Perhaps it was Tears for Fears’ reformation and resurgence in the twenty-first century that contributed to the lasting cultural impact of Songs From The Big Chair. This influence can be seen in countless covers by countless artists—from Weezer to Lorde, it seems every musician wants to rule the world.
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As Addison frantically dances around a burning field during the song’s bridge, an ad-lib in the song comes in: “I know how to make the hard things look really easy.” Damn right.
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A lengthy letter of regret, but more so a dedicated submission of acceptance. Acknowledging the months of love that no longer fill in the moments of now.
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Cowards is a seemingly not-so-relaxed attempt at a concept album. In a crawl through horror, Squid gives each song moments of a creepy lullaby and a dash through the underworld.
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While Galore was mostly a collection of nocturnal love songs, Choke Enough is made up of blinding declarations of feeling alive. “Is the endless still unbound?” Oklou asks on the opener. On Choke Enough, it is.
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His sixth “surprise” song was one the crowd didn’t know, likely a recent release. It was clear that the nostalgia trip was over and we all wanted to go home.
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I truly admire Greep for his ability to blend evocative storytelling with masterfully curated rhythms and beats. It’s what drew me to Paradise Rock Club this Friday night.
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It could have easily been a snowy evening in the late '90s when Souvlaki (1994) was just released and changed the game for shoegaze forever.
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Pop culture is anything but minimalist. It's an inescapable flash-bang of everything. And who doesn’t get tired of a constant reminder?
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