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One who dwelves in the vortex of words.

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Prancing around the dense forest, I welcome you to my humbly abode.

Navigation

Echoes from Entombed Attic is the world through VII-V's lenses, poured in the form of words.

Lingering Mind of VII-V a place full of reviews.

Whims of Moonfallen stands for paintings produced by VII-V.

The Talk to Endless Tunnel mundane musings throughout VII-V's life.

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See the abyss rising behind your eyes, beckoning with sinful whispers and tender caresses to derail your soul. Bewitching enough to delude the rest of your life. Blinding enough to turn you into a headless deer.

Tell me, did you answer its call?

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Wanda (1970)

If I have to say something about this film, I'd say: A foggy forest. Much like life itself. Full of vagueness we can't possibly prepare ourselves to handle all things smoothly. This vagueness is also heightened by the fact that this film contains minimal conversation (at least from my point of view), purposely "chopped" scenes scattered everywhere, and a bunch of wide angle shoots. The last one personally makes me feel like I'm a lighthouse trying to see a ship from a long distance, all the while filtered by clouds.

All in all: Wanda is a film that requires you to interpret things on your own to a scale of a whopping eighty percent (aside from the blatant and glaring ignorance towards women, of course).

Another thing I'd like to put into the spotlight: How unlucky Wanda is. How she always ropes herself with questionable people, with evildoers. How this almost-two-hours-long film portrays Wanda as someone airheaded, but we could tell it was just her own way of getting through her days, her broken life with no meanings and goals. Very obvious but to finally see her breaking down, it finally hit me in the face. There are a lot of people suffering from this type of "silently disconnecting with yourself as to not let life burn you out" and I wonder why, or how people as a big system, structure of humanity decided that it is okay to let our civilization turn into this mess? It's as if, "Oh? Is she finally breaking down? Ok. At least she can pour it out now, though we can do nothing to help" because yeah, sure, people have their own problems and oftentimes it's understandable why they can't help others but it's also a tragic thing. Alas, this type of "awareness" and "justification" will likely fuel human's apathy even more.

Truly of the people, by the people, for the people: except this definition is not about democracy, but about the mess people of this age put themselves in.

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The Tunnel to Summer, The Exit of Goodbyes (2022)

I was scrolling languidly through my YouTube short when a certain clip caught my attention. It was the back shot of Hanashiro waiting at the train station, paired with the view of an ocean, hence the header photo.

Now, this is an important thing for those who stumbled upon my post: I don’t really enjoy inflicting pain on myself (sober, as I typed this), but the scene was too mesmerizing for me to not check the whole movie out. The second thing about me: I sometimes opted to skip movie trailers. I don’t know why, I just feel like it. So, here we have a review from someone who don’t have expectations.

Here are some of my intakes from the movie:

1.𝅙Hanashiro had done the right thing when she slapped the arrogant, bully-bee classmate of her just because she appear nonchalant and "not your typical teenage girl."

The bully deserved it, otherwise she and her gang wouldn't grow outside the tiny box they put over themselves. It was also wise for the original novel writer, the artist, and the studio to include the scene where the bully girl finally apologized to Hanashiro; and she did the same: apologizing for slapping across her face forcefully.

2.𝅙Never have I been drunk in my entire life, so I couldn't say anything about the drunkard shitty father Kaoru has. It just never clicked in my mind that someone could be brute when they were stripped off their senses.

Still, to this day, I think being drunk doesn't make it as a valid excuse to justify your actions. It just make someone turns even more pathetic in my eyes– hiding yourself behind losing yourself to the moment caused by your own self-control failure? Perish yourself from my life, thank you very much.

3.𝅙The movie has a strong correlation with the Japanese maple leaves (紅葉/Momiji), and I'm gripped with the intensity to search the symbolism of maple leaves for Japanese people: transience and patience.

The Tunnel to Summer, The Exit of Goodbyes has one strong element of a "local legend surrounding a tunnel." The tunnel itself said to have an ability to bring back anything tangible, and upon entering the tunnel, we could see a single lane restricted by maple trees on both sides. According to an online article (dans le gris. 2024), one of the many symbolism of maple leaves is "to remind people of the transience of life and encourage them to enjoy each moment." In the case of Kaoru, I think the tunnel is trying to teach him to let go of his past regrets, the guilt (none of it was his fault), to move on from his dead sister and continue his own life. He is asked to make peace with himself. Hence, the tunnel gave him the illusory of her sister encouraging him to leave the space. And he did it! He realized there was something new he wanted to achieve: Anzu Hanashiro.

