Dogs smell different when they sleep

Santtu, Finland, born '92, ""accidentally aesthetic vain color-coordinating neutral-cool fuck"" according to sources. I don't even know what this blog is anymore; Star Trek and puppies are probably safe bets, but otherwise I make no promises. Sometimes I draw or write.

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    man, Other People’s Heartache Pt 4 really threw me for a loop, huh?

    Anyway, so two days ago I realized that they released an alternative version of Grip ft Seeb, the song which I said this about:

    I’m usually allergic to autotune, but these guys just know what to do with it, and it works. I mean I adore the live version of ‘Grip’ with the guitars that make it sound like early 2000s rock (again, perfectly tailored to me), but this version is just so, so good.

    So I listened to the alternative version, I yelled about it and specifically the self-deprecating little not-laugh Dan does at the first “oh, it grips me” to my understanding friends, and then I went to sleep.

    Then I woke up and texted the aforementioned friends that I was ready to expound upon my thoughts&feelings on this song and this version in particular, and under the cut are these, somewhat edited, thoughts&feelings

    My unedited thoughts? “Dan makes sexy noises with his mouth, which is horny”

    To understand even a little of what I’m tying to say, you’ll have to acquaint yourself with the live version from 2015, or thereabouts, the version with the undeniably early aughts vibes (I’m not going to talk about Kyle’s backing vocals, or Will’s for that matter, that’s just Too Much). The vibe of the song is- dare I say?- angry. If the song is about addiction, which I think is a fairly obvious read, this version is about being angry at yourself for not being able to call it a day.

    So why am I all up in arms about the other versions? It’s because the other versions radically change the song.

    Like obviously Dan is, from the start with the live version, edging toward the, what do we call it? Breathy falsetto thing? To emphasize some parts of the song. As I mentioned in my review thinkpiece word salad on OPH4, Seeb definitely knew what they were doing when they shot Dan’s voice up into the ether with the autotune, like they realized “oh, breathy falsetto for emphasis? Lets go ham, babes”. Dan has said it’s a bit different from what they usually do, but I hear the official release as, “replace early aughts rock vibes with a true to form electronic sound”. Good. Solid. Understandable choice.

    I think this official release makes for a smoother experience. It’s not angry, but it’s not exactly complacent either, you know what I mean?

    And then the alternative version.

    It could be called acoustic I guess? It’s scaled back, definitely. And it would’ve been easy, right, to lean on the original live version, bring in a heavy guitar for texture BUT they clearly made a choice to emphasize another sort of feeling, like, I want to say wistfulness, maybe?

    And just, for all Dan says he can’t act – maybe not with your FACE but fuck, man, the feelings he projects with his VOICE in this alternative version, like what the fuck. What the fuck?? I keep coming back to that self-deprecating not-laugh. It’s been days and I’m still upset about it.

    It’s like, okay, this is what I’m trying to say:

    The entire point of Other People’s Heartache is to cast songs in a new light to bring out new feelings, or just reveal a feeling that has always been in the song. And Dan did THAT with his own song, and I’m EMO about it

    Take a look, if you will, at this 2019 live version which is a FASCINATING intersection of all three versions I raved about (sans the backing vocals of Kyle and Will, boo). Note especially Dan’s final high note together with the preprogrammed autotune, which is the same as in the alternative version! I don’t know that I have anything resembling intelligent to say about it, [Marge Simpson voice]: I just think it’s neat

    it happened. i went on an passionate rant defending rpf to an actual person in real life


    To end a partnership is, in effect, to depart from the home you made in another person. The daily churn of the tour bus only compounds the problem. Constant travel makes real the emotional disorientation of divorce.

    really really proud of this new review i wrote for pitchfork about the tallest man on earth’s new record, the trauma of divorce, and how best to move through the world after the loss of a love