Irregular Society (2024)

22/06/2022

Daft Punk – Random Access Memories

Comfortably my favourite DP album and one for me that is actually underappreciated by the wider music community. More of a journey than their previous albums, it has far more of a disco-funk feel, leaving behind the EDM that had made them such cult heroes previously. The detail of production is outstanding, and world-class musicians such as Nile Rogers on guitar and Omar Hakim on drums, as well as the use of orchestras and choirs in places, give this album greater levity.

The opening of the first track ‘Give Life Back to Music’ signifies DP's arrival in a "stand up and take notice" sence, building and drawing you in before dropping beautifully into a supple funk guitar riff intro. "OK...I'm in."

‘Game of Love’ is a very notable track, but I'm going to speed ahead to ‘Giorgio by Moroder’. This third track contains a near enough 2-minute spoken word intro by Giorgio Moroder talking about his discovery of the synth and how important he felt it would be for dance music, before again dropping into a super funky rhythm and building into a medley of chaos between drums and old-fashioned vinyl scratching sounds, giving the listener the impression dodging meteors in a space shuttle at breakneck speed. An orchestral build finally closes the track, a tactic that will see this album hit on different levels than the duo's previous work.

A couple of softer tracks in ‘Within’ and ‘Instant Crush’ (both stunning) proceed another disco-funk classic ‘Lose Yourself to Dance’, again with Nile Rogers and this time joined by Pharrell Williams on vocals.

This is followed by what I can only describe as an electro-pop, swing ballad, “Touch,” with Paul Williams, a world-renowned composer, singer and songwriter, on vocals. For me it is the emotional highpoint of the album. Another extra-terrestrial influence drifts through the nearly 2-minute-long intro, giving that feeling of initial caution on first visiting a newly found planet. Dropping into William’s emotional vocals before getting into full throttle. The swing sounds provide visualisations of a 1950s American dance hall, or a playground fair. It doesn’t take itself too seriously but is emotionally powerful at the same time. A consistent monotonous drum beat underscores another vocal verse before a choir backs it all up adding a grandeur. Everything cuts off momentarily before returning to that techy spacey feel, this time more uplifting, like having found that the newly found planet can support human life. It culminates in a powerful orchestral build with the choir returning along with more uplifting tech accompaniments, and a powerful but short-lived space-travel build. With everything sharply cutting off, Williams offers a couple of strong a ca****la vocal lines before he is joined by a simple piano melody for a final couple of lines. Although silly and fun in places, you cannot escape the powerful emotional overall feel of this track.

Next up is the funky hit single, ‘Get Lucky’ again with Rogers on guitar and Pharrell on vocals. It is an absolute out-and-out disco banger, no doubt about it, and the radio edit doesn’t do it justice. Produced to perfection, it is melodic fun and soulful, with funky guitar riffs and fun-as-hell vocals. After a second chorus, it drops into a Robo-vocal bridge, overlaying the hook from the verse with the hook from the chorus. It is a supreme moment of production, and not on the Radio Edit for some reason. Beyond is another centrepiece for me. I’m no musician, but what Omar Hakim is doing on drums in this track defies logic. It is astonishing. He is right on top of the bass building an elastic tension with his partner for the track, and pulls some crazy s**t with his cymbols. I won't try and pretend to know what I am talking about by attempting an explanation, as I may have done earlier, just go and check it out.

‘Motherboard’ proceeds ‘Fragments of Time’, probably the sexiest track on the record, with some super-hot guitar cries partnering up with a saucy funk riff before being joined by some smooth-ass vocals by Todd Edwards. The album culminates with two tracks. First ‘Doin’ it Right.’ There isn’t much to it, but it utilises some trip-hop beats splendidly and is a bit of fun and melodically pleasant. It's one of my favourite songs, and probably one of the more accessible on the album. Finally, ‘Contact’ offers probably the most traditional Daft Punk sounding track, along with much of ‘Giorgio by Moroder’. It opens with a recording of a NASA astronaut dialling back to HQ discussing his observation of a flashing object from his window. “I don’t know if that does you any good but there’s something out there.” Kind of encapsulates what the whole album is about. You can't really describe it but it’s a hella summin. This takes place before the only musical sample on the album is used, ‘The Sherbs’’ ‘We Ride Tonight’. It works perfectly in tandem with everything DP are about. From there synth riffs take over and are joined by some chaotic yet defined drumming by that man Hakim. Finally, an elasticated guitar riff draws out the outro bringing us back to that chaotic meteor dodging space travel sound to finish off the album.

