September 2, 2024 • 36 mins
Adam and Josh add some annotations and follow up to the Magdalena Bay Imaginal Disk review. They also discuss Liberty Media.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:30):
Oh yeah, would you listen to that.
Man, that is just such a nice sweet intro.
You know, let me turn that up again.
Let me listen to it again.
Oh.
Oh, that is just such a nice,
crunchy fucking little groove right there.
(00:50):
And it's brought to you by Millennial Frog,
the greatest artist that's better than Magdalena Bay.
You were, that's right, you were here first.
Don't shake your head no.
Don't shake your fucking head no.
Adam disagrees, but anyways, I'm Josh.
I'm technically the sidekick.
Adam's the main guy.
He's the man, the myth, and the legend, Adam.
(01:11):
Hey Adam.
Yeah, so this episode might be relatively short.
Just a few things to catch up on
before we start getting into more album reviews
for the future and possibly eviscerating ourselves
when we listen to Paris Hilton's album.
And then we have Ginger Root to follow up on
(01:33):
after we've been patched up
from our post-surgery experience.
After we put our guts back in after fucking ripping them out.
There's a scene in this anime called Shiguri Death Frenzy
where the guy fucking, he had done that to himself earlier
and he was trying to prove a point to somebody
about how horrible war is or fighting is,
(01:54):
and he fucking opens his fucking guts up
and his intestines literally just fall out.
That's what's gonna happen,
I think, when we listen to Paris Hilton.
But before we get into that,
if you wanna listen to more of our shit
you can go to gameragemagazine.com.
You can follow us on Instagram and TikTok
at gameragemagazine.
Twitter slash X at gameragemag,
YouTube, YouTube, YouTube, gameragemagazine.
Additionally, fucking A, you're already here listening.
(02:16):
I don't know why you're not following
at All Gas No Trash official.
Also, I don't know why if you are following
at All Gas No Trash,
why not you're also following Gamerage Magazine, god damn it.
Just fucking, we're all the same fucking thing,
just following, god damn it.
Also, if you like the animes and mangas,
you can go listen to the Anime Syndicate podcast
and you can follow our good buddy Frank
(02:37):
at anime underscore syndicate underscore podcast
on Instagram.
Please help him, he has low self esteem
and it really helps if you guys fucking rode that up.
That sounds in line with TikTok people on YouTube.
Yeah, they love making people feel good about themselves.
No, they like baiting people into getting follows and likes.
(02:59):
Oh, my shitty art, I can't sell any of it.
So then they give them a call to action.
Oh, there we go, perfect, we just did it.
Awesome, all right.
Also, speaking of calls to action,
if you like Star Wars,
go listen to the Game Rater Star Wars podcast.
We're screwing that back up again.
So, if you like Star Wars, go listen to it.
We're trying to get 15 downloads on the first episode
(03:20):
in the first seven days, which has already basically happened.
But we wanna see how high we can get the number.
So just go listen and see if you enjoy it.
And if you like Star Wars,
we're currently reading and reviewing
Darth Vader number one, the 2015 series,
which is post A New Hope, episode four.
And it is an absolute delight.
(03:40):
It is.
It's unequivocally fucking buzzing.
It is the most buzzing thing.
It does not have skibbity Ohio Riz.
That's panel to panel, if you wanna listen to that.
But anyways, just go to Game Rage Magazine on YouTube,
you can see all the bullshit that we do.
And it's wonderful, you'll love it, it's accurate.
Anyways, all right, that's the end of the plugs, I think.
(04:02):
All right, so just to recap
what has happened in the last week is,
well, post us throwing out this TikTok reel
of talking about Magdalena Bay's review,
or us reviewing Magdalena Bay's Imaginal Disc,
which I and Josh shared a similar opinion
as far as a score goes, we gave it,
(04:24):
well, I gave it a 7.5.
I gave it a seven.
Yeah, so somewhere in between that.
I think we split it on the middle,
we just say it's a 7.25.
Like, you know, I mean, that's pretty,
I think that's fair.
I'll stand by 7.5, so.
All right, well, I'll stand by seven then.
Two independent scores.
Yeah, very close though, it's basically the same thing.
Yeah, a centigrade higher, or a half step higher.
(04:46):
And apparently some of you did not receive that well.
The people that didn't receive that well,
I will say that video has gotten a lot of views,
and that episode has a lot of views.
And I mean, listen, we've only heard from maybe like
six people to say that, oh, that we're assholes.
Now, I wanna clarify something,
(05:07):
because a couple people brought up the point,
because I made a comment about our headphones.
And listen, I was being fucking facetious, all right?
These aren't actually like $6 headphones from Amazon.
They're fucking Sony.
I don't know what the model is,
but there's so many fucking headphones, all right?
I did, yes, I did buy them on Amazon, all right?
(05:27):
We're, is it great, and is it easy to find
wired fucking headphones that aren't $800?
No, it's not, because guess what?
I looked, I tried.
I looked everywhere.
I went on Amazon, I was trying to find them
in renewed format.
I did find some Sennheiser studio quality headphones,
(05:48):
like studio, like audiophile, whatever you wanna call it.
And even the renewed versions are like $140.
And I'm just like, I don't, I mean, we do,
I don't know how many album reviews
we're gonna have on the year,
but I mean, let's say we have like 12 or 15.
I don't know if it's fucking,
I don't know if we need to spend that kind of money
on headphones.
Sure, yes, eventually, I would like us to have
(06:11):
studio quality fucking headphones and shit.
But guess what, people?
This shit's expensive to do, all right?
We don't just have money lying around, all right?
We're providing you free entertainment.
Free.
And we don't ask for a single fucking dime.
So I'll tell you what I did do, though.
I did ask these guys on YouTube and on the social medias
(06:32):
that were making complaints about
the quality of the headphones.
I did ask them, hey, would you please,
whoops, I just spilled fucking water all over myself.
I asked them, hey, since you guys are bitching about,
(06:52):
you know, our choice in headphones,
could you please give me like two or three recommendations
for headphones that we should be listening,
or that we should be using?
And I will say this, not a single one of you fucking cowards
has replied and given me the goddamn fucking recommendation.
(07:16):
So it stands to reason that if you've got the balls
to make a complaint and say that we're assholes
for not using $800 studio quality headphones,
when I ask you for a recommendation to remedy that,
and you have no fucking response,
(07:37):
that tells me you're just full of shit
and you're just an asshole.
You just wanna complain to complain
because you didn't like what our review score was.
Because we didn't, listen, I gave that a fair fucking score.
I gave that a score that I thought was reasonable.
Adam gave it a score that he thought
was fair and reasonable.
So if you can't give me a reason as to why,
(07:58):
and that's what I think happened.
I think people that didn't like that
are just marks for Magdalena Bay,
and they couldn't figure out,
and they couldn't articulate a reason
why we didn't give this a 10 out of 10.
And the fact that they had no thing to pick on
other than, oh, it must've just been your shitty headphones.
Nah, yeah, I mean.
And then to not, like I said, to not even comment,
(08:19):
when I ask you for a recommendation,
point blank, and you reply, it's been days.
I've heard nothing, no response.
I replied to that comment within hours of it being posted,
all of those comments about the headphones,
and I asked every single one of those assholes,
what recommendations do you have?
Because give me some, and I will look into them.
Because if you wanna help me fix the problem
(08:41):
that you're complaining about, I will do it.
And then we'll go back and re-listen to the fucking album
with these new headphones.
And I swear to God, if I fucking give it the same score
or a less score or a lower score,
because the headphones, I'm gonna fuck,
you're gonna pay me for these fucking headphones.
