, an acoustic guitar, and the energy of the Energizer Bunny to rile up a crowd.
“So I don’t wanna go out today, wanna lie in my bed so that I run away…” Yungblud was followed up with easily the greatest spectacle of the weekend: Gogol Bordello. The eight-piece Ukrainian punk outfit performed a show that was powerful and political, bolstered by the ongoing conflict between Ukraine and Russia. If the inclusion of “Not a Crime” into the setlist wasn’t effective enough, folk dancers from Chicago’s Ukrainian community certainly was. Also included were crowd favorites “Start Wearing Purple” and “Wanderlust King,” led by frontman Eugene Hutz who commanded the crowd with any language and a bottle of red wine in his hand.
“Familia inside your fireball, there is the crucial sound of all…” Yellowcard played the entirety of their 2003 masterpiece Ocean Avenue, pointing out before playing the title track that they usually use this song to close their sets. However, since they played the entire album in order from front to back, it was the third song they played. As such, they requested the crowd bring that same energy from the end of their shows to the beginning of their set. Based on Riot Fest’s energetic response during “Ocean Avenue,” I hope they weren’t disappointed.
“We could leave this town and run forever…” SUNDAY:
The last day of Riot Fest was more relaxed, but no less meaningful or memorable. Jimmy Eat World rocked Douglass Park with classic after classic, including “Sweetness” and “Bleed American,” including their newest track “Something Loud.” They closed their set with “The Middle,” a song that has saved my life more times than I can reliably recall. There truly is something special about standing in a crowd of hundreds who may have felt the same.
“Sign up, the picket line or the parade…” Returning eight years from their last reunion, New Jersey punk band Midtown rocked the Roots Stage in the early afternoon. The crowd was an impressive dancing mass as they performed an even mix from all three of their albums, including “Frayed Ends”, “Become What You Hate”, and “Give It Up” among other songs. The fans in the audience showed their love, not seeming to matter that it had been so long since they’d been together. Midtown clearly has the stones and the talent to keep the music alive no matter what projects they explore.
Closing out the day were headliners The Academy Is and Nine Inch Nails, but we closed out Riot Fest by seeing The Maine. Closing out the night was “Black Butterflies and Deja Vu,” a tear-jerking love ballad evocative of every time I have to leave Chicago.
It’s impossible to see every single band on any festival, but the ones we were able to catch were beyond worth the wait. Though the future of the festival is up in the air due to protests by Chi-town locals, and likely other outside factors, the success of this year’s fest will hopefully keep the crazy alive for seasons to come.
At the end of the day, we hold the daring opinion that Riot Fest does not, in fact, suck.
Written in collaboration with @pennyraehawkins2014
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Dragonball Super: Superhero is a fresh and SUPER take on the franchise
Dragon Ball is a phenomenon spanning generations, with decades worth of episodes, movies and merchandise to entertain folks young and old. While the TV show Dragon Ball Super has a mixed reputation as a continuation of the popular Dragon Ball Z anime, the newest movie Dragon Ball Super: Super Hero hits all the right notes.
The movie starts with a recap of some earlier events from the show, refreshing some memories while playing catch-up for the newbies in the audience. We are reminded of the Red Ribbon Army, a tyrannical organization that went mildly underground as a pharmaceutical company after being thwarted by Goku in battle. The leader, Magenta, aims to join forces with young, misguided scientist Dr. Hedo in order to revive the Red Ribbon Army to its former glory by means of androids.
The plot follows namekian Lord Piccolo who now trains Gohan’s daughter Pan, a toddler in the series but now 3 years old. She has all the powers of a Saiyan but struggles to focus and harness her power of flight. After a startling altercation with an Android superhero, Piccolo follows him to the secret headquarters to find out exactly what the Red Ribbon Army has in store. What they don’t know yet is the secret weapon Magenta has locked away that is more dangerous than they may be anticipating.
Mostly missing from the movie, save for a few scenes, it’s clear and intentional that the new Dragonball film is not the “Goku and Vegeta” show. However, the film only benefits as fans get to see our heroes while they get a little break from being the main characters. But if this looming threat is so deadly, why not call in the strongest Saiyans they know: Goku, Vegeta and Broly? Bulma, Capsule Corp and Vegeta’s wife, knows that they are training with in the company of Beerus, the god of Destruction. She tries to get a hold of them through Whis, Beerus’ Angel Attendant, via a communication device but they are unreachable. Frustrated, she goes to gather everyone else she knows in order to fight this threat.
