---

---

To the field of yellow, 

With primrose rolling near. 

But darkness absorbed the haven.

The falsehoods that seemed sincere.

My little house burst into a fiery haze. 

I hope the smoke will stay today. 

---

On my final night,

White flowers were placed at the edge of each breath.

The town you built, 

Should never have been.

Just a sick child, waiting for their final wind,

I bid you a fond farewell, my dearest friend. 

Anticipating listeners filled the Aisle 5 concert venue in Little Five Points on a cold Saturday night. The quaint and intimate room was consumed by fluorescent lights and the music of the opening band Dinner Time, whose sound is a perfect blend of Mac DeMarco and Pool House. When their set ended, the crowd audibly grew in excitement as the duo Hotel Fiction took the stage and began their first concert since returning home to Atlanta. “There is nothing like playing in a city that feels like home to us,” lead singer and songwriter Jade Long shouted as she took the stage.

Hotel Fiction, which consists of Long and Jessica Thompson, finds it challenging to categorize their music into any one genre. It is an effortless mix of indie-pop, with the prominent use of the keyboard and upbeat, daydreamy lyrics, and hints of alternative rock with Thompson’s heavy use of the drums and electric guitar. Hotel Fiction songs convey what it feels like to be young and lost: However tumultuous it may seem, there is a beauty within this uncertainty. The audience screamed along to each song, filled with nostalgia, bliss and longing, as if every person could relate to the shared heartbreak the duo portrayed in their lyrics.

The artists played popular songs from their debut album “Soft Focus”: “Astronaut Kids,” “Out of my Head” and “Think Twice,” as well as unreleased songs such as “Man on the Moon,” which left the crowd excited for the future of Hotel Fiction. They ended the night with a cover of “All These Things That I’ve Done” by The Killers, which did immense justice to the original song. The audience danced with one another, screaming and chanting, “If you can’t hold on, hold on,” as the night came to an end.

Hotel Fiction began as the dream of college-aged Long and Thompson. The two were introduced through mutual friends and described the formation of their duo as puzzle pieces beautifully and seamlessly falling into place. After a month of writing demos and planning to release music, a college friend asked them to perform their first show. They wrote the majority of their debut album in anticipation of the performance. “It was the most magical night and overall experience. We met our producer, Tommy Trautwein, there, and then we knew that we could do this for real,” Long stated, as their dreams shifted towards their reality.

Long dedicates a lot of her journey to people she met along the way. Not only Thompson, but her friends and family supported her through the transition from an eager college student to an upcoming artist. She referred to her song “Steady” as a descriptor of this period of time, which states, “All I need is some company, someone that can keep this boat steady.” “It is all about friends, and it is all about needing someone,” Long said.

It was difficult for Long to reply when asked about the most prized line she had written. “All of them are special on their own; they all share such a special experience,” Long said. In the end, she chose the bridge of the band’s most well-known song, “Astronaut Kid,” a song that resonates with many other college students, including myself. The upbeat tune is about learning to love the current version of yourself, rather than saving your love until after you have achieved every aspiration. “You do not need to be better than the person you are at this moment. As long as you have the people you love, I do not need to be an astronaut in space. I am happy to be here,” said Long.

The duo hopes for their career to continue to grow in the future. Along with releasing new music, their next step is filming their first music video. “I have so many ideas in my head that I am excited about. I am so ready for this next step,” Long said.

In all, I am immensely grateful to have met and seen Hotel Fiction. Not only was their show captivating, with great energy and acoustics, but their interactions with their fans were also one of my favorite qualities. Both them and their opener Dinner Time stayed until the very end of the night and were willing and excited to answer mine or other concert-goers’ questions. Much like Hotel Fiction themselves, the concert was filled with heart and joy. I look forward to seeing what’s to come of two girls with a dream and an astronomical amount of talent.

Anticipating listeners filled the Aisle 5 concert venue in Little Five Points on a cold Saturday night. The quaint and intimate room was consumed by fluorescent lights and the music of the opening band Dinner Time, whose sound is a perfect blend of Mac DeMarco and Pool House. When their set ended, the crowd audibly grew in excitement as the duo Hotel Fiction took the stage and began their first concert since returning home to Atlanta. “There is nothing like playing in a city that feels like home to us,” lead singer and songwriter Jade Long shouted as she took the stage.