Drawing from info I have literally just taken from the Daft Punk fandom site, Thomas Bangalter emphasised the use of astronaut, Eugene Cernan, to close the album as he was the last man to have left the surface of the moon during the Apollo 17 mission. DJ Flacon, who produced this final track, recalled that the speakers blew out after playback of Contact due to the sounds ending the track, comparing it to the end of a rock concert where guitars are smashed. NME compared to a huge pyramid blasting into space as a reference to the stage visuals on Daft Punks only ever live tours in 06 & 07.

Overall, this is one of the most emotionally powerful, deliciously produced, vibrant and diverse electronic albums I have heard and one that is worth any music lover's time.

I have copied in a link below to a video review from YoutTube channel "Turning the Tables," a channel where a lad shows his Dad different albums and they review them. They offer some insightful comments and are a fun watch. I really enjoyed their review on this one.

https://www.youtube.com/watch?v=FLVSaZU6RYo

Enjoy!

20/06/2022

Lana Del Rey – Norman F*****g Rockwell

There have been a few tracks over the years that have piqued an interest with Lana Del Rey's interesting blend of pschyo-synth pop sounds and retro texture. The obvious ones mainly. Your 'Video Games', 'Summertime Sadness', 'Born to Die'. I speak to more long-standing fans than myself who feel previous work is her stronger work. However, coming in at the midway point and thus from a neutral perspective, I think NFR is a genuine masterpiece.

From the moment the opening piano notes reach out of the purposely placed eponymous track you, are drawn in for a closer look. You are curious. You want to hear what she has to say and you get a feeling that it isn't to be taken lightly. They are only beaten on impact by the opening line itself. “God damn, man child, You fu**ed me so good I almost said I love you.” The feeling is solidified. Already you get a feeling for the honesty that her more focused and less exaggerated vocals will make a theme on this album. This is no longer about the perceived caricature of Lana Del Rey, but more about the human being, the fragility, yet a bold and brash contentedness and acceptance of herself, with a twinkle of a hope others can follow suit.

‘Love Song’ encapsulates a lot of this. “I believe in a place where you take me, Make you real proud of your baby”, the LDR that strives to make people happy. “Lying on your chest, In my party dress, I’m a fu***ng mess,” the one still struggling with herself. “I believe that you see me for who I am, So spill my clothes on the floor of your new car, Is it safe just to be who we are,” a version that is trying to show her true self, and hoping it is safe to do so. All this within 3 lines of a verse warped with differing emotions. The opening line in ‘California’, brings it full circle in the hope the latter can be returned by others, “You don’t ever have to be stronger than you really are.” A profound line at a time where male mental health is an important focus.

This hopeful fragility is never more clearly echoed than in ‘Happiness is a Butterfly’, trying to “catch it like every night,” whilst “dancing high.” Powerful imagery of happiness as fleeting but attainable and worth striving for.

“Nothing gold can stay. You write, I tour, We make it work, You’re beautiful and I’m Insane, We’re American made,” on Venice Bitch - one of many highlights of an album with no bad tracks, and probably the most experimental track on the record culminating with a 6-minute synth outro - not only speaks to the internal struggles we have grown accustomed to with the artist, but despite past, and still present patriotism, a struggle with the insanity of the social state in America at the time. Referring to herself as the “Venice Bitch” potentially pokes fun at a perceived version of herself, or possibly points towards a contentedness for and self-awareness of a version of herself. Possibly a bit of both.

In an album full of wistful longing, songs like ‘Bartender’ stream with romantic notions to head on out there and find a little piece of something, playing on the adventurous nature, that intrigues about her and that many of us do, try or pretend to relate to. The previously mentioned ‘California’ plays out a conversation with a sort of temporary summertime lover, or an old childhood friend. Her baroque vocals on this track relate a romantic sentimentality. “If you come back to America, just hit me up…We'll do whatever you want…We'll hit up all the old places.”

Setting aside for the most part, the more playful trap-pop sounds, Lana and producer Jack Antonoff strip things back here, choosing more minimal production that in turn offers additional grandeur for the American ballads on this record. Despite the grandeur and emotive imagery, Lana’s vocals power through to tell us of her honest truth in the moment. I’m gonna go for an easy win here, but it really is one of “the next best American records” in recent years, and with it she does cement herself as a true American poet, and an artist we would be foolish to continue to underestimate.