Seeing Akira Toriyama’s name in the opening credits promises quality, and it sure does deliver. The animation is smooth and exciting, very much akin to the franchise’s video games. With a plot to keep you on edge, great comedic timing and even a touch of fan-service, Dragon Ball Super: Super Hero is a fun ride for anime novices and die-hard fans alike.
Dragonball Super: Super Hero is currently playing in select theaters. -
Leaked “Build a Bitch” verse from BLACKPINK singer stirs up fans
Fans of Bella Poarch and BLACKPINK got an unexpected gift on Thursday when a one-year-old rumor was suddenly confirmed.
On September 8, Twitter user and Blink @doobeebae leaked a remix of Bella Poarch’s 2021 banger “Build a Bitch” that allegedly features a new verse from Rosé of BLACKPINK. Lending credence to this was Poarch herself, who reposted the clip hours after the original post.
Some enterprising Blinks edited the clip in place of the original second verse. According to Lopa K for Meaww, others have suggested the K-pop phenoms leave their company YG Entertainment over the canceled collaboration, among other reasons.
“With YG often being slammed for their mismanagement of BLACKPINK, fans are further unhappy that they let go of a big opportunity for Rosé,” K reported. “They have also been put on hiatus for an indefinite reason for the last 2 years. YG was even slammed for being lazy and uncreative with the girls’ latest songs and concept teasers.”
This collab didn’t come entirely out of nowhere. Last year, Poarch was spotted meeting up with Rosé and bandmate Jennie in Los Angeles. No statement on this was given at the time, but this might just explain everything.
“Build a Bitch” is featured on Poarch’s EP Dolls, released August 12 and currently available on all streaming platforms. BLACKPINK’s second studio album Born Pink is set to release on September 16.
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RSVP “no” to “The Invitation”
Sometimes, the trailer is more inviting than the actual film. Jessica M. Thompson’s The Invitation is just the latest example of this.
The Invitation stars Nathalie Emmanuel as American Evie Jackson, a struggling artist who works for a catering company in order to make ends meet. After taking an online DNA test and finding extended family in Europe, she accepts an invitation from her newly-discovered cousin to attend a wedding and is swiftly whisked to a life of luxury and intrigue.
The dream sours when a dark truth is revealed, and she must escape from a fate she finds worse than death. While the plot seems fine enough as a summary, it unfolds like bad fan fiction. The rushed intro promises action and intrigue yet keeps a pace that ensures the events that happen don’t actually make much sense. The staff is mostly dodgy and uninviting, yet Evie is apparently too distracted by her dashing love interest to actually care about what’s happening around her.
Oliver, played by Hugh Skinner, starts adorably as an excitable puppy who just wants to meet his new cousin and introduce Evie to her new large extended family across the pond, later pulling off a darker tone once the truth of the matter is revealed. Thomas Doherty plays well enough into his role as charming billionaire Walt DeVille, who is suave yet eager to seduce the main character. Once his true form is revealed, the actor really plays into it and has fun. The two side characters Victoria and Lucy, played by Stephanie Corneliussen and Alana Boden respectively, play off each other well as the snarky-bitch and bubbly-blonde duo and are amusing to watch. Courtney Taylor, Evie’s friend Grace, easily has some of the best lines in the movie and is fun to watch even from an iPhone screen. The performances here could have made for a really dark yet campy thriller if not for one main issue.
The lead heroine is the movie’s real downfall. Emmanuel, though beautiful, does not pull off the chops needed for a leading lady of this type of movie. Evie is weakly set up as an independent New Yorker who has no family and apparently only one friend, yet is so trusting that she jumps at the chance to go to a foreign country with a person she just met on the premise he’s her cousin based on an internet DNA test.Throughout the film, Evie has bland reactions to anything that happens. Forget being overwhelmed, she fails to even look whelmed until she sees someone brutally murdered and drained of blood right in front of her. Even after that, she only slightly raises her voice to inform everyone she wants to go home. Whether it was the direction or the actress that was bad, the final result was a wannabe progressive modern woman that was, in reality, no more than a fainting goat with a negative adrenal response.