Hotel Fiction, which consists of Long and Jessica Thompson, finds it challenging to categorize their music into any one genre. It is an effortless mix of indie-pop, with the prominent use of the keyboard and upbeat, daydreamy lyrics, and hints of alternative rock with Thompson’s heavy use of the drums and electric guitar. Hotel Fiction songs convey what it feels like to be young and lost: However tumultuous it may seem, there is a beauty within this uncertainty. The audience screamed along to each song, filled with nostalgia, bliss and longing, as if every person could relate to the shared heartbreak the duo portrayed in their lyrics.

The artists played popular songs from their debut album “Soft Focus”: “Astronaut Kids,” “Out of my Head” and “Think Twice,” as well as unreleased songs such as “Man on the Moon,” which left the crowd excited for the future of Hotel Fiction. They ended the night with a cover of “All These Things That I’ve Done” by The Killers, which did immense justice to the original song. The audience danced with one another, screaming and chanting, “If you can’t hold on, hold on,” as the night came to an end.

Hotel Fiction began as the dream of college-aged Long and Thompson. The two were introduced through mutual friends and described the formation of their duo as puzzle pieces beautifully and seamlessly falling into place. After a month of writing demos and planning to release music, a college friend asked them to perform their first show. They wrote the majority of their debut album in anticipation of the performance. “It was the most magical night and overall experience. We met our producer, Tommy Trautwein, there, and then we knew that we could do this for real,” Long stated, as their dreams shifted towards their reality.

Long dedicates a lot of her journey to people she met along the way. Not only Thompson, but her friends and family supported her through the transition from an eager college student to an upcoming artist. She referred to her song “Steady” as a descriptor of this period of time, which states, “All I need is some company, someone that can keep this boat steady.” “It is all about friends, and it is all about needing someone,” Long said.

It was difficult for Long to reply when asked about the most prized line she had written. “All of them are special on their own; they all share such a special experience,” Long said. In the end, she chose the bridge of the band’s most well-known song, “Astronaut Kid,” a song that resonates with many other college students, including myself. The upbeat tune is about learning to love the current version of yourself, rather than saving your love until after you have achieved every aspiration. “You do not need to be better than the person you are at this moment. As long as you have the people you love, I do not need to be an astronaut in space. I am happy to be here,” said Long.

The duo hopes for their career to continue to grow in the future. Along with releasing new music, their next step is filming their first music video. “I have so many ideas in my head that I am excited about. I am so ready for this next step,” Long said.

In all, I am immensely grateful to have met and seen Hotel Fiction. Not only was their show captivating, with great energy and acoustics, but their interactions with their fans were also one of my favorite qualities. Both them and their opener Dinner Time stayed until the very end of the night and were willing and excited to answer mine or other concert-goers’ questions. Much like Hotel Fiction themselves, the concert was filled with heart and joy. I look forward to seeing what’s to come of two girls with a dream and an astronomical amount of talent.

I used to envelop myself in promise. The natural endowments and contemplations provided by the Kingdom of Uneven Odds. When I was born, I brought a golden-yellow light into the world with me. It hung in the sky, among the tall trees. It was not dim before my arrival, yet day by day, it mended marrows and replenished souls. It was a relief. After I took my first breath, the kingdom pronounced me a decent life in return for the light. Every day and night, the town held me tight, like a blanket. It pulled me in close, and the breeze murmured, “Remain a few moments longer.”

The land gave me a mother, who let me know the affection she felt for me. She was an adoring woman. The town gave me all that it had, but most importantly, it gave me her. It gave me a home that never needed to be settled or improved. It gave me a garden to lay in, to watch the gleam I released to the world. It gave me a guarantee that I would never need to address what this life would bring. For I knew, my flicker was still among the people and that gave me a reason to wake each morning.

Before resting, my mother murmured the account of broken birds she saw on the side of the road. With a frail voice, I asked, “how would they live?” My mother revealed to me that “no creature was genuinely broken. They may be weak, however, in their bones laid your yellow light that would re-mend their spirits like nesting dolls, there would always be another existence within.” She whispered, “They never asked for nursing nor help, they needed to battle their own civil wars, alone.” With a fragile heart, I thought, what an existence to live, or even what a demise to encounter. I found it disheartening that the one with quality, always seemed to shout that broken birds should endure. When she left my room, I prayed to this town, to never break my bones, nor my spirit. The trees outside of my open window sang the quiet sorrow of me receiving a good life.