17/06/2022

What I love about Tiny Desk as a concept among many factors, is the neutrality of opinion and appreciation for such a wide range of artists. Offering authentic, intimate performances of quality artists, Tiny Desk Concerts have played a huge part in my appreciation for differing forms of music and awareness of artists I may not have stumbled upon previously or appreciated listening to just their studio records solely. It seems to me, one of the purest forms of artist expression out there, and one of the best mediums for both artist and fan. Here I have picked out a few of my favorites in no particular order. You can find links for each under each summary. :))

Suzanne Vega

An artist that featured prominently in my youth, Suzanne Vega is one of those that probably don’t get the recognition she deserves as a songwriter. Even so, she shows an air of contentment and confidence that comes with knowing the quality she has and doing what she enjoys doing, with quality musicians beside her. The performance is taken to a new level by Vega’s co-producer and writer on ‘Tales from the Realms of the Queen of Pentacles,’ a certain Gerry Leonard, known more extensively for his partnership over a sustained period with David Bowie. His input on “Luka” defines simplistic, detailed guitar playing and elevates the track to new heights, and this continues throughout this set. She holds a subtle elegance throughout whilst navigating through a set ranging through from intimate to fun to out-and-out classic rock.

https://www.youtube.com/watch?v=AndEMO__p2U

Sharon Van Etten

This is one of those where I might not ordinarily jump on the artist's studio recordings, despite the critical acclaim surrounding them. However, Van Etten’s Tiny Desk Concert is one of the most raw and powerful out there. The songs performed are full of emotion, echoed in places by her consistent abash strumming, whilst she shows off a powerful vocal range. The bass sets a foundation throughout and the lack of any lead rhythm guitar is notable with the performance bought to life by double keys whilst Van Etten keeps everything but her own vocals constrained, controlled, and in place. The set ends with a rousing version of “Seventeen,” a stunningly raw track full of feeling, with the screaming imperfect vocal end epitomising what this artist is all about.

https://www.youtube.com/watch?v=eztrJeHyP_8

FKA Twigs

This is one of those performances where you go back and listen to the records with a completely new appreciation for the artist. Once you appreciate the quality of an artist, you can generally look past your personal preferences when listening to their work, to understand that they’re doing a thing, and that thing holds an innate quality. Stunning. Absolutely…stunning. I had no idea that Twigs was a classically trained vocalist before stumbling upon one of Tiny Desk’s latest home concerts, but it couldn’t be more obvious now. I haven’t been quite as blown away by a performance in a long time. Kate Bush-esque, It is fragile and powerful, hauntingly beautiful, all at the same time.

https://www.youtube.com/watch?app=desktop&v=NNodeNnXWy0

Jackson Browne

Another artist that featured prominently in my youth, Browne’s Tiny Desk performance is raw and unrefined vocally, whilst detailed in production of sound between the band. The opening guitar notes of “Call it a Loan” transport you back with that original folk sound synonymous with the artist, before he heads into an emotional version of “Barricades of Heaven,” possibly my favourite song performed on any Tiny Desk Concert. The breaks in his voice if anything add to the performance, and whilst less of a natural vocalist these days, his writing abilities are undisputed. He wrote the folk classic “These Days” for Nico’s (of the Velvet Underground) album Chelsea Girl, released in 1967 a full five years before the release of his own debut in 72. He was just 16 years of age on initially writing the track.

The intricate harmonies intertwined by keyboardist turned backing vocalist, Jeff Young, blend so naturally into Browne’s verses like blood twisting through a river. Delicate enough that you barely hear him, yet powerful enough to offer a richness to the melodies, the two converse like brothers calling to each other over from afar.

https://www.youtube.com/watch?v=11HHue911Tg

Maggie Rogers

Maggie Rogers is an artist I, I am sure like others, came across on YouTube, watching Pharrell Williams visiting a class where young music students share with him a piece of theirs. During her sharing of Alaska, Pharrell is visibly taken aback, face contorting in that type of anguish that only a banger can bring, before commenting that he has “no notes” due to the uniqueness of the track. Her Tiny Desk performance shines a light on a confident, quirky introvert, with her unique blend of folk and electronic-pop sounds. Vocally, it is supremely good. You are immediately hit with the opening notes of her first track On + Off. The set is fun and buoyant, before blending quite naturally into a solo acoustic ending, with a version of the aforementioned Alaska that further highlights her vocal proficiencies.