An attempt at an action-packed climax falls flat thanks to weird directing or blocking choices. The whole film feels like there were some fun and maybe even creative ideas present but no one actually knew how to execute them.
Unfortunately, The Invitation was doomed from the start. While it’s usually preferred to avoid spoilers, nothing mentioned so far here should be a shock if you’ve seen the trailer. Every interesting plot twist or plot device is laid out, leaving no wiggle room for excitement or anticipation. It’s like the filmmakers didn’t trust their audience enough to handle a few jumpscares or intense scenes from their horror film.Jessica M. Thompson’s The Invitation promised to be a thrilling, chilling, action-packed vampire horror film yet fails to deliver on the most basic premises and promises. It’s boring, predictable by design, and would have been turned off had it been screened in a home instead of the movie theater.
While the jump scares will not leave you screaming, the leading lady’s inability to move certainly will.
The Invitation is currently playing in theaters. -
Yungblud’s self-titled album leaves listeners wanting more
The self-titled follow-up to Yungblud’s 2020 release Weird doesn’t feel like meeting expectations today.
The self-titled album from unapologetic rock artist Yungblud dropped on September 2 and was heavily promoted as an album that showcased Yungblud’s thoughts, emotions and experiences.
So, how did that come across throughout the album?
Overall, this album is solid. Each song blends well into the next, keeping a consistent sound and feel from start to finish. Not one song seems out of place or like it was just thrown on the album to fill time. Unfortunately, this album does not feel like a standout album or one that will blow your mind.
What is done well on Yungblud is making it sound like one cohesive album. It is organized well from start to finish. It opens on an energetic note with “The Funeral”, “Tissues” and “Memories” featuring Willow. Things slow down a bit with “Cruel Kids” and brings the energy back up with “Mad”. This is a pattern throughout the record. He balances the high energy rock songs with the slowed down emotional pieces, allowing the listener to go on a journey without getting bored.
With that being said, this album did not have many moments that completely stood out. Many of the tracks do not stand out from the rest or have “wow” moments. Most songs just blend into each other. While every track sounds fantastic and feels like a Yungblud song, that is almost the downfall. It needed moments of wow and more risk.
Part of the lack of “wow” could be attributed to the length of the album. Twelve songs long and coming in at just over 33 minutes, with over half the songs being under three minutes long, it leaves the listener wanting more. Some songs, like “Don’t Feel Like Feeling Sad Today” and “Die For A Night” seem to end just as quickly as they started. While not every song has to be four plus minutes long, some could be a bit longer to really delve deep and have the listener engrossed in the lyrics and melody.
However, like this album overall is one that deserves a listen. Similarly to previous Yungblud releases, it touches on topics like mental health, feeling alone, self-acceptance, wanting to be loved but being afraid, etc. For example “The Boy In The Black Dress” addresses acceptance and being comfortable with who you are. The title makes reference to the black dress Yungblud oftens wears onstage. This song talks about being open to showing a more feminine side and being bullied for it, while being uncomfortable with that side and wanting to push it away.
On “Don’t Go”, Yungblud talks about having trouble in a relationship. It talks about not wanting to lose the person you love, being vulnerable in a relationship, saying things you do not mean in a fight and being afraid to fall in love.
“Mad” talks about hiding yourself, your struggles and how you put on a persona and say you are fine, but going crazy and feeling like no one understands you. While this song touches on the important issue of mental health, it does so behind a dance beat. It has a nice bouncy drum beat and groovy guitar line. So, the listener may not catch the lyrics at first, but the more they listen, the more they unpack.
The instrumentals on this album were also fantastic. The guitar was roaring and rocking throughout. They had some cool and consistent lines that kept the songs moving and helped drive the vocals. The drums also had their time to shine. Especially on the “Memories” featuring Willow. That song was from the beginning and the drums really kept that song moving. The instrumentals overall helped bring the songs to life and created the contrast between the dark, emotional lyrics that covered heavy topics and the dancy, rock and groovy sound of the songs. These is seen very well on “Don’t Feel Like Feeling Sad”, which talks about to give into sad thoughts and negativity but sounds like an anthem.