There were many tales this town couldn’t tell me, but only time could. And the ticking clock did, it strolled down an endless path of impeccable spirits, and chose mine to be the one to diminish. Time stole the wind that trailed in my lungs. The blood that once pumped within my veins. It stole the admiration my mother once had for me. It dimmed the guarantee and the light. In the Kingdom of Uneven Odds, the mists sobbed through my final days and they held me more tightly than they did before. The breeze, in the grass, sang melodies, and ballads, beseeching me to linger a few minutes longer. For the endmost time, I pleaded my despair, to not break my spirit nor bones. The kingdom quickly echoed “it won’t hurt any longer.”

While my soul was slowly inching away, my mother began to see me as any other raven or crow sitting on the edge of the avenues. On my last night, she enveloped me in fleece and laid me in the field, which I had only recounted in bedtime stories. It was cold when she laid me down, silent shudders went through my little toes. I didn’t cry a word, yet looked into her eyes, and saw that she felt no dismay. I smiled at her and bid a fond farewell. She stroked my cheek, kissed my temple, and pronounced me hers, never again.

That night, I lay in a constant field of rotten grass and broken flesh. I lay with the Storks, the Eagles, and millions of flightless birds. I cried to the Crows that I felt tired, and the Ravens responded they felt the same. With the last breath, I said thank you to this town, for adoring my flawed bits. With a last cry, I said sorry to my mother, for becoming one with the ashes, of a million broken birds. 