https://www.youtube.com/watch?v=SqPtIkxSxI0

Justin Bieber

With a steadfast refusal to engage with anything he has done, Justin Bieber is not an artist I have been naturally drawn to over the years. As I have got older I have found less joy in purposely hating things most people like, simply out of some intention to make a point that they are wrong. After being turned onto this video by my brother, my initial response was of the standard, “mate, come on,” variety. It led onto a bit of a discussion revolving around Bieber’s constant place in the spotlight and how we are all products of our environments and why shouldn’t he be the same. With his Tiny Desk performance showing some musical intuition, with melodically supple and vibrant and entertaining songs, this might just be a genuine expression of self.

The final take away was that…life is hard, we are all just trying, and that Bieber could actually have an ability to create decent music if he wanted to. I don’t know if that resonates with everyone, but it was a profound lesson for me, and one of the reasons I have to put this performance up there.

https://www.youtube.com/watch?v=Su6kidaGW_8

Adrienne Lenker

The lead singer of the critically acclaimed Big Thief has found her own recognition in her own right as today’s answer to folk artists like Jackson Browne and James Taylor. This set is absolutely stunning and in particular the opener Zombie Girl. She shows off her intimate vocals and frankly incredible song writing ability. I could have tried to find some sort of more vocabulary proficient synonym for “incredible”, but it just seemed the most natural one. With a delicate finger-picking melody running through, she pulls no punches here and allows the focus to be purely on the song itself. This stripped-back focus continues throughout and seems like the only reasonable thing to do. The setting for this little visit, both physically and spiritually into our nature, is perfect.

https://www.youtube.com/watch?v=TKcQyUszdhw

The National

Another of those totally pure performances. The YouTube description tells of how word on the street had informed them of a stripped-back performance before the group turned up with a 7-piece, complete with horns and piano. I think everyone is glad with the way it panned out. You can see the work put into their performing, with each member of the band having an often succinct but important role to play, and each complimenting each other perfectly. It seems to be a trend with Tiny Desk performances that the backing musicians are individuals key members truly trust and more importantly, want to play with.

Whilst the brains behind this collaborative act, the Dessner brothers set a foundation with intricate yet understated melodies and sounds, this performance offers a real focus on the vocals of Matt Berringer, who stands hands in pockets eyes closed for much of his performance. You can see what these songs mean to him, with the horn and vocal complement of the backing band offering a more liquid elevation to his own raw emotional vocals.

https://www.youtube.com/watch?v=TdFCD3oXMZo

Thanks for letting me discuss my favorite Tiny Desk performances with you, and I would love to hear your thoughts on these or if you have any other particular favorites.

13/05/2022

I went to see ‘This Much I Know To Be True’ last night, a new film highlighting the creative collaboration of Nick Cave and his right-hand man, Warren Ellis. I have a huge amount of respect for the pair of them. I don’t love every track they have released, either as part of the Bad Seeds or in this more recent pairing. As anyone who follows Cave and his entourage will know, it hasn’t always been easy listening. But there is no disputing the levels of creative genius these guys produce, nor the religious experience of seeing them live.

There have been several of these docufilms over the past few years and I always prefer the duo’s music in this setting to be honest. It translates better to me and seems somehow softer, more fleshed out, than either on the record itself or live. I get a more rounded appreciation for each track, and always leave wanting to rediscover the focus album. ‘This Much’, was more of a live performance film, with less additional content than the likes of ‘20,000 Days on Earth’ or ‘One More Time With Feeling.’ Despite this, there were a few insights to take away. Firstly, it really highlighted the relationship between these two top tier musicians, with Cave suggesting Ellis initially had more of a subordinate role in the Bad Seeds, whilst slowly chipping away, taking out each member one by one to become Cave’s go-to collaborator. A view into the practical act of creating music, showed of going back through hours and hours of recorded “jams,” to locate a certain moment they felt they could vaguely remember, just from somewhere, like some sort of clouded message in a dream, amongst the “hours of bulls**t.” Finally landing on a lightning flash they would later coerce into a signature spell-binding track.