Now we have arrived on the second meaning, patience. I'd like to link the second symbolism to Hanashiro, how, despite her quick tempered nature, she decided to not follow Kaoru into the tunnel and continued her life to be a mangaka, respecting Kaoru's wish. "Rushing to our goals will only make things worse. (Lee, HaoYu. Sakuraco. 2022). Despite the tendency to isolate herself, she decided to wait for Kaoru, for 8 years. With point zero to none guarantee that she would hear something back from him (what with the time between their "outside" world and "inside the tunnel" differs quite heavily). The movie didn't focus on her arduous wait each year, each month, or even each week on the station; yet with how nonchalant the writer, artist, and studio portrayed her– when she started crying, I cried with her. It was such a relief for my poor heart to see her patience paid off in the end.

Despite starting the movie with cliché scenes, the plot unravels quite beautifully. The messages are well delivered to me, the art itself is fantastic.

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Nobody Knows (2004)

Jumping straight in thinking I could cushion any uncomfortableness the film would cause; considering I have already known the gist of the plot. Generally (by courtesy of a cinephile that I know). Only to find out no matter I have prepared myself, I still succumbed to the grip of aches when I saw the spectacular opening– what with the blank screen of black accompanied with a simple "...inspired by actual events..." and I know I'm in for a hell of a ride. I just haven't known how hell of a ride this would be (not until a mere 20 minutes later).

I can list some of the disturbing tell-tale signs right away, as soon as the scene panned into a woman somewhere possibly in her late 30s with a teenage boy, seemingly have just moved in to a new flat. And most people will think of the same thing, too: What do you mean there are two other little kids inside two different perfectly sealed suitcases? Is it even possible to stay inside a tiny space clearly not meant for human for I don't know how long the ride was, without any air? There is little to no possibility of the mom to sneakily open the zipper of both suitcases for her kids to get some air from the gaps, I think. As if to tell me, or any other viewers "This is still nothing", the director changed the scene abruptly into the night to show us that the family still had one more person left. A girl, possibly younger than the boy who "arrived normally into their new house", waiting all alone in the street. I can only make a wild guess that her mother done that to avoid the probability of being rejected to rent a flat. That's fucked up. That's a lot to process.

Forgoing the details of the film (because I can't physically and mentally went through the second replay inside my head, for I'm still processing things), I understand how demanding live is, I even understand why the mother of the four siblings has a child-like personality (linked to her own traumas and being "carefree" was probably her own way of keeping her barely there sanity intact), why her mother gave her oldest son the money and never her presence as a sensible, caring mother, why she ended up leaving her children inside such a cramped small flat. But again, as someone I know have said "her actions can't be justified" earlier today, I wholeheartedly agree to that. There is no way any person with a right mind would take the mother's side. Her less-than-ideal way of making decision had lead her children straight into a destruction. Children maturing rapidly to accommodate their environment shaped by an irresponsible adult, several disruption the children are going to go through on both their mind and body, children denied of the basic things they should have been able to enjoy–school; entertainment; hobbies— The last point is a tricky one, considering these all won't happen in the presence of money.

There are still a lot of things I wanted to pour out, if only I'm capable to find the right words. If only I'm quick enough to settle the discomfort within myself after watching the film. With that, I will probably be back to add more reviews after the discomfort has dissipated and I got my brain back to work.

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What Are We, If Not a Beheaded Deer Hanged from the Hook?

You are the one who needs our ideas,

yet you are the one who mocks them the most.

You are the one who wants us to make our choices,

yet you are the one who shame us for our choices.

You are the one who asks us to be mature,

yet you are the one who treats us like a child.

You are the one who tells us to be free,

yet you are also the one who imprisons us.

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The throes of slithering venom, ingrained deep within the system. Clustering into pitch black fog that cannot be dispersed. Murky depths of everything that is wrong will be blamed on this sole, accursed person. A bucket perfect for dumping responsibilities that are not mine to begin with; mistakes of personalities unrelated to my own; words spouted not from my lips. Oh, this is nice! is what they say. What do they expect after putting a leash on me and throwing me under the cliff, cruelly tightening their hold on the rope just to keep me hanging by, into suffocation—yet never letting their lamb die a peaceful death. What did I expect? For them to give some semblance of mercy? They declare me guilty, yet their sin is greater.

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Little Amélie (2025)

— or the Character of Rain

The first animated film this year that I put my eyes into, and I don't regret it at all. As someone who ponders about life on any random day, I find myself truly mesmerized not just by the art and colour palette, but by the simple plot that unfurls into weighted questions.