Renaissance poet Robbert Herrick notably portrays the accounts of women’s femininity and sexuality in an unequivocal and evocative manner. Scholar David Landrum deliberated the modes of inspiration that influenced Herrick’s perception of femininity in his essay, “Robert Herrick and the Ambiguities of Gender,” declaring the poet’s primary affluence to be the paradoxical standards of women throughout the Renaissance era. Herrick did not solely receive this perception by observing the contradicting beliefs of two primary groups that governed ideological beliefs. The Catholic and Protestant Churches and the Cult of Virgin, but also many powerful women that he was affiliated with, such as his widowed mother, who had a vastly independent spirit. A primary view of various Christan Churches was that women were subordinate to men and that their value lay within them being domestic figures; on the other hand, the Virgin Cult deduced the “transcendence of womanhood,” disregarding male superiority (Landrum, 1). The two juxtaposing expectations of women caused a double-coding, in which it was merely impossible to succeed in both parties’ expectations. Within these prominent beliefs throughout this seventeenth century, Landrum argues that Herrick does not distinctly affiliate with either of these ideologies yet has a “progressive stance” towards women empowerment through portraying women outside the merits of society’s standards, depicting them in a sexually explicit manner, and outside the romantic perception of femininity.
One primary poem in which these distinctions are intertwined is “Upon the Loss of Mistresses,” the second poem in the Hesperides series. The author playfully and facetiously lists his many mistresses and connotes them with their defining attributes in this poem, varying forth the whiteness of Athena’s complexion to the wit and mind of Corrina. Landrum claims that because Herrick’s subject matter and dedicates the majority of this collection to women, it signifies their powerful stance in Herrick’s perception, notably Julia, who has over six poems devoted to her. Furthermore, these women “defy the restrictions of the day”: through their attributes and general portrayal in three distinct techniques (Landrum, 17). First, they opposed gender expectations devoted to women in the seventieth century, existed as sexual personas, and lastly, challenged social expectations. Herrick constructed their qualities through the seamless combination of imagined and real women, amplifying their power beyond patriarchal limitations and giving them realistic attributes. The mistress’s sexuality is progressive because although he does subject them to the sexual entities, it “does not diminish and relegate them to a prescribed role,” such as mother or wife that was highly enforced, giving women a new-found autonomy. In the judgment of Landrum, these women lie outside the constructs of class division and do not have a distinct stratum of life; therefore, they are free to do as they wish. Herrick’s calculated use of sexualization and autonomy evokes progressive respect toward women, contrasts the ambiguous placement of women in society, and gives them a defined purpose.
Assessment
Herrick illustrates women outside the realm of common Renaissance society not only through their individual qualities but also through the way he describes them as a whole. “Upon the loss of His Mistresses” initiates by prescribing these women as “dainty mistresses,” which could have two defined meanings: one, that they are delicate and beautiful, or that they are generally fastidious creatures (Herrick line 2). The plausible interpretations contrast one another, but they have one primary similarity of them both lying in the beliefs of the Christian Church. As noted by Landrum, it was prevalent for mothers and wives to be attentive and support the household while being visibly beautiful and vocally meek. These qualities that Herrick stated are intertwined with those beliefs relating to women being domestic figures. This is yet another way in which Herrick depicts the fickle societal stance of women. Although they are meant to be ever-present and controlling in the household, they are still expected to be passive, subordinate, and focused on enhancing their beauty.
Another primary argument of Landrum is that the sexualization of women was progressive or liberal; Herrick’s intent contrasts their essence in society as mothers and wives. Distinctly, although as a modern audience, it is difficult to distinguish the process of objecting to the various mistresses as progressive. Herrick does not confine these women as stoic wives and mothers and instead portrays femininity’s turbulent and ever-changing nature. The poet emphasizes Corrina’s intelligence and capability to highlight and vocalize her opinions. However, he idolized the fairness and delicate features of Athena, which is a standard mode of alluding to a woman’s sexuality through sonnets. Even if noting one of the mistress’s intelligence, the progressive statement does not seldom negate the presence of objectification in general. The opposition to women’s suppression is not sexualization; it is empowerment, which is not a present belief emphasized in Herrick’s collection. Landrum stated that “the softness and passivity that was also seen as proper social status for women ” was prevalent in the works of Herrick (Landrum, 16). However, it was seemingly complemented by the virtuosity and strength of these mistresses. Although Herrick does empower women’s minds in minor respects, he confides them and emphasizes their beauty and sexuality, which is not progressive, merely contrasting the beliefs of the seventeenth century. Opposition to an ideal is not equivalent to the correct stance. Women Reinsurance poets such as Katherine Phillips depicted femininity insightfully and robustly without sexualization, bringing progressive ideals. Although Herrick’s work contests the beliefs of the seventeenth century, his ideas are not ‘progressive.’
Lastly, the distinctions of Herrick’s progressive sentiment towards femininity should be assessed in his notably most sexually explicit and feminine poem, “the Vine.” The poem describes the speaker’s erotic dream of becoming a vine intertwined with his love, Lucia. In the erotic nature of this poem, there is no commendation of her morality or cleverness, only her physical and sexual prowess. Herrick illustrates her “long, small legs,” “her belly buttocks, and her waist” (Herrick lines 5-7). Yes, this poem is one of romance; therefore, it could only discuss her physicality; however, in the belief of Landrum, this is accompanied by her mental abilities and resistance to social norms. The poem that primarily discusses femininity and sexuality completely overlooks these qualities. Yet, there is ambiguity and conflict in how she is portrayed physically. The speaker is the vine, that gradually completely consumes his lover by curling “around her neck,” causing her to not “freely stir” (Herrick lines 14-17). The perception of Landrum is present, her imagery never relates to one of a mother or a wife, yet Lucia still has a distinct lack of autonomy; she is depicted as passive, while the speaker consumes her essence. Thus, further the stance of contrasts rather than progression.
Herrick utilizes the social presence and expectation of women to develop the personas of the women in his poetry, which does visualize the barriers of the Renaissance era, but does conform them to sexualization, arguably not a progressive stance towards women empowerment.

Work Cited
Landrum, David. “Robert Herrick and the Ambiguities of Gender.” Texas Studies in
Literature and Language, vol. 49, no. 2, 2007, pp. 181–207. JSTOR, https://login.proxy.library.emory.edu/login?qurl=https://www.jstor.org/stable/40755482. Accessed 3 Mar. 2022.