One of the more poignant moments came during Cave’s reflection on answering fan questions through ‘The Red Hand Files’, a service set up with the aim of giving people, who might not have anyone else to ask, a space to express themselves and maybe receive an answer from Nick. He stated firstly that he never answers on instinct, always going away to allow a more thorough understanding of the question and the person to seep in, and feeling that this gives him the ability to produce more compassionate answers. A response that resonates with today’s immediate and often abrasive social media communication sphere we live in.

One particular question hit home on some levels, with a fan expressing how out of control of his own life he felt after a couple of pretty big knockbacks at home and at work, to the point where he had experienced suicidal thoughts. Nick himself has seen his share of earth-shattering moments of adversity, with one of his sons, Arthur, having fell from a cliff in Brighton around 7 years ago, unfortunately losing his life. As it happens, at the time of writing this another of Cave’s sons, Jethro, passed away only 4 days prior. Of course, this came later than the filming of ‘This Much.’ With this in mind, Cave is in a reasonable position to offer pointers on how to deal with feeling so out of control of one’s own life. At some point he says, everyone goes through an experience that pulls the veil of perceived control from in front of our eyes. He adds that what we can control is our reactions to these moments, not getting dragged under, and finding the opportunities to actively move towards progress that are inevitably presented. A sentiment we could all do with being reminded of from time to time.

To circle back in summary, I do highly recommend all 3 films mentioned here to anyone with an iota of appreciation for Nick Cave’s music and being. I have to say, that I preferred the other two mentioned a little more. This just down to the added amount of non-performance related material. Although seeing his music in this setting I believe gives you something in and of itself. The versions are generally slower than live shows, more akin to the recorded versions, but you get that visual. Watching Nick as he sings these songs in a non-concert format reveals the pain, and the beauty, and the wrestling between the two, involved in each of the tracks. Seeing the maestro Warren Ellis massage and manipulate each aspect of the song, from backing singers to orchestra to whatever strange and wondering instrument he is playing at the time, in his manic Warren Ellis way, it is easy to see how he is the last man standing of the wider Bad Seeds arrangement.

11/05/2022

'Stranger in the Alps,' and Phoebe Bridgers, was an album and artist that I’ll tell you straight, I really didn’t see coming. Based on my wider catalogue of followed artists, there is no real reason as to why I love the pair so much. But the first time I heard 'Stranger in the Alps' it immediately went into my top 10 favourite albums.

From minute one I connected with a lot of what the artist as was saying. ‘Smoke Signals’ ‘Funeral’ and ‘Would you Rather,’ to name just a handful, played on relevant themes. A focus on living inside one’s own head, the impact a real conversation with a friend can have, and this feeling that the way people around you live their lives just isn’t for you, all thundering home.

Months and years later it is clear that there was more at play here than just an appreciation of the subject matter in the lyrics. I was getting a sense of humour and wit come through in her lyrics, also translating through to the quirky, unaligned structure of sentence and verse throughout.

‘Scott Street’ was a real gut-wrencher mixed with a humorous take on real-life concepts with the second verse touching on that theme most of us relate to at some point, with life just soaring past us as Bridgers relives, or imagines, a conversation between herself and an old friend or partner.

‘Would you Rather’ does the same. “You were still in the ambulance, When the cop suggested you're the one who tried to burn it down.” A tired, “if you don’t laugh you’ll cry”, sort of take on the irony involved in being judged for something you clearly didn’t do.

“I hate you for what you did, And I miss you like a little kid,” in 'Motion Sickness', is possibly my favourite lyric on the record, and maybe one of my favourite openers out there. It gives you a bit of everything. It holds a wit and edge in terms of the lyric itself, the way it is sung and the structure of the lyric. Poignantly, you get a sense of this furious, grudge-holding yet independent individual, and this fragile, timid young person.

Of course, artists are always expressing themselves on some level when writing, but expressing thoughts and emotions are one thing. The ability to give across what you are actually like as a person, like when your around your mates, just hanging out, is something a little different. It made it incredibly easy to connect on a human level to the songwriter, as if she was a mate of my own. In turn, it was easy to connect to the songs on a deeper level than mere relatability to the words and themes.

I have always valued the image-inducing and storytelling ability of the two songwriters I wrote my first two posts about. Phoebe Bridgers is easily one of, if not my undisputed favourite, ever song writer/s. I understand that this seems a bit crazy and I don’t necessarily know if she will go down in wider recognition as a great songwriter at any stage in the future. Something tells me she probably won’t. It does feel kind of blasphemous against Messer Dylan and Springsteen, and I have struggled with this truth of mine. But it is what it is, and I just fu***ng love her.