But whatever, regardless,
you could at least give me a goddamn recommendation.
Couldn't even do that.
Couldn't even fucking do that, cowards.
Yeah, as far as the review goes, I mean,
(09:08):
how do I say this without discrediting what we say,
because we're not actually,
we're not fucking music critics.
We don't get paid for this shit.
We're just sharing our experience of the album,
whether it's good or bad.
And do we know the finer details of music,
all the techniques and technical terms
to describe every fucking thing?
I don't know all of them,
(09:29):
but I take my best shot of what I looked at online
in terms of looking up definitions for words.
Because I still don't know the difference
between an arpeggio and a scale.
I think a scale's played in order,
and then a fucking arpeggio is,
you play on a guitar, right?
You could start at the lowest end string,
(09:51):
like the bassier string.
Then you can make something like a scale,
but with different notes scattered everywhere.
And you can put them together.
And create that cool,
because that's what Magdalena Bay does
that I think is really cool.
When they climax their songs,
they just have these really euphoric sounds
(10:11):
happening in the background.
It's like fluttering, kind of.
I don't know how to describe it.
But in any case, I stand by what I said,
because I think there are a lot of songs on the album
that I felt personally just felt,
well, as the kids say, mid.
Yeah.
It was like the middle portion of the album
that I wasn't really all that interested in.
(10:32):
And I don't know what the number of songs
that I felt that.
But there were also songs that were just as many hits.
Image is a good song.
I could tell that was gonna be a single.
Cry For Me was a great song.
It felt like the band creatively
had extended themselves to the point,
oh shit, man, this is great.
(10:53):
This is a band reaching even higher
from what you would typically know about them,
like dabbling in different genres.
I mean, there's times they sound like Daft Punk
or Justice or even ABBA.
And I saw the fucking thing,
because we're gonna read the annotations for each song,
but for Cry For Me, somebody actually wrote ABBA.
(11:15):
It's something that was referenced,
I don't know if they got interviewed,
but they were like, oh yeah, ABBA was one thing
that was inspiration for them.
They were like, oh, we're gonna do a song
for that particular song or whatever.
But I still stand by what I said.
Whether that rubs people, I can't do anything about that.
I can't do anything about getting rubbed the wrong way.
(11:38):
That's just the way I feel about the music.
And I don't know, man, I just personally don't think
it's like the perfect album.
I think they did a lot of things creatively
that I was surprised by,
but some of the songs just fell flat.
Yeah, and I will say this.
I went out and looked at a bunch of other reviews and stuff,
and yes, you can tell that there are some
ball washing interviews that are just trying
(11:58):
to get in good with them and giving 10 out of 10,
but saying a lot of words, but not actually saying anything.
Oh my God, that shit is so fucking annoying
when they're genre blending,
they resurrected Jesus Christ through the music.
It's so- It has nothing to do with the fucking song.
And I will also say this.
(12:20):
We listened to it on the episode live
for the first time, right?
So this was our first initial gut reactions.
You got actual real fucking reactions from us.
You didn't get us, because a lot of these people,
I'll say this, we were very quick on the draw
on doing this review and putting it out.
And I do think that a lot of these other reviews came out
(12:43):
like a week later, like several days, many days after ours.
So these guys sat there and yeah,
maybe they listened to it four, five, six, seven times.
And we're able to, you know, oh, hear things maybe
that we didn't hear on the first go around, right?
But that's not what this music album reviews are for.
Our album reviews are to give you our initial
first reaction upon first listen.
(13:05):
This is what we think.
And again, I think our opinions are definitely valid.
They're not, they're not, you may disagree with them,
but they're not an invalid opinion.
And it's real.
There's no ball washing.
Nobody's telling us, nobody told us to review
fucking Magdalena Bay Imaginal Disc.
The only person that told us what to do was Adam.
Adam said, oh, hey, I want to review this.
(13:26):
Oh, sweet.
No one told them what the fuck to do.
No one said, hey man, here's a 40, here's a 50,
here's a 2000, let me fucking,
let me get you this review right quick.
Or it's, you know, it's quid pro quo in general.
And they're like, oh, we'll get you tickets for this
or we'll do this or that.
Or we'll feed you more artists and you get to review,
you get to be the first people that review them.
Yep.
We don't give you that shit. Nope.
And that's fucking fine,
because that keeps our opinion largely impartial.
(13:49):
Yeah, it's very impartial.
I would say it's the most impartial.
And it's the most impartial
because we're telling you upfront,
we ain't getting none of that shit.
And honestly, we're not gonna accept any of that shit.
And if we do accept that shit,
it'll be said at the beginning and it will say,
hey, we clearly told them that this review
is going to be based on our opinions and that's it.
(14:09):
None of this other shit you've maybe done for us
or whatever, which again, no one's done anything for us.
But I know that there's a lot of people that do reviews,
that they get shit and whatever,
and I'm not calling out name and names
doing any of that shit.
But with us, you get what you get.
This is real, right?
We're not horse shitting around
and trying to trick everybody.
Oh, pull the wool over people's eyes.
(14:30):
Yeah. It's a real opinion.
So people don't like that, cool, you don't like it.
And furthermore, regarding the album,
scattered, brained, whatever fucking,
it just ends up happening anyways.
What are you gonna do?
Well, it's because we don't script these
because we're not fucking assholes.
Man, there was, okay, so the album,
(14:50):
I could tell they were kind of going,
I don't know, I guess what you would call progressive rock.
Because there was a lot of,
I mean, they've had synthesizers in their music
pretty much since the beginning, I think.
And there was synthesizer solos that went on
for I think a minute or an extended period of time.
I'm like, I don't know if this is necessary.
And it would be at the end to extend the song too.
(15:14):
And it's, all right, guys, we get it.
Yeah, it's almost somewhat obnoxious.
I think you could call it somewhat obnoxious
because it's like, we know you're talented,
we know you can do this.
Can you do it in 15 seconds?
But I also get it in the sense that an artist
wants to do what they want to do
and us responding to it is like,
well, we still did it anyway because this is our art.
(15:35):
We did it for us.
I'm like, yeah, I get that.
But in terms of being a consumer,
this shit went on a little bit too long or something.
Yeah.
And that's part of the criticism.
That's part of the deal of us talking about the music
is we're gonna point out things that we don't like.
Yeah, yeah.
Although I will say largely by large,
(15:56):
as far as the lyrics and the concept of
this whole imaginal disc thing,
the story of it is very cool to talk about
different versions of yourself through this disc.
And then I guess there's this overarching story
of romance and shit and how,
(16:18):
it looks like it's kind of like a,
I don't know if it's a breakup album,
but this person is ascending to a higher plane of existence
or a higher idealized versions of themselves
and they're leaving behind somebody because this relationship
has now become a burden.
And in order to get to the higher version of themselves,
they kind of have to leave this person and the past behind.
(16:43):
And it's also cool how they did certain things,
which I talked about on the episode
about resetting yourself,
that you can change who you are even after a relationship.
You don't have to keep making the same mistakes
or doing the same things.
You can reset yourself or whatever.
To talk about that in the figure of a computer
or hardware of a computer, things like that.
(17:07):
I think it's cool.
It is cool.
And one of the things someone pointed out was that
we should have listened to the album backwards.
And I'm like, okay.
But how the fuck were we supposed to know that?
I do think there's, okay.
Cause that was talked about within the music itself
about two-way mirrors.