Renaissance poet Robbert Herrick notably portrays the accounts of women’s femininity and sexuality in an unequivocal and evocative manner. Scholar David Landrum deliberated the modes of inspiration that influenced Herrick’s perception of femininity in his essay, “Robert Herrick and the Ambiguities of Gender,” declaring the poet’s primary affluence to be the paradoxical standards of women throughout the Renaissance era. Herrick did not solely receive this perception by observing the contradicting beliefs of two primary groups that governed ideological beliefs. The Catholic and Protestant Churches and the Cult of Virgin, but also many powerful women that he was affiliated with, such as his widowed mother, who had a vastly independent spirit. A primary view of various Christan Churches was that women were subordinate to men and that their value lay within them being domestic figures; on the other hand, the Virgin Cult deduced the “transcendence of womanhood,” disregarding male superiority (Landrum, 1). The two juxtaposing expectations of women caused a double-coding, in which it was merely impossible to succeed in both parties’ expectations. Within these prominent beliefs throughout this seventeenth century, Landrum argues that Herrick does not distinctly affiliate with either of these ideologies yet has a “progressive stance” towards women empowerment through portraying women outside the merits of society’s standards, depicting them in a sexually explicit manner, and outside the romantic perception of femininity.
One primary poem in which these distinctions are intertwined is “Upon the Loss of Mistresses,” the second poem in the Hesperides series. The author playfully and facetiously lists his many mistresses and connotes them with their defining attributes in this poem, varying forth the whiteness of Athena’s complexion to the wit and mind of Corrina. Landrum claims that because Herrick’s subject matter and dedicates the majority of this collection to women, it signifies their powerful stance in Herrick’s perception, notably Julia, who has over six poems devoted to her. Furthermore, these women “defy the restrictions of the day”: through their attributes and general portrayal in three distinct techniques (Landrum, 17). First, they opposed gender expectations devoted to women in the seventieth century, existed as sexual personas, and lastly, challenged social expectations. Herrick constructed their qualities through the seamless combination of imagined and real women, amplifying their power beyond patriarchal limitations and giving them realistic attributes. The mistress’s sexuality is progressive because although he does subject them to the sexual entities, it “does not diminish and relegate them to a prescribed role,” such as mother or wife that was highly enforced, giving women a new-found autonomy. In the judgment of Landrum, these women lie outside the constructs of class division and do not have a distinct stratum of life; therefore, they are free to do as they wish. Herrick’s calculated use of sexualization and autonomy evokes progressive respect toward women, contrasts the ambiguous placement of women in society, and gives them a defined purpose.
Assessment
Herrick illustrates women outside the realm of common Renaissance society not only through their individual qualities but also through the way he describes them as a whole. “Upon the loss of His Mistresses” initiates by prescribing these women as “dainty mistresses,” which could have two defined meanings: one, that they are delicate and beautiful, or that they are generally fastidious creatures (Herrick line 2). The plausible interpretations contrast one another, but they have one primary similarity of them both lying in the beliefs of the Christian Church. As noted by Landrum, it was prevalent for mothers and wives to be attentive and support the household while being visibly beautiful and vocally meek. These qualities that Herrick stated are intertwined with those beliefs relating to women being domestic figures. This is yet another way in which Herrick depicts the fickle societal stance of women. Although they are meant to be ever-present and controlling in the household, they are still expected to be passive, subordinate, and focused on enhancing their beauty.
Another primary argument of Landrum is that the sexualization of women was progressive or liberal; Herrick’s intent contrasts their essence in society as mothers and wives. Distinctly, although as a modern audience, it is difficult to distinguish the process of objecting to the various mistresses as progressive. Herrick does not confine these women as stoic wives and mothers and instead portrays femininity’s turbulent and ever-changing nature. The poet emphasizes Corrina’s intelligence and capability to highlight and vocalize her opinions. However, he idolized the fairness and delicate features of Athena, which is a standard mode of alluding to a woman’s sexuality through sonnets. Even if noting one of the mistress’s intelligence, the progressive statement does not seldom negate the presence of objectification in general. The opposition to women’s suppression is not sexualization; it is empowerment, which is not a present belief emphasized in Herrick’s collection. Landrum stated that “the softness and passivity that was also seen as proper social status for women ” was prevalent in the works of Herrick (Landrum, 16). However, it was seemingly complemented by the virtuosity and strength of these mistresses. Although Herrick does empower women’s minds in minor respects, he confides them and emphasizes their beauty and sexuality, which is not progressive, merely contrasting the beliefs of the seventeenth century. Opposition to an ideal is not equivalent to the correct stance. Women Reinsurance poets such as Katherine Phillips depicted femininity insightfully and robustly without sexualization, bringing progressive ideals. Although Herrick’s work contests the beliefs of the seventeenth century, his ideas are not ‘progressive.’
Lastly, the distinctions of Herrick’s progressive sentiment towards femininity should be assessed in his notably most sexually explicit and feminine poem, “the Vine.” The poem describes the speaker’s erotic dream of becoming a vine intertwined with his love, Lucia. In the erotic nature of this poem, there is no commendation of her morality or cleverness, only her physical and sexual prowess. Herrick illustrates her “long, small legs,” “her belly buttocks, and her waist” (Herrick lines 5-7). Yes, this poem is one of romance; therefore, it could only discuss her physicality; however, in the belief of Landrum, this is accompanied by her mental abilities and resistance to social norms. The poem that primarily discusses femininity and sexuality completely overlooks these qualities. Yet, there is ambiguity and conflict in how she is portrayed physically. The speaker is the vine, that gradually completely consumes his lover by curling “around her neck,” causing her to not “freely stir” (Herrick lines 14-17). The perception of Landrum is present, her imagery never relates to one of a mother or a wife, yet Lucia still has a distinct lack of autonomy; she is depicted as passive, while the speaker consumes her essence. Thus, further the stance of contrasts rather than progression.
Herrick utilizes the social presence and expectation of women to develop the personas of the women in his poetry, which does visualize the barriers of the Renaissance era, but does conform them to sexualization, arguably not a progressive stance towards women empowerment.

