Crate Diving: Episode 3 | Palisades - Erase The Pain

Despite listening to a heavy amount of rock music as a teen I should come clean about not really being involved with this corner of the genre until recently. I had a passing awareness of the quote-unquote screamo stuff. It was fine, but I never really spent so much time listening that I could call it formative in any way.

After all, most of what I listened to at that point was Hip-Hop and EDM. When I did listen to rock music, it fell into one of a few columns: the abstract stuff (Gorillaz), the punk stuff (Bouncing Souls), or just metal (Sevendust). There was a fair bit of alt-rock I frequented as well, but by that point, even then, the line between “Yacht Rock” and pop music had been sorta erased, so I won’t count that.

Now I have newfound time to go down a curated list of acts a younger me might not have even thought to give a listen. On that list was this group from New Jersey known as Palisades.

I picked their latest project Erase The Pain not for any particular reason other than it was their latest one and I wanted to see what the evolution was from their first studio album to their fourth. A lot can happen in seven years.

It’s probably expected, but the jump from their self-titled effort to this one is a bit smaller than that from their debut, Outcasts, to now. One common thread I spot is the clear punk influence. Power chords everywhere, which is usually good news. Erase The Pain was a bit different and to explain why, I’ll need a short sidebar back to the self-titled cut.

What sticks out to me about the 2017 album is how it incrementally drifted toward the pop end of the pop-punk spectrum. More digital instrumentation; synthesized harmonization; more melodic guitar voicing. My thoughts on music are a lot less organized than my thoughts on movies. I have difficulty putting it into words other than to say that the self-titled album has a very polished production. The focus seemed to be on making cool melodies that were colorful and danceable. I like good melodies more than just about any other element of composition, so I tend to mark the self-titled LP as their best.

Erase The Pain drifts back to the rock end of the spectrum. Lots of big chords on this record with most of the melodies and counter-lines being picked up by the vocals and lead guitar. There are some metalcore elements, as well, but the instrumentals toe the line from one genre to the next. “War” in particular stands out to me as a song that echoes early-stage Linkin Park, with heavy effects in the vocal track. Even “Fade” sounds like late-stage Linkin Park with its piano-driven melody and slow-build verses. This is meant as props, by the way. Linkin Park is one of those bands I spent a lot of time listening to. Minutes to Midnight especially.

This LP uses a writing method that I assume I’m only noticing now that I’m paying more attention to composition. A song will use the first five seconds or so to introduce the main riff motif, then drop it to build the verse; when it’s time for the chorus, the riff will either be brought back as the primary element, or it will be taken by the lead guitar while a separate progression is played. I noticed this in Breaking Benjamin’s latest, Ember, and I think it’s a slick little notation for these kinds of tunes. You could call it foreshadowing in a way. There’s also the track “Patient” which spends the first third or so setting up the melody and chord tones only. The full band joins in at about halfway so that both guitar parts can power chord their way through the progression that’s already been established. Pretty clean writing.

I like this record and this band. I didn’t love every song like on the self-titled album but Erase The Pain does have some winners on it. Palisades has a sound that works for them. Catchy tunes that don’t lose their kick. I’m not picky with my musical palette. This is really the only thing I ask for. They supplied that so I look forward to their next project.

Crate Diving: Episode 2 | Ariana Grande - thank u, next

I have long thought that Ariana Grande had power in the pony tail. The young lady has had a relative strangle hold on the pop music scene for the last few years and with each release her music has gotten progressively more subversive and mature. She’s one of a few select artists that could subsist entirely on making hit songs and performing them to her leisure. All of these things are true and yet that wasn’t enough to keep her from releasing a new full-length LP half a year after her breakout Sweetener. Spoilers now: this album is better.

I want to talk about my three favorite songs on this record but first, I’ll set the vibe for those who haven’t listened. I pondered and pondered which album I was listening to. Hers, obviously, but it sounded so familiar and I didn’t know why.

The first few songs I thought maybe it was Timberlake-esque. Specifically, The 20/20 Experience – a pop record with an R&B/Soul sensibility. “A good choice!” I thought. Then, I listened further. It hit me then. I am a dummy, you see. This is not a JT record. It’s an Ariana record with a Weeknd state of mind.