Amélie is that one kid I'd view as a soul in tune with everything around her, more than the capacity of most kids. This is not exactly a bad thing for—to put it in a simple term—"the normal kids", nor is it exceptionally great for Amélie. As everything in this world, every living being will bring two outcomes from any occurrence; causality. The "less good" and "more good" outcome that honestly? We humans are the ones who established it ourselves. Not every person who loves to talk is guaranteed to have a better social life (because what if the same "positivity" people seem to see in this trait is the one that brings misery due to the words vomited endlessly?), and not every person who keeps their mouth shut is guaranteed to gain a higher advantage (again, what if their glued mouth is the main factor of them missing opportunities?). What matters is how the person views, thinks, chooses, and moves around the situation accordingly; and this is what Amélie did.

If we think about it, we are all parts of God (now, which God you choose to believe in, I don't care). We come from "The True Existence" born in our current form. Perhaps this is what Amélie feels deeply, with her extraordinary conscience for her age— hence, she first thought she was the God as in "a whole God." Only through experience and experiencing did she finally learn. That she is God but also her ownself. Knowledge and learning are two unseparated things, something as valuable as life itself. Throughout the film, we are constantly given scenes to see that Amélie is always learning. Always asking things that are often too heavy for kids her age. All those scenes rolled out perfectly— between the events in our daily lives and the meaning the director and producer were trying to tell us.

Take these two screen captures for example. The two brownish objects in front of Amélie are spinning toys (koma) made by Nishio-san on a whim when she sees Amélie zoning out (probably thinking why humans should die, as the previous scene told the viewers how her father's mother [a.k.a Amélie's grandmother] died). Here is my personal interpretation: when there is a cause; there is an effect. This is a universal law— and in this case, they (the director and producer) probably want to show us where there is life there will always be death in the form of both forces "clashing" throughout seconds (life), and when the time comes— all will be snuffed out.

We can take such obvious examples from these two screen captures, too. It's about war and again, death. As death always looms behind every war. Nishio-san was recounting her childhood experience with war to Amélie. How she ended up losing her parents and sibling. Maybe with the hope to relay "nothing is ever permanent in our lives" to Amélie.

Aside from the exquisite relation between every scene and action with the plot, what I truly love is the colour palette of this film. It's warm but also bright. It's not demanding my attention at first sight, it's just.. there. Showing serenity. Soft joy but also sorrow— It's welcoming, with all its weal and woe through colours.

This film is definitely reminding me again and again about the difficulty navigating through life. How I truly don't know anything about life, the universe, the purpose, and why. Why am I me? Why am I here? And why must I be alive? Why am I not.. anything? As Amélie told us at the very beginning of this film. Now, let me ponder on how I should view and navigate through my own life. All I hope is I get to learn and always find more knowledge like how Amélie is. Perhaps it will bring me into a happier, more optimistic stage of my life.

P.s. I actually don't really like how Amélie, Juliette, and Andre's parents treat them. It feels like they are not emotionally there for their children. It definitely feels like they don't put much effort into getting to know their own children. They aren't bad parents– something is just lacking in my eyes.

P.s.s. (on Japanese tradition where families raise koinobori [carps-shaped flag] to celebrate Children's [Boys'] Day) "Why a month for boys and not girls? Not even a day for girls. Not even a symbol." I'm wondering the same thing too, Amélie.

"Was I being punished? Or can things just go away forever without any warning?" "Is this life? One great chomping mouth that spares nothing?" "The world is so sad."

[crimsolyn]

I think the purest form of love is just wanting someone to notice life with you. "taste this. look at that. hear this song." again and again. until you can't imagine noticing life without them.

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Anatomy of a Fall (2023)

I have too many questions inside my head, and the majority of those questions came from the fact that I'm not familiar with the juridical system, the laws, and the things that followed the said system. I hope the people who somehow read my review always bear that in their mind that I'm a total stranger to this.

One thing I noticed the most was that the courtroom smelled like a psychological war field. It was awful. Full of gaslighting everyone in the room, and even oneself—in this case, Mrs. Sandra Voyter as the suspect— the same situation was probably applicable to similar cases, where, if we conditioned ourselves to think the suspect is indeed guilty, they and their team spent the whole sessions trying to gaslight everyone else. That. Was crazy. Something that I'm sure would always ended up in a failure if even one in the team was less smarter than the jury, and the chief as one mispoken word could crumble everything and if oneself decided to keep their silence— it was never an option in a courtroom, I guess. Unless it was demanded from you by the one in charge.

Second: We all knew Mrs. Sandra ended up free of her guilt. But was she? Was she truly not guilty? Because her son's (Daniel) lasts words after seeing her mom again was the fact that he was afraid of her coming back home, and she says that she was, too. Afraid of what, exactly? Why would they need to feel it? One possible option I could think of was: Daniel knew, Daniel realized that his mom had truly murdered his father, her husband. But why would he help her with his last testimony? Was he afraid of having to live alone and decided to take the least bitter pill for him to swallow?