So you could talk about the disc being one side
of the story and the other side being,
(17:31):
I don't know if you noticed,
but the first song talked about these two kids
that were in a warring state
and the other one was some other perspective.
We worked our way backwards,
or rather we worked our way through the album.
And then if you play it backwards,
it might have a different context.
I don't know.
There's just a lot of shit that they did creatively
(17:52):
in terms of the lyrics and saying things like that.
I'm like, dude, who else is thinking of this shit?
This is why I'm giving it bonus points.
This is why I think it's cool.
So I guess we could work our way through the annotations
that people have written on Genius
just to get a better idea.
We're gonna go song by song.
And I'll go ahead and read the excerpts
that have been written about the songs from the start of it.
(18:15):
And I will preface in saying that the song bio
has been unreviewed.
So it's not been validated by other people
to say that this has in fact been the case,
but this is what somebody has been extracted
or extrapolated from, I don't know what source.
So the first song that we have is,
She Looked Like Me.
(18:36):
And written in the annotation,
track one off of Magdalena Bay's sophomore studio album,
She Looked Like Me introduces listeners
to the concept of idealized self,
which is explored throughout the album.
So I think, I mean, we kind of got that idea.
At first, the protagonist interprets her ideal self
through the context of her family history
(18:56):
and her country's expectations of success.
So I'm guessing, I mean, has Argentina been
in like a warring state?
I don't fucking know.
I mean, I'm sure they've had some sort of,
you know, not, what is it?
Not revolution, but like-
Strife?
Yeah, I mean, it's kind of like,
I don't know if it's their world country
(19:17):
or maybe a second world country.
I don't know.
Anyways, the protagonist is introduced to her doppelganger,
oh, doppelganger, okay,
who seems to embody all of these qualities of success
she herself is lacking,
referring to possibly Mika, who's the vocalist,
but she's telling the story as if it's a separate person.
Throughout Imaginal Dis, the protagonist tries to unify
(19:39):
with the ideal self and the true blue therapeutic process.
True blue being in quotes, so,
I guess like the honest version of herself
and her idealized version, like uniting, I suppose.
So then we move on to the second track,
which is Killing Time,
and what is written is track,
(20:00):
track two off of Magdalena Bay's sophomore album,
Killing Time sees Mika taking a dodge from the old idiom,
counting sheep to pastime,
unable to sleep as she feels as if she has spent her,
spent all her years dreaming.
The protagonist is waiting for her ideal life to begin,
the one she was destined for as determined
(20:21):
by the expectations of her family and country.
This was not what I was expecting.
I mean, we kind of got that idea,
but I thought it was about romance.
I thought it was, okay.
Who's writing this shit?
Is it just some assholes or is it from them?
(20:42):
Because honestly, if it's just some assholes
making shit up, it's their interpretation.
How do we know that's like the correct interpretation?
Well, it's a genius annotation.
So, I don't know if it's like official,
but I mean, they're talking about it
as if they had interviewed them
and saying that they went through the album
and they talked about each of the tracks.
All right, so we're just assuming this is the official.
(21:04):
Yeah, we're assuming this is the official.
Interpretation or whatever.
But there are people that take a specific lyric
and then contribute their own analysis,
which is like their own shit.
But this is a proper, like its own fucking thing.
So, I'm under the impression
that these are two independent things.
Okay.
So, we just did Killing Time.
(21:27):
Now we, True Blue Interlude.
So, I'm guessing this is referencing to the doppelganger
or whatever the true version.
Let's see, oh shit.
Okay.
Track three off of Magdalena Bay's sophomore studio album,
True Blue Interlude,
introduces the idea of true blue therapeutic process,
a procedure of unknown origins
that is supposed to rewire the protagonist's entire self
(21:49):
that she may realize her true potential.
The song is reminiscent of self help,
inspirational tapes popularized in the late 20th century,
depicted in the album cover art and music videos.
This therapy is performed by inserting a disc
directly to the forehead.
So, then we move on to Image,
(22:09):
which is one of the singles that was released.
And teased originally on the 3rd of July,
track off of Magdalena Bay's sophomore studio album,
Image, will be featuring itself on the upcoming album.
Oh shit.
In the context of Imaginal Disc,
the protagonist has begun the true blue therapeutic process,
which promises to rewire her brain
(22:29):
so that she can finally be her ideal self.
Image illustrates the ideal self
that the protagonist will embody upon completion
of the therapeutic process.
The self is identified by society at large
through the character of the doctor.
I'm guessing I had to watch the music video tender,
get a better idea of that.
Let's see, track five, Death and Romance.
(22:55):
The first single off the upcoming album
serves as the fifth track of the album
in which the duo once again retrace their synth roots
and that's it?
Okay, not really much said there.
Let's see, track six, Fear Sex.
Track six off of Magdalena Bay's
(23:17):
sophomore studio album, Fear and Sex.
It is Mika's fear that she has been left in the war
of that her doppelganger left behind
with the alternative fearing too
that the original will die alone.
Oh, so we're talking about like
the different versions of herself.
Vampire in the Corner
(23:40):
sees Mika being avoidant due to the fear
of having her heartbroken, obsessing also over
marking it with fear, okay.
Let's see, Watching TV.
Watching TV.
Magdalena Bay's.
(24:01):
So are they getting this from the music videos too or?
I guess.
Watching TV takes a dodge from 2000 based fear
that television rots your brain
and ultimately releases your darkest emotions
through so-called monsters, all right.
Track nine.
(24:26):
Track nine.
Sonically the track is Glistening Synth Pop,
okay that didn't add anything.
Track nine.
I don't think it added anything.
All right.
(24:48):
Genius.
Track 10, Love is Everywhere
quite literally takes from the title.
Love is in fact ever breaking away from the avoidance
of the vampire in track seven,
which we kind of already knew that.
Track 11, shit, there's,
this is having a lot of fucking fun.
(25:08):
Feeling disconcerted is an interlude with Mika
acknowledges the power of the internet
going so far as to call it an angel, okay.
So the angel was.
The internet.
The internet.
For information or something like that.
Because people can connect through the internet
and get to know each other better
and so she considers it an angel.
The term disconcerted is also a double entendre
I kind of figured, meaning both dis-inserted
(25:30):
and disconcerted the word D-I-S-C-O-N-C-E-R-T-E-D
getting at the sci-fi and fantastical nature
of the album itself.
I thought that was fucking cool.
Yeah.
That's definitely something where I gave him bonus points for.
That's my floor.
The single, the one we probably think is the best track.
Okay, I'm not even gonna read this.
(25:51):
I just wanna quickly say that I think this song
has also a double entendre
because that's my floor implying that
she's going to the next version of herself, right?
Like if it's at some higher level.
And that's my floor meaning
I won't accept anything less for myself.
Yeah.
So let's see what they actually say about the fucking song.
(26:13):
They say absolutely nothing.
Wow, thanks a lot, genius, you fucking idiots.
Cry For Me, okay, let's see what Cry For Me says.
When asked in a Vulture interview about Cry For Me,
singer Mika Tenenbaum remarks that it is one of those songs
written from the perspective of the character
who's a villain.
Oh, she is a villain.
So she fucks off from the guy.
(26:34):
And is on her journey of wanting absolution,
expression that aligns with the song's rather forlorn
reflections on absolution and forgiveness.
Matthew Lewin notes that a portion of the song
is inspired from multiple places such as Jenison.
Fuck, that's the one, not Justice, fucking idiot.
And Abba's Dancing Queen.
So those are like the musical inspirations for the track.
(26:57):
Why did I say Justice?
I don't know.
Anyways, Angel on a Satellite.