Work Cited
Landrum, David. “Robert Herrick and the Ambiguities of Gender.” Texas Studies in
Literature and Language, vol. 49, no. 2, 2007, pp. 181–207. JSTOR, https://login.proxy.library.emory.edu/login?qurl=https://www.jstor.org/stable/40755482. Accessed 3 Mar. 2022.

The up-and-coming British rock group Black Country, New Road, released its post-punk album “Ants from Up There” in early February, leaving many of its listeners in a state of immense joy and inevitable sadness due to the group’s split after composing two albums together. Two weeks before the album’s release, the primary lyricist and lead singer of the group, Isaac Wood, published a statement confirming his resignation from the band. The remaining members intend to continue releasing music as a group although missing a vital part.

I did not know what a perfect album sounded like until I heard this record. The band composed a beautifully executed narrative of love and loss with bold lyricism and instrumentals reminiscent of Slint and Arcade Fire. Wood’s earth-shattering and idiosyncratic voice made me feel every single emotion despite the ambiguity of his lyrics. His voice is deep and somber, and it grows in moments of intensity to what resembles a strained scream. Although sadness surrounds his departure, Wood left an irreplaceable mark on modern art-rock music.

The album’s introduction, “Intro,” intertwines bright horns and heavy drum beats that reflect the boisterous execution of the later parts of the album. The following song, “Chaos Space Marine,” consists of the same explosive instrumentals and lyrically references the Concorde’s transcontinental travel, alluding to the prominence of stylistic appearance in a modern age and the general chaos that comes with relationships — especially ones that include members of the touring band. These two tracks build anticipation and tension, which ultimately highlight moments of calmness and catharsis at the end of the album.

The following, and notably one of the more sorrowful songs of the record, “Concorde,” describes the feeling of dissociation Wood encounters while traveling and gaining acclaim. The repetitive third-person phrase, “Isaac will suffer, Concorde will fly,” allows the listener to understand and sympathize with the lead singer. As Black Country, New Road continues to gain recognition and praise, it leads to a degree of isolation that concludes in agony. The underlying theme of “Concorde” is that of a destructive relationship. The singer is far more dedicated than the other party is and will do anything to gain their love. The line, “I was made to love you, can’t you tell,” underscores the desperation that is evident in the lyrics and the drum, electric guitar and saxophone of the ballad.

Continuing with the motif of strained relationships, “Bread Song” displays the necessary end to the compromised couple of “Concorde” and compares this feeling of loss to a bothersome bread crumb left on someone’s bed, one that the other partner never wanted there in the first place. The upbeat drum and guitar juxtaposed with the heartbreaking lyrics left me feeling empty in the end.

“Good Will Hunting,” “Haldern” and “Mark’s Theme” introduce a jazz influence new to Black Country, New Road’s work. The group’s effortless execution of this different style displays the group members’ versatility and immense talent. Although not consisting of the same earth-shattering lyricism as other tracks on the record, the songs continue the narrative swiftly toward its conclusion.

The half hour conclusion of the record, which consists of the tracks “The Place Where He Inserted the Blade,” “Snow Globes” and “Basketball Shoes,” is what defined this album for me. These songs contain the most enigmatic lyrics on “Ants from Up There.” The production and the manner in which Wood completely embodies the pain and sorrow in his poetry through the power in his voice paired with its versatile musicality truly entranced me. Instrumentally, the songs begin slowly with a light guitar and grow to outbursts of horns and intense drums. The final lines that Wood sings on the album, “Your generous loan to me, your crippling interest,” is one of my favorite lyrics of all time and made his departure from the group all the more understandable. In the perception of the lyricist, somewhere along the way, the creation of music and art seemed like a transaction, one that he was willing to give up.