“Sex Not Violence” is the song that probably stands out the most on the album. While still having a similar sound to the other tracks, it on the other hand does not sound like the rest. It has a cool keyboard intro that goes into a drum intro that makes it feel like you should be running. This balance in dynamics from the verse and chorus is interesting. The chorus goes more low and quiet and the verses feel more like where the crowd would sing along. The whole song has this jumpy feel with a killer guitar solo towards the end.
“Sex Not Violence” is the song that will be remembered from the album. The album needed a song that sounds different from the rest and break up the similar sounds of the rest of the songs, and it delivered the “wow’ moment of Yungblud.
For fans of the acoustic and slower side of Yungblud, “Sweet Heroine” is the song to check out. It is slower, with piano and minimal guitar and drums. It talks about needing love and support with open and honest lyrics. While simple, still a really well done song.
On the flip side, “I Cry 2” is a song that feels a bit disjointed. It has this electronic effect on the vocals that sound a bit weird. Most times on the album, the instrumental and vocal blend well. However, this song, the instrumental, especially the electronic elements feel a bit overpowering. It just feels a bit awkward overall. However, it does have a great line with “Everybody online says I’m not really gay/ I’ll start dating men when they go to therapy”.
Overall, “Yungblud” is a cohesive album that deserves a listen. While it may have some downfalls, it overall is a well put together album that sounds like Yungblud. It has its moments that make it shine and will keep the listener interested and engaged.
One thing is for sure: these songs will for sure go hard live, and Yungblud knows how to put on a show.
Yungblud is available on all streaming services.
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Watch Stray Kids wreak havoc in first trailer for October comeback
Love is no “MAXIDENT” in the trailer for Stray Kids’ latest comeback.
On September 5, the JYP Entertainment YouTube channel uploaded the trailer for MAXIDENT, the upcoming seventh mini-album from the eight-member boy group. The trailer features the individual members running around a city causing mayhem and looking angsty as hell. When the guys meet up, the hooliganism is dialed up to MAX whether Stray Kids are running amok through the night or partying in an apartment.
MAXIDENT‘s trailer ends with member Hyunjin receiving an ominous phone call from an unidentified female voice, broken up by static, saying, “Hello, Stray Kids. This is-I wanna send my code to you. Eight letters is all it takes.” This is immediately followed by a bunch of felting art hearts crashing onto their rooftop hangout in a puff of rainbow powder. The largest one winks at the camera before the release date and Stray Kids’ tagline (“Stray kids all around the world, you make Stray Kids stay”) close things out.
This album only marks their most recent 2022 comeback, as they released the mixtape ODDINARY on March 18. They also dropped the Japanese EP Circus on June 22, just two days after closing out the United States leg of their Maniac World Tour.
MAXIDENT will be available on all streaming services and wherever K-pop albums are sold on October 7. When you pre-save the album on Spotify or Apple Music, you unlock a special 23-second video message from the group. Information on how you can pre-order physical copies of the album can be found here.
Watch the full trailer below!
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Demi Lovato reclaims her rock roots on “HOLY FVCK”
Demi Lovato is no stranger to the rock and roll scene.
Her first album Don’t Forget, released while still in her Disney Days, was a cute yet earnest take on rock music. More recently than that, she’s guested on popular rock and pop-punk tracks including “Irresistible” by Fall Out Boy and “Monsters” by All Time Low. Anyone who saw her 2017 YouTube documentary Simply Complicated also saw that she started her career by learning guitar and singing rock songs she wrote herself in local bars, just like a lot of other musicians.
Fourteen years after Don’t Forget, does Demi’s newest release and first foray since she was a teen measure up to her grown-up audience?
Starting off lukewarm is “FREAK”, a track that promises Demi is officially embracing the way the public thinks about her. After years of mixed press for her struggles with addiction, starting fights with a yogurt shop and whirlwind romances, this album opens with the assertion that she is just a “piece of meat” for the general public to enjoy. The opening bass is sexy and fun as she invites the audience to see the show they’re all waiting for: she has gone crazy and she likes it that way. The YUNGBLUD feature adds some needed edge as Demi fits herself back into a rock persona that was seemingly long forgotten.