So I don't know if that's referring to the internet
on a satellite.
I'm sure it is because that's what was mentioned about.
What?
Talking about Starlink.
Avoiding the power of the angel,
she falls into submission from its power.
(27:19):
I don't know what it says about that.
I don't know.
It's a rather short annotation.
And the last track, Mika, the ballad of Matt and Mika
serves as the album's closer.
Unlike the distinctive loop found on their debut album,
Mercurial World, this ends more as an open-ended question
while still creating an end to the story.
Interpolating the first track, however,
(27:41):
much more dissonant in terms of production to the first.
Somebody just wrote that.
So that is like in summary, the annotations people,
or rather what has been written about the annotations
for the album itself, I guess the only thing
that I was really confused about while we were listening
(28:02):
to the album is if this was more story-driven
about a romance, and it seems more it's about this character's
own journey about their own personal identity
with a romance thrown in.
Right, right.
And then, so now that we've kinda gotten that wrapped up
as far as any loose ends for the album review,
(28:24):
one thing that we had mentioned was talking about
this company called Liberty Media, which was,
well, they seem to own a lot of shit.
And I did look up a few things,
because I was curious if this person was telling the truth,
which you can listen on to the last episode as far as what,
like this comment that had been written on Reddit,
(28:45):
but Liberty Media owns Live Nation Ticketmaster SiriusXM,
and at one point they ended up owning
a portion of iHeartRadio.
So conceivably, they controlled every portion
of how one would develop an artist.
Yeah.
They owned Terrestrial Radio, a portion of Terrestrial,
(29:09):
they used to, because I looked it up, I was curious.
And they used to own a portion of iHeartRadio,
but in 2021 they sold everything.
So they used to have the Terrestrial Radio leg
within their holdings, I suppose.
Yeah.
But the fact that they own Live Nation and Ticketmaster
(29:30):
means they own numerous venues,
and they have promotion across the state in general.
SiriusXM, I mean, I don't know how much it contributes
to developing artists, but I imagine it does,
because there are channels, or rather radio stations
within XM Radio that are dedicated
to certain genres and shit.
(29:51):
So I don't know, what do you have to say about that?
That kind of seems like these guys kind of own
the entire process of potentially every leg
that an artist goes through in their own journey
as a developer.
So they control the fucking game,
when you can surmise.
(30:13):
Yeah, I mean, they're the largest,
the single largest shareholder in Live Nation, basically.
They own 35%, which is a lot.
And I mean, if you look at the list of owners
of Liberty Era, Live Nation, it's like BlackRock and fuck.
There's like a bunch of rich assholes
(30:34):
that basically own fucking Live Nation.
And Live Nation basically owns, like you said,
every aspect of an artist's career.
They own small clubs,
they own the mid-sized places, they own fucking arenas,
they own not only that, but they own the distribution
of music, they own the management of artists,
(30:55):
they own the merchandise, they own ticketing,
they own all of it.
And they, like, that's the thing.
If you piss off Live Nation,
you're just gonna be fucking assed out,
because COVID fucked all that up,
as we did that whole episode talking about that,
where they went around and bought up
(31:15):
all the fucking smaller venues.
Not technically, but I mean, like,
they bought the majority. 49% or something.
Yeah, they buy 51% of it and say,
okay, cool, just don't tell anybody.
And then, you know, it's like, hey,
if you're a Live Nation artist, you get to
do whatever you want.
Do whatever you want.
We're gonna open the door for you.
So.
And just to note, Liberty Media is owned,
(31:38):
like, the largest majority stake,
and I think it actually is owned by one person.
This is John C. Malone guy.
Yeah.
And it's like, holy fuck,
how does one person own so much shit?
In addition to that, which was mentioned
on the previous episode,
he owns, like, fucking Formula One racing,
bunch of shit, dude.
Like, at one point.
(31:59):
Yeah, MotoGP, Formula One, fuck,
they own a lot of shit.
I mean, they literally, like you said,
SiriusXM Satellite Radio, they own 83% of that shit.
You know, they have a lot of stake in a lot of things.
They did use, they also used to own
the Atlanta Braves, too.
Yeah, and numerous, like, television channels
(32:21):
and different media.
I mean, man, when you're talking about,
I guess what you could say is, like,
conglomerate to own all this shit, man.
Man, if you were just within the,
an arm's reach as an artist,
like, surrounding all this shit,
like, if you could just get within Live Nation,
you're pretty much fucking made,
(32:41):
which is probably, like, why I could extrapolate
why the Marias ended up going with whatever,
that mic management,
because if they're owned by Live Nation,
they're fucking made, dude.
Like, they're gonna be playing all the venues
that they could fill out, potentially.
I don't know, I don't think they're an arena act,
but the larger theaters, like,
that's all within their reach.
(33:01):
And you're also gonna get the promotion
that goes behind that, the advertising
that goes to support that.
Because that's really all it is, it's the machine.
Once the machine gets behind you, you're fucking straight.
And then the ticket master shit is just bullshit,
because, dude, just from my own personal experience,
like, the tickets that I've bought for concerts,
(33:22):
the fees that are tacked onto the tickets themselves, dude,
they're twice as much as the fucking ticket.
Like, it's fucking wack.
So it's like, they have a monopoly on ticketing services,
so, like, that shouldn't need to be broken up,
so that we get to buy shit at reasonable prices
and not these bots and things that allow you
(33:42):
to purchase the ticket at a resale value
that you couldn't even afford.
It's fucking horrendous, so.
Anyways, this shit sucks.
It's a pain in the ass to independent venues and artists
that the game is basically rigged.
And it's so much harder to get into the music industry,
(34:04):
and now it's even harder knowing that companies
like Live Nation and Ticketmaster and SiriusXM
are owned by one person, so it's like,
all right, well, are we gonna let this unknown artist
play at a Live Nation venue,
or are we gonna have one of our hundreds
and hundreds of artists, perhaps even thousands,
over this dickhead?
Nah, let's go with, I'd rather just keep the money
(34:27):
within our own little circle or circuit, so.
Yeah, that's what they do.
Just the nature of the beast, anyway.
Anyways, to summarize this episode,
or rather to conclude the episode,
we will be having more album reviews on the way,
which is Paris Hilton's album.
I don't know why we're listening to that.
(34:47):
Mainly it started out as a joke,
but then we were like, ah, fuck it, let's do it.
Yeah, so it's not gonna be a serious one.
We're just gonna kinda have fun with it.
Or, man, maybe there'll be a plot twist,
and it actually is fucking amazing, who knows?
Yeah, who the fuck knows?
But maybe one of us is gonna tap out,
and maybe there'll be a consequence.
Oh, yeah. We haven't decided on that.
Yeah, yeah.
(35:07):
But following that, Ginger Root comes out with his album,
which I think is gonna be fucking awesome,
and that'll be the following week, September 13th,
and it's gonna be a good time, so that'll end the episode.
All right, if you wanna listen to our other shit,
you can go to gameragemagazine.com,
you can follow us on Instagram and TikTok
at gameragemagazine, Twitter, slash, X at gameragemag,
YouTube, YouTube, YouTube, gameragemagazine.
(35:29):
You can follow Adam at allgasnotrashofficial
on Instagram.
If you wanna listen to some anime,
go listen to Anime Syndicate,
and follow Frank at anime underscore syndicate
underscore podcast, and maybe go check out panel to panel,
or maybe go check out Game Rage Star Wars,
or maybe go check out one of the many other fucking
75 different podcasts we have for you to listen to.
So, all right.
He's getting, okay.