This album allows listeners inside Wood’s mind, explaining his reason for leaving the band: production demands that overshadow the depth of the art. This idea is what many believe influenced the album’s title, “Ants from Up There.” The title is reminiscent of when you’re sitting in an airplane and you see everyone running around trying to find their way, like the moment of clarity that comes before the bittersweet conclusion as Black Country, New Road finds a different path to travel.

The up-and-coming British rock group Black Country, New Road, released its post-punk album “Ants from Up There” in early February, leaving many of its listeners in a state of immense joy and inevitable sadness due to the group’s split after composing two albums together. Two weeks before the album’s release, the primary lyricist and lead singer of the group, Isaac Wood, published a statement confirming his resignation from the band. The remaining members intend to continue releasing music as a group although missing a vital part.

I did not know what a perfect album sounded like until I heard this record. The band composed a beautifully executed narrative of love and loss with bold lyricism and instrumentals reminiscent of Slint and Arcade Fire. Wood’s earth-shattering and idiosyncratic voice made me feel every single emotion despite the ambiguity of his lyrics. His voice is deep and somber, and it grows in moments of intensity to what resembles a strained scream. Although sadness surrounds his departure, Wood left an irreplaceable mark on modern art-rock music.

The album’s introduction, “Intro,” intertwines bright horns and heavy drum beats that reflect the boisterous execution of the later parts of the album. The following song, “Chaos Space Marine,” consists of the same explosive instrumentals and lyrically references the Concorde’s transcontinental travel, alluding to the prominence of stylistic appearance in a modern age and the general chaos that comes with relationships — especially ones that include members of the touring band. These two tracks build anticipation and tension, which ultimately highlight moments of calmness and catharsis at the end of the album.

The following, and notably one of the more sorrowful songs of the record, “Concorde,” describes the feeling of dissociation Wood encounters while traveling and gaining acclaim. The repetitive third-person phrase, “Isaac will suffer, Concorde will fly,” allows the listener to understand and sympathize with the lead singer. As Black Country, New Road continues to gain recognition and praise, it leads to a degree of isolation that concludes in agony. The underlying theme of “Concorde” is that of a destructive relationship. The singer is far more dedicated than the other party is and will do anything to gain their love. The line, “I was made to love you, can’t you tell,” underscores the desperation that is evident in the lyrics and the drum, electric guitar and saxophone of the ballad.

Continuing with the motif of strained relationships, “Bread Song” displays the necessary end to the compromised couple of “Concorde” and compares this feeling of loss to a bothersome bread crumb left on someone’s bed, one that the other partner never wanted there in the first place. The upbeat drum and guitar juxtaposed with the heartbreaking lyrics left me feeling empty in the end.

“Good Will Hunting,” “Haldern” and “Mark’s Theme” introduce a jazz influence new to Black Country, New Road’s work. The group’s effortless execution of this different style displays the group members’ versatility and immense talent. Although not consisting of the same earth-shattering lyricism as other tracks on the record, the songs continue the narrative swiftly toward its conclusion.

The half hour conclusion of the record, which consists of the tracks “The Place Where He Inserted the Blade,” “Snow Globes” and “Basketball Shoes,” is what defined this album for me. These songs contain the most enigmatic lyrics on “Ants from Up There.” The production and the manner in which Wood completely embodies the pain and sorrow in his poetry through the power in his voice paired with its versatile musicality truly entranced me. Instrumentally, the songs begin slowly with a light guitar and grow to outbursts of horns and intense drums. The final lines that Wood sings on the album, “Your generous loan to me, your crippling interest,” is one of my favorite lyrics of all time and made his departure from the group all the more understandable. In the perception of the lyricist, somewhere along the way, the creation of music and art seemed like a transaction, one that he was willing to give up.

This album allows listeners inside Wood’s mind, explaining his reason for leaving the band: production demands that overshadow the depth of the art. This idea is what many believe influenced the album’s title, “Ants from Up There.” The title is reminiscent of when you’re sitting in an airplane and you see everyone running around trying to find their way, like the moment of clarity that comes before the bittersweet conclusion as Black Country, New Road finds a different path to travel.