26/04/2022

Where to start with 'Born to Run'. For me, top 5 albums of all time. Every song is a 9 out of 10 minimum. Every song is a classic. On 99% of other albums, any song on here would be the standout.

Bruce and 'Born to Run' played a huge part in my teenage years. Those wistful summer holidays as your turn into the person you might one day become. Starting to think about less superficial things, starting to experience relationships, and love, and brotherhood on deeper levels.

One, seemingly particularly hot summer, my best friend and I had discovered this album. It is a summer that resonates with the both of us to this day, 20 or so years later.

'Born to Run', just the title itself spoke to us. Songs like the eponymous title track, and 'Backstreets', were written for us, to us, directly TO US. Riding our bikes round our local area, in the blistering (for the UK) heat, it seemed like the entire world was open to us. It seemed like we could do literally anything. I experienced the same sense when exploring far-flung places across the globe for sustained periods. Obviously, the former was the 12-year-old version, but the mindset was similar. It was like your mindset, what you were capable of, had just…shifted. Anything was possible. It was a similar feeling that summer.

We have now seen Bruce a number of times live. Anyone who knows anything about Springsteen knows that he is up there with the all-time top live performers. I can’t begin to imagine what his live performances take out of him, because I am completely done after each gig. One particularly emotional gig, my aforementioned friend had just been diagnosed with cancer. Thankfully treatable, but of course, any form of that disease is a big fu***ng deal. It was scary, and everyone was concerned. The guy took it in his stride as he does with everything in his life. Bruce was coming to town, and of course we had to go. We got seated tickets this time, but I remember the 5 or 6 of us standing arms round each other singing every song like they are our national anthems. The anthems of our friendship. They are to be honest.

The people behind us must have hated us, they had chosen seating for a reason. But sorry pal, this night isn’t about you. It remains one of the most poignant memories in my life.

No track means more to me than 'Thunder Road'. Simply poetic brilliance. My friend and I to this day drunkenly sing it to each other on almost all of “those” nights. We have it down to a fine art to be honest, and I do think Bruce himself would enjoy our rendition, (we need to do the slightly softer live version these days). Sometimes we play it to a crowd, sometimes we sing it to each other, often it's outside with a cigarette, after or during “deep” chats about life, the world, inter-dimensional universes, the Illuminati or how much we love each other.

I think the last time we performed it, we had done few songs with the band before, you know, an actual real singer took over. It turned into karaoke a bit later and everyone was getting involved. I think I did 'Welcome To The Jungle' with another mate along with a few others, and it was all good fun.

But of course, as it does, at around 4am, the time arrived. The friend in question and I found ourselves on stage together, and it was set. The time was now. There was nothing else for it. Our friends have heard it a million times and are probably sick of it by now. They are also probably a bit cringed out by us holding each other, eyes either closed, or looking deeply into each other’s, looking as if we actually genuinely might kiss. But nonetheless, we began. People as ever, a mixture of curious and disturbed. Some filtering away one by one, some sticking around to see how far we'll take it, and occasionally some actually also captured by the moment to be fair to them.

Despite the goings-on, once we start we have to give it everything. Just out of respect. So we sing, with a tenderness and with a passion. Every word.

It ends with, and this bit seems to get more beautiful to me every time we do it, just a soft...“there were ghosts in the eyes, Of all the boys you sent away.”

Before a controlled bellow of…
“They haunt these dusty beach roads, On the skeleton frames, Of burnt out Chevrolets."
"They scream your name at night in the street, Your graduation gown lies in rags at their feet.“

Carrying into..
“And in the lonely cool before dawn, You hear their engines roaring on, But as they get to the porch they’re gone, On the wind.”
"So Mary climb in”…
“It’s a town full of losers, And I’m pulling out of here to win.”

Before immediately gathering each other up in each other’s arms as the outro plays out, telling each other drunken incoherent variations of how much we love each other, how we’re literal brothers and actual family, yada yada yada, etc etc etc, bla bla bla…
It's cliché isn’t it, but we really can’t help it.

It is simply a pleasure to sing that song.

Irregular Society

22/06/2022

20/06/2022

17/06/2022

13/05/2022

11/05/2022

26/04/2022

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