(35:50):
That's it. End the episode.
That's it.
We'll catch you on the next one.
All right.
Oh yeah, would you listen to that.
Man, that is just such a nice sweet intro.
You know, let me turn that up again.
Let me listen to it again.
Oh.
Oh, that is just such a nice,
crunchy fucking little groove right there.
(00:50):
And it's brought to you by Millennial Frog,
the greatest artist that's better than Magdalena Bay.
You were, that's right, you were here first.
Don't shake your head no.
Don't shake your fucking head no.
Adam disagrees, but anyways, I'm Josh.
I'm technically the sidekick.
Adam's the main guy.
He's the man, the myth, and the legend, Adam.
(01:11):
Hey Adam.
Yeah, so this episode might be relatively short.
Just a few things to catch up on
before we start getting into more album reviews
for the future and possibly eviscerating ourselves
when we listen to Paris Hilton's album.
And then we have Ginger Root to follow up on
(01:33):
after we've been patched up
from our post-surgery experience.
After we put our guts back in after fucking ripping them out.
There's a scene in this anime called Shiguri Death Frenzy
where the guy fucking, he had done that to himself earlier
and he was trying to prove a point to somebody
about how horrible war is or fighting is,
(01:54):
and he fucking opens his fucking guts up
and his intestines literally just fall out.
That's what's gonna happen,
I think, when we listen to Paris Hilton.
But before we get into that,
if you wanna listen to more of our shit
you can go to gameragemagazine.com.
You can follow us on Instagram and TikTok
at gameragemagazine.
Twitter slash X at gameragemag,
YouTube, YouTube, YouTube, gameragemagazine.
Additionally, fucking A, you're already here listening.
(02:16):
I don't know why you're not following
at All Gas No Trash official.
Also, I don't know why if you are following
at All Gas No Trash,
why not you're also following Gamerage Magazine, god damn it.
Just fucking, we're all the same fucking thing,
just following, god damn it.
Also, if you like the animes and mangas,
you can go listen to the Anime Syndicate podcast
and you can follow our good buddy Frank
(02:37):
at anime underscore syndicate underscore podcast
on Instagram.
Please help him, he has low self esteem
and it really helps if you guys fucking rode that up.
That sounds in line with TikTok people on YouTube.
Yeah, they love making people feel good about themselves.
No, they like baiting people into getting follows and likes.
(02:59):
Oh, my shitty art, I can't sell any of it.
So then they give them a call to action.
Oh, there we go, perfect, we just did it.
Awesome, all right.
Also, speaking of calls to action,
if you like Star Wars,
go listen to the Game Rater Star Wars podcast.
We're screwing that back up again.
So, if you like Star Wars, go listen to it.
We're trying to get 15 downloads on the first episode
(03:20):
in the first seven days, which has already basically happened.
But we wanna see how high we can get the number.
So just go listen and see if you enjoy it.
And if you like Star Wars,
we're currently reading and reviewing
Darth Vader number one, the 2015 series,
which is post A New Hope, episode four.
And it is an absolute delight.
(03:40):
It is.
It's unequivocally fucking buzzing.
It is the most buzzing thing.
It does not have skibbity Ohio Riz.
That's panel to panel, if you wanna listen to that.
But anyways, just go to Game Rage Magazine on YouTube,
you can see all the bullshit that we do.
And it's wonderful, you'll love it, it's accurate.
Anyways, all right, that's the end of the plugs, I think.
(04:02):
All right, so just to recap
what has happened in the last week is,
well, post us throwing out this TikTok reel
of talking about Magdalena Bay's review,
or us reviewing Magdalena Bay's Imaginal Disc,
which I and Josh shared a similar opinion
as far as a score goes, we gave it,
(04:24):
well, I gave it a 7.5.
I gave it a seven.
Yeah, so somewhere in between that.
I think we split it on the middle,
we just say it's a 7.25.
Like, you know, I mean, that's pretty,
I think that's fair.
I'll stand by 7.5, so.
All right, well, I'll stand by seven then.
Two independent scores.
Yeah, very close though, it's basically the same thing.
Yeah, a centigrade higher, or a half step higher.
(04:46):
And apparently some of you did not receive that well.
The people that didn't receive that well,
I will say that video has gotten a lot of views,
and that episode has a lot of views.
And I mean, listen, we've only heard from maybe like
six people to say that, oh, that we're assholes.
Now, I wanna clarify something,
(05:07):
because a couple people brought up the point,
because I made a comment about our headphones.
And listen, I was being fucking facetious, all right?
These aren't actually like $6 headphones from Amazon.
They're fucking Sony.
I don't know what the model is,
but there's so many fucking headphones, all right?
I did, yes, I did buy them on Amazon, all right?
(05:27):
We're, is it great, and is it easy to find
wired fucking headphones that aren't $800?
No, it's not, because guess what?
I looked, I tried.
I looked everywhere.
I went on Amazon, I was trying to find them
in renewed format.
I did find some Sennheiser studio quality headphones,
(05:48):
like studio, like audiophile, whatever you wanna call it.
And even the renewed versions are like $140.
And I'm just like, I don't, I mean, we do,
I don't know how many album reviews
we're gonna have on the year,
but I mean, let's say we have like 12 or 15.
I don't know if it's fucking,
I don't know if we need to spend that kind of money
on headphones.
Sure, yes, eventually, I would like us to have
(06:11):
studio quality fucking headphones and shit.
But guess what, people?
This shit's expensive to do, all right?
We don't just have money lying around, all right?
We're providing you free entertainment.
Free.
And we don't ask for a single fucking dime.
So I'll tell you what I did do, though.
I did ask these guys on YouTube and on the social medias
(06:32):
that were making complaints about
the quality of the headphones.
I did ask them, hey, would you please,
whoops, I just spilled fucking water all over myself.
I asked them, hey, since you guys are bitching about,
(06:52):
you know, our choice in headphones,
could you please give me like two or three recommendations
for headphones that we should be listening,
or that we should be using?
And I will say this, not a single one of you fucking cowards
has replied and given me the goddamn fucking recommendation.
(07:16):
So it stands to reason that if you've got the balls
to make a complaint and say that we're assholes
for not using $800 studio quality headphones,
when I ask you for a recommendation to remedy that,
and you have no fucking response,
(07:37):
that tells me you're just full of shit
and you're just an asshole.
You just wanna complain to complain
because you didn't like what our review score was.
Because we didn't, listen, I gave that a fair fucking score.
I gave that a score that I thought was reasonable.
Adam gave it a score that he thought
was fair and reasonable.
So if you can't give me a reason as to why,
(07:58):
and that's what I think happened.
I think people that didn't like that
are just marks for Magdalena Bay,
and they couldn't figure out,
and they couldn't articulate a reason
why we didn't give this a 10 out of 10.
And the fact that they had no thing to pick on
other than, oh, it must've just been your shitty headphones.
Nah, yeah, I mean.
And then to not, like I said, to not even comment,
(08:19):
when I ask you for a recommendation,
point blank, and you reply, it's been days.
I've heard nothing, no response.
I replied to that comment within hours of it being posted,
all of those comments about the headphones,
and I asked every single one of those assholes,
what recommendations do you have?
Because give me some, and I will look into them.
Because if you wanna help me fix the problem
(08:41):
that you're complaining about, I will do it.
And then we'll go back and re-listen to the fucking album
with these new headphones.
And I swear to God, if I fucking give it the same score
or a less score or a lower score,
because the headphones, I'm gonna fuck,
you're gonna pay me for these fucking headphones.