I can not know for sure. We can not know. As I think it was intended by the director to leave the film with such an open-ending manner. The film makes me rethink and reconsider some things; the generally "accepted" definition of having a grey morality; how relationships supposed to work especially with unpredictable variables; how we should control our mind; and even how the juridical system work? Because I for sure as hell noticed that one jury in red robe, with shiny head, seemed like he was hell bent to shove Mrs. Sandra behind the prison bars. I mean, yeah, sure, it was great to know he was truly passionate to uphold justice if Mrs. Sandra was indeed guilty (We can not know. It will all be different inside our heads). Doesn't a jury need to maintain neutrality, even if they asked things around to collect more information and data? He was nowhere near neutrality, in my opinion. Or was it supposed to roll down like that? To give a heavy amount of pressures and practically cornering the "suspect"?

That has been bugging my mind out, and I think I need to find a real-life professional reaction, unbiased opinion towards this fictional case. Crazy to think they also utilize fiction inside a fiction. My big applause to the director and team.

P.S. This one sentence irks the hell out of me.

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[kvothes]

oh someone told me something useful yesterday. she said she’s been thinking about her tbr less as an overwhelming list of books she Must Read and more like she’s cultivating a wine cellar. making a rich collection that will provide the perfect thing when needed. a bottle will get uncorked when the time is right

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It's a Wonderful Life (1946)

Here is my initial thought upon stumbling this title: Oh. James Stewart again?

I can not help but think that the whole filming industry around the 30s had only known James Stewart— As I have seen several films from those years featuring him. I was okay with his acting. He was great, a very proper actor, though I think I might need to finally agree with those directors who desperately wanted him in their films. Through It's a Wonderful Life, I finally see how exceptional he was!

When it comes to films from 80 years back and more, I have already made peace with the fact that almost every film will have a jarring pace in their plots. They would either hop from problem to problem too quickly—without decent thread linking every scenes—or too slowly. I thought It's a Wonderful Life would suffer from the latter, since for around the first half of the film focusing itself on George Bailey's (the main character) early life in a... messy way. It felt like a lot had been cut off— granted, it probably wouldn't be easy trying to squish in every little detail into a mere two hours. So, I couldn't complain nor have qualms about it. What I do have was (is): how awkward the first half of the film was, the acting, the transition. It wasn't that bad, but enough to make me quirk my eyebrow several times.

Fortunately, around 50 minutes in and the awkwardness had gone. I think it was around the scene when George's little brother—Harry Bailey—came back to town. And it was precisely the part where I realized, "Oh, fate hates him." You see, George was quite an adventurous kid. He dreamed big, and he dreamed of traveling around the world and building things. Typical kids' dreams. That was what I thought— until I realized how serious he was with his dream and how adamant life seemed like to be to mess him up. To thwart him and his ideals. Everything happened little by little. George had to suffer from partially deaf on his left ear due to saving Harry from drowning when they were still kids. George had to stay in town and gave up his travel ticket the moment his father collapsed and eventually died. He needed to continue the family's business when he didn't want to stay in one place— had no experience with said business and even gave up his college plans to his brother. Had to once again give up the dream of traveling once his brother came back with a wife, with a job given to his little brother by his father in law. Everything went downhill for George, yet he still got it in him to save others.

I'm not even a bit surprised to see how George went into a frenzy. Lashed out at everything and anything— including his family. What truly got me surprised was how long George was able to hold everything up. I thought life had finally given him a rest—although nothing like how he planned his life would be—by giving him a very kindhearted wife, good kids, friends, and even a decently running job in town. But, nooo. Of course not. Life is the epitome of Murphy's Law. Anything that can go wrong will go wrong. When life gives you lemon, don't think it's the worst they can do. Poor George had to deal with Potter's greed (he is one of the broad members in Bailey's family business. A very cunning, greedy, awful man who had wanted to monopoly not only Bailey's business but the whole town) and even his uncle's (Billy) stupidity. I would definitely yell and probably unalive someone if that happened to me. So, props to George for holding it up all. Although, maybe he neeeeeeds to learn to keep his anger issue in control. :)

Now, the photo above marks the part when everything turned out to be SO GOOD in the film. Oh, and the part where they turned my eyes into a broken faucet. How reassuring life would be if we could see and talk with our guardian angel. Well, if the guardian angel is quite as silly as Clarence... uh. The thing is— something about Clarence gives me clarity and serenity. Maybe that's why his name is Clarence. Though, I'd love to make a correction to Clarence. "Ridiculous of you to think of killing yourself for money..." No, I don't think that is ridiculous. That is a very heart-wrenching reason, and I know it by heart as someone who suffered from similar problems as George. Money wasn't the only thing that made George want to kill himself either. Again, as I've written above: it is an accumulation. Perhaps the director wanted to tell us that even angels won't know every little thing. Maybe they aren't as omnipotent and omniprescent as humans like to paint them to be. 