A big theme of the album focuses on her struggles with drug abuse and addiction, which is no surprise given the lead single was “SKIN OF MY TEETH”. Unfortunately, it is one of the weakest songs on the album. While potentially anthemic to survivors of addiction, it’s about as paint-by-numbers as it gets when it comes to songs about drugs. It hits all the talking points: addiction is a disease, be gentle on those struggling, and even the title is a platitude about survival. Similarly, “FEED” is a song that puts music to the platitude about feeding the wolf you want to survive, or keeping the habits you want and ditching the ones you don’t. It’s a boring song that drags but ultimately gets its point across. Another poignant yet annoying one is “HELP ME”, a song meant to mock people who say they want to help her but are ultimately doing so under selfish motivations. Not only that, but she’s been told the same thing so many times she sarcastically thanks some people for their “useless information”. It’s well done, being both sonically satisfying and able to drive the point of the song home because of the more annoying parts instead of in spite of them.
The stronger song that discusses this struggle is “HAPPY ENDING”, which actually acknowledges the struggle in a more honest and realistic way. While overall happy that she’s sober, she is now struggling to fill the void that she attempted to placate with drugs and questioning whether she’s stuck living with the desire for vices as well as the trauma that led her down that road in the first place. A more sober take is the aptly titled “DEAD FRIENDS”. She points out that the habits she used to share with friends ultimately destroyed them and somehow left her standing. The guitars are prominent and upbeat, but the song is ultimately a lament about survivors’ guilt and missing old friends and habits.
One of the strongest songs on the album, “EAT ME” featuring Royal & the Serpent. Pulling a Taylor Swift move, yet leagues angrier, she brashly informs us that the polished image she’s put out for years is dead and “its time to fucking mourn”. She even pulls off a decent growl/scream after the second chorus, which drives home the fact she is sick and tired of playing a part that pretends everything is pretty and perfect. Royal & the Serpent backs her up perfectly, establishing a fed up BFF dynamic that sounds ready to wreak havoc on the society that held them back. Honestly, this should have been the leading single: it’s angry and demanding of acceptance like a rock rebirth should be instead of being whiny and pleading for it.
It has to be said: “SUBSTANCE” should have been scrapped from the record. Completely tone deaf to the world around her, Demi wonders out loud if she is the only one looking for something “real” in her fake world. There is an attempt at relating to the masses with “I know we’re all fucking exhausted”, but is then immediately made all about her with the main lyric “am I the only one looking for substance?” It’s the most surface level observation of society that one can imagine. After years of being an advocate for anti-bullying, sobriety, and social awareness, it comes off as disingenuous and holier-than-thou on an album that actively makes fun of religious sentiments. She only really hits the mark when she sings “I can’t relate at all”. While it could be an unintentional double entendre (substance abuse being another term for drug addiction), the song isn’t worth the effort to look that deep into such a shallow pond.
“29” is an interesting track that, as Demi put in an Instagram post, is all about “the wisdom that comes with age”. While not naming anyone specifically, it is not hard to glean that the song is about the six-year whirlwind romance she had with Wilmer Valderamma. Damning lyrics such as “you’re 12 years her elder” and “finally 29/17 would never cross my mind” both address the very real age gaps and the ages that they met, illustrating that the romance may not have been the fantasy that she thought it was. Either that, or it was very much a fantasy that she now regrets or finds repulsive. Whatever the situation, it has taken over the internet as an anthem for young girls who have experienced an age-gap relationship that they maybe shouldn’t have been in.
The record also tends to focus on her sexual liberation, informing the audience exactly what she wants and how impressive her sexual prowess is. The title track “HOLY FVCK” takes a leaf out of Ariana Grande’s book, implying that having sex with her is akin to a spiritual awakening. Speaking of which, she scores her first experience with masturbation on the track “HEAVEN”, accompanied by drums that sound close enough like Marilyn Manson’s “The Beautiful People” it makes you wonder if he got a songwriting credit. “BONES” is a track about seeing a person that is so attractive you can’t help but want to stop everything just to drag them into the closest secluded corner. Blunt and horny, there isn’t much mystery to what this song is about as Demi repeats “Let me jump your bones”. The most fun song with this theme is “CITY OF ANGELS”. Here, she pokes fun at things like her own gender identity (“you call me ‘they’/but I’m still Daddy’s girl”) and her status as a Disney Alum (“Splash Mountain in your hands/at Disneyland/you know I skip the lines”) while shamelessly expressing all the ways she wants to get fucked before leaving Los Angeles.