But whatever, regardless,
you could at least give me a goddamn recommendation.
Couldn't even do that.
Couldn't even fucking do that, cowards.
Yeah, as far as the review goes, I mean,
(09:08):
how do I say this without discrediting what we say,
because we're not actually,
we're not fucking music critics.
We don't get paid for this shit.
We're just sharing our experience of the album,
whether it's good or bad.
And do we know the finer details of music,
all the techniques and technical terms
to describe every fucking thing?
I don't know all of them,
(09:29):
but I take my best shot of what I looked at online
in terms of looking up definitions for words.
Because I still don't know the difference
between an arpeggio and a scale.
I think a scale's played in order,
and then a fucking arpeggio is,
you play on a guitar, right?
You could start at the lowest end string,
(09:51):
like the bassier string.
Then you can make something like a scale,
but with different notes scattered everywhere.
And you can put them together.
And create that cool,
because that's what Magdalena Bay does
that I think is really cool.
When they climax their songs,
they just have these really euphoric sounds
(10:11):
happening in the background.
It's like fluttering, kind of.
I don't know how to describe it.
But in any case, I stand by what I said,
because I think there are a lot of songs on the album
that I felt personally just felt,
well, as the kids say, mid.
Yeah.
It was like the middle portion of the album
that I wasn't really all that interested in.
(10:32):
And I don't know what the number of songs
that I felt that.
But there were also songs that were just as many hits.
Image is a good song.
I could tell that was gonna be a single.
Cry For Me was a great song.
It felt like the band creatively
had extended themselves to the point,
oh shit, man, this is great.
(10:53):
This is a band reaching even higher
from what you would typically know about them,
like dabbling in different genres.
I mean, there's times they sound like Daft Punk
or Justice or even ABBA.
And I saw the fucking thing,
because we're gonna read the annotations for each song,
but for Cry For Me, somebody actually wrote ABBA.
(11:15):
It's something that was referenced,
I don't know if they got interviewed,
but they were like, oh yeah, ABBA was one thing
that was inspiration for them.
They were like, oh, we're gonna do a song
for that particular song or whatever.
But I still stand by what I said.
Whether that rubs people, I can't do anything about that.
I can't do anything about getting rubbed the wrong way.
(11:38):
That's just the way I feel about the music.
And I don't know, man, I just personally don't think
it's like the perfect album.
I think they did a lot of things creatively
that I was surprised by,
but some of the songs just fell flat.
Yeah, and I will say this.
I went out and looked at a bunch of other reviews and stuff,
and yes, you can tell that there are some
ball washing interviews that are just trying
(11:58):
to get in good with them and giving 10 out of 10,
but saying a lot of words, but not actually saying anything.
Oh my God, that shit is so fucking annoying
when they're genre blending,
they resurrected Jesus Christ through the music.
It's so- It has nothing to do with the fucking song.
And I will also say this.
(12:20):
We listened to it on the episode live
for the first time, right?
So this was our first initial gut reactions.
You got actual real fucking reactions from us.
You didn't get us, because a lot of these people,
I'll say this, we were very quick on the draw
on doing this review and putting it out.
And I do think that a lot of these other reviews came out
(12:43):
like a week later, like several days, many days after ours.
So these guys sat there and yeah,
maybe they listened to it four, five, six, seven times.
And we're able to, you know, oh, hear things maybe
that we didn't hear on the first go around, right?
But that's not what this music album reviews are for.
Our album reviews are to give you our initial
first reaction upon first listen.
(13:05):
This is what we think.
And again, I think our opinions are definitely valid.
They're not, they're not, you may disagree with them,
but they're not an invalid opinion.
And it's real.
There's no ball washing.
Nobody's telling us, nobody told us to review
fucking Magdalena Bay Imaginal Disc.
The only person that told us what to do was Adam.
Adam said, oh, hey, I want to review this.
(13:26):
Oh, sweet.
No one told them what the fuck to do.
No one said, hey man, here's a 40, here's a 50,
here's a 2000, let me fucking,
let me get you this review right quick.
Or it's, you know, it's quid pro quo in general.
And they're like, oh, we'll get you tickets for this
or we'll do this or that.
Or we'll feed you more artists and you get to review,
you get to be the first people that review them.
Yep.
We don't give you that shit. Nope.
And that's fucking fine,
because that keeps our opinion largely impartial.
(13:49):
Yeah, it's very impartial.
I would say it's the most impartial.
And it's the most impartial
because we're telling you upfront,
we ain't getting none of that shit.
And honestly, we're not gonna accept any of that shit.
And if we do accept that shit,
it'll be said at the beginning and it will say,
hey, we clearly told them that this review
is going to be based on our opinions and that's it.
(14:09):
None of this other shit you've maybe done for us
or whatever, which again, no one's done anything for us.
But I know that there's a lot of people that do reviews,
that they get shit and whatever,
and I'm not calling out name and names
doing any of that shit.
But with us, you get what you get.
This is real, right?
We're not horse shitting around
and trying to trick everybody.
Oh, pull the wool over people's eyes.
(14:30):
Yeah. It's a real opinion.
So people don't like that, cool, you don't like it.
And furthermore, regarding the album,
scattered, brained, whatever fucking,
it just ends up happening anyways.
What are you gonna do?
Well, it's because we don't script these
because we're not fucking assholes.
Man, there was, okay, so the album,
(14:50):
I could tell they were kind of going,
I don't know, I guess what you would call progressive rock.
Because there was a lot of,
I mean, they've had synthesizers in their music
pretty much since the beginning, I think.
And there was synthesizer solos that went on
for I think a minute or an extended period of time.
I'm like, I don't know if this is necessary.
And it would be at the end to extend the song too.
(15:14):
And it's, all right, guys, we get it.
Yeah, it's almost somewhat obnoxious.
I think you could call it somewhat obnoxious
because it's like, we know you're talented,
we know you can do this.
Can you do it in 15 seconds?
But I also get it in the sense that an artist
wants to do what they want to do
and us responding to it is like,
well, we still did it anyway because this is our art.
(15:35):
We did it for us.
I'm like, yeah, I get that.
But in terms of being a consumer,
this shit went on a little bit too long or something.
Yeah.
And that's part of the criticism.
That's part of the deal of us talking about the music
is we're gonna point out things that we don't like.
Yeah, yeah.
Although I will say largely by large,
(15:56):
as far as the lyrics and the concept of
this whole imaginal disc thing,
the story of it is very cool to talk about
different versions of yourself through this disc.
And then I guess there's this overarching story
of romance and shit and how,
(16:18):
it looks like it's kind of like a,
I don't know if it's a breakup album,
but this person is ascending to a higher plane of existence
or a higher idealized versions of themselves
and they're leaving behind somebody because this relationship
has now become a burden.
And in order to get to the higher version of themselves,
they kind of have to leave this person and the past behind.
(16:43):
And it's also cool how they did certain things,
which I talked about on the episode
about resetting yourself,
that you can change who you are even after a relationship.
You don't have to keep making the same mistakes
or doing the same things.
You can reset yourself or whatever.
To talk about that in the figure of a computer
or hardware of a computer, things like that.
(17:07):
I think it's cool.
It is cool.
And one of the things someone pointed out was that
we should have listened to the album backwards.
And I'm like, okay.
But how the fuck were we supposed to know that?
I do think there's, okay.
Cause that was talked about within the music itself
about two-way mirrors.
So you could talk about the disc being one side
of the story and the other side being,
(17:31):
I don't know if you noticed,
but the first song talked about these two kids
that were in a warring state
and the other one was some other perspective.