The up-and-coming British rock group Black Country, New Road, released its post-punk album “Ants from Up There” in early February, leaving many of its listeners in a state of immense joy and inevitable sadness due to the group’s split after composing two albums together.

Two weeks before the album’s release, the primary lyricist and lead singer of the group, Isaac Wood, published a statement confirming his resignation from the band. The remaining members intend to continue releasing music as a group although missing a vital part.

I did not know what a perfect album sounded like until I heard this record. The band composed a beautifully executed narrative of love and loss with bold lyricism and instrumentals reminiscent of Slint and Arcade Fire. Wood’s earth-shattering and idiosyncratic voice made me feel every single emotion despite the ambiguity of his lyrics.

His voice is deep and somber, and it grows in moments of intensity to what resembles a strained scream. Although sadness surrounds his departure, Wood left an irreplaceable mark on modern art-rock music.

The album’s introduction, “Intro,” intertwines bright horns and heavy drum beats that reflect the boisterous execution of the later parts of the album. The following song, “Chaos Space Marine,” consists of the same explosive instrumentals and lyrically references the Concorde’s transcontinental travel, alluding to the prominence of stylistic appearance in a modern age and the general chaos that comes with relationships — especially ones that include members of the touring band. These two tracks build anticipation and tension, which ultimately highlight moments of calmness and catharsis at the end of the album.

The following, and notably one of the more sorrowful songs of the record, “Concorde,” describes the feeling of dissociation Wood encounters while traveling and gaining acclaim. The repetitive third-person phrase, “Isaac will suffer, Concorde will fly,” allows the listener to understand and sympathize with the lead singer. As Black Country, New Road continues to gain recognition and praise, it leads to a degree of isolation that concludes in agony. The underlying theme of “Concorde” is that of a destructive relationship. The singer is far more dedicated than the other party is and will do anything to gain their love. The line, “I was made to love you, can’t you tell,” underscores the desperation that is evident in the lyrics and the drum, electric guitar and saxophone of the ballad.

Continuing with the motif of strained relationships, “Bread Song” displays the necessary end to the compromised couple of “Concorde” and compares this feeling of loss to a bothersome bread crumb left on someone’s bed, one that the other partner never wanted there in the first place. The upbeat drum and guitar juxtaposed with the heartbreaking lyrics left me feeling empty in the end.

“Good Will Hunting,” “Haldern” and “Mark’s Theme” introduce a jazz influence new to Black Country, New Road’s work. The group’s effortless execution of this different style displays the group members’ versatility and immense talent. Although not consisting of the same earth-shattering lyricism as other tracks on the record, the songs continue the narrative swiftly toward its conclusion.

The half hour conclusion of the record, which consists of the tracks “The Place Where He Inserted the Blade,” “Snow Globes” and “Basketball Shoes,” is what defined this album for me. These songs contain the most enigmatic lyrics on “Ants from Up There.” The production and the manner in which Wood completely embodies the pain and sorrow in his poetry through the power in his voice paired with its versatile musicality truly entranced me. Instrumentally, the songs begin slowly with a light guitar and grow to outbursts of horns and intense drums. The final lines that Wood sings on the album, “Your generous loan to me, your crippling interest,” is one of my favorite lyrics of all time and made his departure from the group all the more understandable. In the perception of the lyricist, somewhere along the way, the creation of music and art seemed like a transaction, one that he was willing to give up.

This album allows listeners inside Wood’s mind, explaining his reason for leaving the band: production demands that overshadow the depth of the art. This idea is what many believe influenced the album’s title, “Ants from Up There.” The title is reminiscent of when you’re sitting in an airplane and you see everyone running around trying to find their way, like the moment of clarity that comes before the bittersweet conclusion as Black Country, New Road finds a different path to travel.

MacBook- The other device.

I took these images in the study lounge, where I spent most of my time, because it seemed fitting. Even with the brief description and blurb describing each image and the items I use daily, it still does not represent the immense amount of time and influence these items have on my daily life—three hours on one book and ten hours on my laptop. I spend most of my waking hours with these items, running around, trying to get everything done. One challenging element of this assignment with intertwining the image and the text. I used the caption box instead; I wanted to add the text around the pictures. Yes, this type of writing with the specific rhetorical situation of this blog post assignment.