The record also has some interesting takes on love songs, such as with “WASTED”. A dreamy song, it’s about a relationship that makes Demi so happy that it makes her wonder how she feels better with this person than she did on drugs. “COME TOGETHER” is all about wanting to take things slow with a sexual partner so they can both climax at the same time. “4 Ever 4 Me” takes an interesting turn as the most emotional song on the record. It doesn’t try to be heavy and actually sounds more like the beginning of her pop era, circa “Skyscrapers”. It’s a beautiful song about opening up emotionally and falling in love with a person so wonderful she wants to commit for the rest of her life, even commenting about meeting the parents and assuring “his heart is safe with me”. Easily the sincerest song in the mix, Demi actually sounds like she wants to be singing it. However, it would fit better as a first-dance wedding song instead of closing out an angry rock record.
HOLY FVCK defied expectations by being slightly better than the trainwrecks that were the two lead singles. The overall tone is muddled, going between being honest and socially aware to being obnoxiously preachy. Obviously being influenced by artists like Hole and Marilyn Manson isn’t a bad thing, but the record would have been stronger without the obvious rip-offs.While not very groundbreaking overall, there are some great jams and overall, it can be technically called “rock music”. The subject matter may have grown with her audience, but apart from the few genuinely good songs HOLY FVCK is a pretty forgettable record.
Demi Lovato is currently on tour with the U.S. leg beginning on September 22nd, 2022. Get tickets at demilovato.com or wherever tickets are sold.HOLY FVCK is out everywhere now.
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Bite Sized Beats: Pierce the Veil return from six-year hiatus with “Pass the Nirvana”
With a six-year break following their album Misadventures, curiosity and anticipation were high for what Pierce the Veil would bring on their first release back. The song is a bit harder, louder and more intense in sound. For those who enjoy that side of Pierce the Veil, this will be the track for you.
“Pass the Nirvana” is definitely a track that satisfies that curiosity and proves that the anticipation was warranted. While this track is definitely different from the sound of Misadventures, it still sounds like Pierce the Veil, but elevated. From the second the song starts it has your attention, starting heavy with the guitars and drums. It has a more vibey guitar line that will get heads nodding along. It adds in some more rock drums and the listener is hooked.
The rest of the song stays heavy, but dynamic: it is steady and then it explodes. The verses feature a more vibey, groovy sound with some chill, pulled back guitar. These instrumentals slowly build with the vocals into the chorus. As the vocals rise in intensity and volume, so do the guitars and drums, but the chorus is where the fans of heavier Pierce the Veil will be happy. Vic Fuentes utilizes his screaming vocals to capture your entire while still managing to blend with the heavy rocking electric guitar and intense drums. The heads will be banging when listening to the chorus. All the elements blend well together to not overwhelm the listener, while still capturing the heavy sound and breakdown fans will love.
The song abruptly cuts off after the second chorus, making the listener think that the song is over. However, Vic comes back in quietly with some instrumentals and builds right back into a huge bridge and big screaming ending.
Vic Fuentes vocals shine in not only the screaming, but the verses as well where it is more dialed back. His voice sets the vibe of the song. He uses a good variety in vocal techniques. He has the moments of more melodic vocals, then choppier vocals in the pre chorus and his screaming vocals in the chorus. The dynamic vocals add to the song and make it an even more interesting song to the ear.
The lyrics in the song paint a picture of trying to escape the messed-up world, containing lines like “We can hear you loud and clear/ Suicide season is upon and high,” and “I set fires ablaze inside/ And stepped into the light to blind you” in the bridge. Vic follows this with “I can’t hear you”, repeated four times at the end of the song. These lyrics and more paint a picture of a world that is not pretty and how there needs to be an escape from the horrors.
Overall, “Pass the Nirvana”, demonstrates that Pierce the Veil are back on the scene and still have it. This song will satisfy those who have been anxiously waiting for their return. The dynamics vocally and instrumentally, mixed with the lyrics work together for a great comeback hit that will be on repeat.
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