No, that isn’t a typo. I haven’t done a full review of The Weeknd’s Starboy cut. I should, because it’s awesome, but right now the focus is the connection I made. The two artists have very different tastes and styles (and have collaborated before) but thank u, next visits a lot of the same themes. It’s a super moody, sometimes dark, record about love and loss, varying levels of commitment to relationships, the challenging and depressing aspects of international fame. Ariana contends with it all in a very adult manner.

“7 Rings” does well to set the scene for the whole album. It was meticulously constructed by a crack team of producers to be a club bop. Layered thick with synth and drum machines like the rest of this album (or pop music for that matter).

This song’s narrative is a reflective commentary by Ariana about the compulsion to spend one’s problems away. That reflection turns inward as she thinks she might be happier if she can spoil her friends with her habit. This is exactly her plan; she happens to be a very wealthy celebrity, so things go off without a hitch.

This is the first of a few tracks that take the ‘Suffering From Success’ trope exploited by so many of her male counterparts and veer the ship off-course. Yes, fame and fortune have their downsides, some days are worse than other, but she is still leading a very charmed life and has been since she was a teenager. Money can’t buy happiness, but it can buy lots of clothes, b.

“Bloodline” is my favorite track by far. On the surface, it’s your typical friend with benefits song. Listen a bit longer, you get to see the flip side of the mood on the track “Needy.” The only “needy” Ariana might be is needy of her space.

Don’t want you in my/bloodline, yeah

Just wanna have a/good time, yeah

And no need to/apologize, no

But you gon’ have to/let this shit go

Don’t take it personal, homie. It’s not you. It’s not about you, either. An itch needed to be scratched. And now it has been, and you can go. I’m a big fan of people in general reclaiming their agency. For the past year or so, Grande was involved in a long-term relationship, then a break-up, then an engagement, then another break-up. All of it very public. Part of the narrative each time was of her as a clingy, co-dependent lover despite her being a bigger star than either of her exes. She’s an even bigger star now. Tying herself down to any kind of committed relationship understandably es no bueno.

The card is subject to change, though. If such a case were to occur, do follow her instruction: “break up with your girlfriend, i’m bored.”

Having listened to the whole album a few times, I have decided this is my pick for best track. It’s got a fun, danceable beat where Grande employs the almost-rapping-but-still-clearly-singing vocalization she’s been using of late. It works here, because the very tone of the song is confident, even aggressive. A thread progresses that sees the artist freely explore its Hashtag Problematic nature.

You could say I’m/hatin’ if you want to

But I only hate on her/cause I want you

Say I’m trippin’/if you feel like

But you without me ain’t right

She’s calling her shot, basically. She’s rich, she’s famous, she’s bored. She would like a companion. She doesn’t want you to cheat; she’s not a monster. Break up with her, hop in the whip and leave the party with the singer you just met five minutes ago. It happens!

If it sounds crass it’s because it is. To remember where she came from, you would have to track Ariana Grande’s path from a young age as a performer. Most notably, a TV show where she had a recurring role, followed by another TV show where she had a starring role. Her singing range was common knowledge by then. When she began to make music, it largely reflected her position in life.

Her earlier music is light and airy bubble gum pop more suited for the girls (and boys) of her age group. Kids that mostly grew up with her. She enters adulthood. She matures. The music matures with her as does her fanbase. It leaves less explaining and hand-wringing to do when topics of love and sex are further explored. She doesn’t have to ask her peeps if they want trap beats and 808s because the question is rhetorical. Imagine the release of being a grown adult who can shed all ties and say, “I want that one.” There’s a cleverness behind “breakup with your girlfriend” being the final track.

This is my favorite Ariana Grande album. Good news for me as it is also the best Ariana Grande album. It’s bold and energetic and never boring. The title track and “NASA” are maybe my two least liked. And they’re both still pretty good. Even beside this, she is a beautiful singer to listen to. Has been for some time. They only let her sing so many times on Victorious and you see why. On a show full of talented people, it’s very difficult to hide the clear best. Just show a flash of their true skill and it’s game over. thank u, next feels like the beginning of an artist realizing their potential and the music scene is better for it.