We worked our way backwards,
or rather we worked our way through the album.
And then if you play it backwards,
it might have a different context.
I don't know.
There's just a lot of shit that they did creatively
(17:52):
in terms of the lyrics and saying things like that.
I'm like, dude, who else is thinking of this shit?
This is why I'm giving it bonus points.
This is why I think it's cool.
So I guess we could work our way through the annotations
that people have written on Genius
just to get a better idea.
We're gonna go song by song.
And I'll go ahead and read the excerpts
that have been written about the songs from the start of it.
(18:15):
And I will preface in saying that the song bio
has been unreviewed.
So it's not been validated by other people
to say that this has in fact been the case,
but this is what somebody has been extracted
or extrapolated from, I don't know what source.
So the first song that we have is,
She Looked Like Me.
(18:36):
And written in the annotation,
track one off of Magdalena Bay's sophomore studio album,
She Looked Like Me introduces listeners
to the concept of idealized self,
which is explored throughout the album.
So I think, I mean, we kind of got that idea.
At first, the protagonist interprets her ideal self
through the context of her family history
(18:56):
and her country's expectations of success.
So I'm guessing, I mean, has Argentina been
in like a warring state?
I don't fucking know.
I mean, I'm sure they've had some sort of,
you know, not, what is it?
Not revolution, but like-
Strife?
Yeah, I mean, it's kind of like,
I don't know if it's their world country
(19:17):
or maybe a second world country.
I don't know.
Anyways, the protagonist is introduced to her doppelganger,
oh, doppelganger, okay,
who seems to embody all of these qualities of success
she herself is lacking,
referring to possibly Mika, who's the vocalist,
but she's telling the story as if it's a separate person.
Throughout Imaginal Dis, the protagonist tries to unify
(19:39):
with the ideal self and the true blue therapeutic process.
True blue being in quotes, so,
I guess like the honest version of herself
and her idealized version, like uniting, I suppose.
So then we move on to the second track,
which is Killing Time,
and what is written is track,
(20:00):
track two off of Magdalena Bay's sophomore album,
Killing Time sees Mika taking a dodge from the old idiom,
counting sheep to pastime,
unable to sleep as she feels as if she has spent her,
spent all her years dreaming.
The protagonist is waiting for her ideal life to begin,
the one she was destined for as determined
(20:21):
by the expectations of her family and country.
This was not what I was expecting.
I mean, we kind of got that idea,
but I thought it was about romance.
I thought it was, okay.
Who's writing this shit?
Is it just some assholes or is it from them?
(20:42):
Because honestly, if it's just some assholes
making shit up, it's their interpretation.
How do we know that's like the correct interpretation?
Well, it's a genius annotation.
So, I don't know if it's like official,
but I mean, they're talking about it
as if they had interviewed them
and saying that they went through the album
and they talked about each of the tracks.
All right, so we're just assuming this is the official.
(21:04):
Yeah, we're assuming this is the official.
Interpretation or whatever.
But there are people that take a specific lyric
and then contribute their own analysis,
which is like their own shit.
But this is a proper, like its own fucking thing.
So, I'm under the impression
that these are two independent things.
Okay.
So, we just did Killing Time.
(21:27):
Now we, True Blue Interlude.
So, I'm guessing this is referencing to the doppelganger
or whatever the true version.
Let's see, oh shit.
Okay.
Track three off of Magdalena Bay's sophomore studio album,
True Blue Interlude,
introduces the idea of true blue therapeutic process,
a procedure of unknown origins
that is supposed to rewire the protagonist's entire self
(21:49):
that she may realize her true potential.
The song is reminiscent of self help,
inspirational tapes popularized in the late 20th century,
depicted in the album cover art and music videos.
This therapy is performed by inserting a disc
directly to the forehead.
So, then we move on to Image,
(22:09):
which is one of the singles that was released.
And teased originally on the 3rd of July,
track off of Magdalena Bay's sophomore studio album,
Image, will be featuring itself on the upcoming album.
Oh shit.
In the context of Imaginal Disc,
the protagonist has begun the true blue therapeutic process,
which promises to rewire her brain
(22:29):
so that she can finally be her ideal self.
Image illustrates the ideal self
that the protagonist will embody upon completion
of the therapeutic process.
The self is identified by society at large
through the character of the doctor.
I'm guessing I had to watch the music video tender,
get a better idea of that.
Let's see, track five, Death and Romance.
(22:55):
The first single off the upcoming album
serves as the fifth track of the album
in which the duo once again retrace their synth roots
and that's it?
Okay, not really much said there.
Let's see, track six, Fear Sex.
Track six off of Magdalena Bay's
(23:17):
sophomore studio album, Fear and Sex.
It is Mika's fear that she has been left in the war
of that her doppelganger left behind
with the alternative fearing too
that the original will die alone.
Oh, so we're talking about like
the different versions of herself.
Vampire in the Corner
(23:40):
sees Mika being avoidant due to the fear
of having her heartbroken, obsessing also over
marking it with fear, okay.
Let's see, Watching TV.
Watching TV.
Magdalena Bay's.
(24:01):
So are they getting this from the music videos too or?
I guess.
Watching TV takes a dodge from 2000 based fear
that television rots your brain
and ultimately releases your darkest emotions
through so-called monsters, all right.
Track nine.
(24:26):
Track nine.
Sonically the track is Glistening Synth Pop,
okay that didn't add anything.
Track nine.
I don't think it added anything.
All right.
(24:48):
Genius.
Track 10, Love is Everywhere
quite literally takes from the title.
Love is in fact ever breaking away from the avoidance
of the vampire in track seven,
which we kind of already knew that.
Track 11, shit, there's,
this is having a lot of fucking fun.
(25:08):
Feeling disconcerted is an interlude with Mika
acknowledges the power of the internet
going so far as to call it an angel, okay.
So the angel was.
The internet.
The internet.
For information or something like that.
Because people can connect through the internet
and get to know each other better
and so she considers it an angel.
The term disconcerted is also a double entendre
I kind of figured, meaning both dis-inserted
(25:30):
and disconcerted the word D-I-S-C-O-N-C-E-R-T-E-D
getting at the sci-fi and fantastical nature
of the album itself.
I thought that was fucking cool.
Yeah.
That's definitely something where I gave him bonus points for.
That's my floor.
The single, the one we probably think is the best track.
Okay, I'm not even gonna read this.
(25:51):
I just wanna quickly say that I think this song
has also a double entendre
because that's my floor implying that
she's going to the next version of herself, right?
Like if it's at some higher level.
And that's my floor meaning
I won't accept anything less for myself.
Yeah.
So let's see what they actually say about the fucking song.
(26:13):
They say absolutely nothing.
Wow, thanks a lot, genius, you fucking idiots.
Cry For Me, okay, let's see what Cry For Me says.
When asked in a Vulture interview about Cry For Me,
singer Mika Tenenbaum remarks that it is one of those songs
written from the perspective of the character
who's a villain.
Oh, she is a villain.
So she fucks off from the guy.
(26:34):
And is on her journey of wanting absolution,
expression that aligns with the song's rather forlorn
reflections on absolution and forgiveness.
Matthew Lewin notes that a portion of the song
is inspired from multiple places such as Jenison.
Fuck, that's the one, not Justice, fucking idiot.
And Abba's Dancing Queen.
So those are like the musical inspirations for the track.
(26:57):
Why did I say Justice?
I don't know.
Anyways, Angel on a Satellite.
So I don't know if that's referring to the internet
on a satellite.
I'm sure it is because that's what was mentioned about.
What?
Talking about Starlink.
Avoiding the power of the angel,
she falls into submission from its power.
(27:19):
I don't know what it says about that.
I don't know.
It's a rather short annotation.
And the last track, Mika, the ballad of Matt and Mika
serves as the album's closer.
Unlike the distinctive loop found on their debut album,
Mercurial World, this ends more as an open-ended question
while still creating an end to the story.
Interpolating the first track, however,
(27:41):
much more dissonant in terms of production to the first.
Somebody just wrote that.
So that is like in summary, the annotations people,
or rather what has been written about the annotations
for the album itself, I guess the only thing
that I was really confused about while we were listening
(28:02):
to the album is if this was more story-driven
about a romance, and it seems more it's about this character's
own journey about their own personal identity
with a romance thrown in.
Right, right.
And then, so now that we've kinda gotten that wrapped up
as far as any loose ends for the album review,
(28:24):
one thing that we had mentioned was talking about
this company called Liberty Media, which was,
well, they seem to own a lot of shit.
And I did look up a few things,
because I was curious if this person was telling the truth,
which you can listen on to the last episode as far as what,
like this comment that had been written on Reddit,
(28:45):
but Liberty Media owns Live Nation Ticketmaster SiriusXM,
and at one point they ended up owning
a portion of iHeartRadio.
So conceivably, they controlled every portion
of how one would develop an artist.
Yeah.
They owned Terrestrial Radio, a portion of Terrestrial,
(29:09):
they used to, because I looked it up, I was curious.
And they used to own a portion of iHeartRadio,
but in 2021 they sold everything.
So they used to have the Terrestrial Radio leg
within their holdings, I suppose.
Yeah.
But the fact that they own Live Nation and Ticketmaster
(29:30):
means they own numerous venues,
and they have promotion across the state in general.
SiriusXM, I mean, I don't know how much it contributes
to developing artists, but I imagine it does,
because there are channels, or rather radio stations
within XM Radio that are dedicated
to certain genres and shit.
(29:51):
So I don't know, what do you have to say about that?
That kind of seems like these guys kind of own
the entire process of potentially every leg
that an artist goes through in their own journey
as a developer.
So they control the fucking game,
when you can surmise.
(30:13):
Yeah, I mean, they're the largest,
the single largest shareholder in Live Nation, basically.
They own 35%, which is a lot.
And I mean, if you look at the list of owners
of Liberty Era, Live Nation, it's like BlackRock and fuck.
There's like a bunch of rich assholes
(30:34):
that basically own fucking Live Nation.
And Live Nation basically owns, like you said,
every aspect of an artist's career.
They own small clubs,
they own the mid-sized places, they own fucking arenas,
they own not only that, but they own the distribution
of music, they own the management of artists,
(30:55):
they own the merchandise, they own ticketing,
they own all of it.
And they, like, that's the thing.
If you piss off Live Nation,
you're just gonna be fucking assed out,
because COVID fucked all that up,
as we did that whole episode talking about that,
where they went around and bought up
(31:15):
all the fucking smaller venues.
Not technically, but I mean, like,
they bought the majority. 49% or something.
Yeah, they buy 51% of it and say,
okay, cool, just don't tell anybody.
And then, you know, it's like, hey,
if you're a Live Nation artist, you get to
do whatever you want.
Do whatever you want.
We're gonna open the door for you.
So.
And just to note, Liberty Media is owned,
(31:38):
like, the largest majority stake,
and I think it actually is owned by one person.
This is John C. Malone guy.
Yeah.
And it's like, holy fuck,
how does one person own so much shit?
In addition to that, which was mentioned
on the previous episode,
he owns, like, fucking Formula One racing,
bunch of shit, dude.
Like, at one point.
(31:59):
Yeah, MotoGP, Formula One, fuck,
they own a lot of shit.
I mean, they literally, like you said,
SiriusXM Satellite Radio, they own 83% of that shit.
You know, they have a lot of stake in a lot of things.
They did use, they also used to own
the Atlanta Braves, too.
Yeah, and numerous, like, television channels
(32:21):
and different media.
I mean, man, when you're talking about,
I guess what you could say is, like,
conglomerate to own all this shit, man.
Man, if you were just within the,
an arm's reach as an artist,
like, surrounding all this shit,
like, if you could just get within Live Nation,
you're pretty much fucking made,
(32:41):
which is probably, like, why I could extrapolate
why the Marias ended up going with whatever,
that mic management,
because if they're owned by Live Nation,
they're fucking made, dude.
Like, they're gonna be playing all the venues
that they could fill out, potentially.
I don't know, I don't think they're an arena act,
but the larger theaters, like,
that's all within their reach.
(33:01):
And you're also gonna get the promotion
that goes behind that, the advertising
that goes to support that.
Because that's really all it is, it's the machine.
Once the machine gets behind you, you're fucking straight.
And then the ticket master shit is just bullshit,
because, dude, just from my own personal experience,
like, the tickets that I've bought for concerts,
(33:22):
the fees that are tacked onto the tickets themselves, dude,
they're twice as much as the fucking ticket.
Like, it's fucking wack.
So it's like, they have a monopoly on ticketing services,
so, like, that shouldn't need to be broken up,
so that we get to buy shit at reasonable prices
and not these bots and things that allow you
(33:42):
to purchase the ticket at a resale value
that you couldn't even afford.
It's fucking horrendous, so.
Anyways, this shit sucks.
It's a pain in the ass to independent venues and artists
that the game is basically rigged.
And it's so much harder to get into the music industry,
(34:04):
and now it's even harder knowing that companies
like Live Nation and Ticketmaster and SiriusXM
are owned by one person, so it's like,
all right, well, are we gonna let this unknown artist
play at a Live Nation venue,
or are we gonna have one of our hundreds
and hundreds of artists, perhaps even thousands,
over this dickhead?
Nah, let's go with, I'd rather just keep the money
(34:27):
within our own little circle or circuit, so.
Yeah, that's what they do.
Just the nature of the beast, anyway.
Anyways, to summarize this episode,
or rather to conclude the episode,
we will be having more album reviews on the way,
which is Paris Hilton's album.
I don't know why we're listening to that.
(34:47):
Mainly it started out as a joke,
but then we were like, ah, fuck it, let's do it.
Yeah, so it's not gonna be a serious one.
We're just gonna kinda have fun with it.
Or, man, maybe there'll be a plot twist,
and it actually is fucking amazing, who knows?
Yeah, who the fuck knows?
But maybe one of us is gonna tap out,
and maybe there'll be a consequence.
Oh, yeah. We haven't decided on that.
Yeah, yeah.
(35:07):
But following that, Ginger Root comes out with his album,
which I think is gonna be fucking awesome,
and that'll be the following week, September 13th,
and it's gonna be a good time, so that'll end the episode.
All right, if you wanna listen to our other shit,
you can go to gameragemagazine.com,
you can follow us on Instagram and TikTok
at gameragemagazine, Twitter, slash, X at gameragemag,
YouTube, YouTube, YouTube, gameragemagazine.
(35:29):
You can follow Adam at allgasnotrashofficial
on Instagram.
If you wanna listen to some anime,
go listen to Anime Syndicate,
and follow Frank at anime underscore syndicate
underscore podcast, and maybe go check out panel to panel,
or maybe go check out Game Rage Star Wars,
or maybe go check out one of the many other fucking
75 different podcasts we have for you to listen to.
So, all right.
He's getting, okay.
(35:50):
That's it. End the episode.
That's it.
We'll catch you on the next one.
All right.
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