Aside from angels, their good will, with all their glory— we can clearly see here: how pure at heart and how kind George is, even after all the shit he has been through. Or maybe he was beyond broken, he ended up entertaining this silly angel.

One sentence: Fuck you, Potter. Fuck you and your greediness that knows no bounds. I hope you die while choking on the money that you seize from people. See that if you can bring those money and fortune with you to the afterlife.

To George, I hope you know how big of a hero you are. Well, I know he knew by the end of the film. Here is the thing: what makes a person worthy of being called a hero? When they saved people's lives from immense danger? When do they donate their fortunes to others? When they speak up and stand for justice for the unfortunates? George did all of that, albeit not in an "in front of everyone's faces" way. He stands by his family's principle of giving a chance for people to have their own house with proper loans. He gives up his savings with Mary for his honeymoon and uses it to change the whole loan system. He gives a better future for his brother by giving up his. He saved his brother and Mr. Gower's lives. Subtle things— but if George hadn't done all of that, everything wouldn't come to this. He won't have friends who are ready to help him the moment he needs help. He won't be loved by Mary, his kids, his mother, and everyone whose life has crossed with George (except Potter. He is an evil incarnation, I swear to God). 

I think he just forgot to stop, take a deep breath, blink, and see the things around him. Which, thankfully, something that Mary and Clarence managed to do.

No words. I was so upset by the time I watched this part. Upset for George, for Mary, for myself. Fate is truly one of the cruelest forces. We won't know what they have for us in store. Though, while fate may seem like it's playing cruel jokes on you, only fate will not deceive you. I just hope, for everyone that has constantly been slaughtered by fate's cruel face— I hope you, we, still manage to stand tall and believe in ourselves. See for the other side of the coin— for everything bad will also has its good side following closely.

Shout out to Mary. You are the greatest woman within the whole 30s film. It's honestly crazy how love is able to make you stay with a person through their worst. Thank you for not giving up on George, helping him even. Also, one punch for Uncle Billy. Why must you act as a boastful, stupid old man with that money? You are lucky your nephew is well loved by the townsfolk.

"I wouldn't have a roof over my head if it wasn't for you, George."

Merry Christmas!

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Kicking My Feet, Ruel

I have been his listener ever since the end of 2019, and how would I dare to miss out on his newest release? Of course not. So, welcome, to my one-month-late review of Ruel's Kicking My Feet.

Please also keep in mind that I'm not a professional when it comes to music— all I'm going to do is read through the lyrics and put my own understanding.

I Can Die Now — 2.53

Remember Painkiller? I think this is the continuation— or simply another version of it. Ruel is pretty consistent when he writes the feeling of falling in love. When his heart is blooming. Comparing the presence of someone with "just a spoonful of you" is pretty smart, for it has that connotation: I get so high the moment my eyes see you, one second graced by your presence is enough to make me feel elated. Who wouldn't want to hear that your presence brings happiness to someone else? Especially if you also happened to love that someone else. :)

The Suburbs — 3.10

Me when I said I wanted to settle down and have someone special with me (but my life still won't let me have it). The song opened itself with quite a frustrating feeling— "stuck in revolving door" when you can see perfectly how others work their lives out, perhaps with their own problems, but still allowed, still showed the way out. Being given "someone" to accompany you through the worst patiently, guiding you through the thorny paths, acting as the salve to your weary soul. The way Ruel presents this particular song with uptown, chill, sunny vibes into it... Yeah. Perfect.

Only Ever — 2.32 & Kicking My Feet — 3.19

Boy is trying to woo someone in a deeper way because he clearly mentioned that the person he is trying to woo should not be scared because he will be there whenever and in whatever situation. Cough, show your face when you need someone? Wait, or it his way to ask, "Do you need me? Do you want me?" Huh, uh. Now I got myself thinking. Speaking of thinking, I think I know why Ruel picked Kicking My Feet as the title track. This one is SO good at inducing that happy feeling of falling in love. It's light on the ears, the lyrics are lovely and definitely something a lot of people have experienced. Nothing too far-fetched, but it's still sweet!

When You Walk In The Room — 2.00

Sigh. Man, I'd love to be the person being given this kind of adoration. Big sigh.

Destroyer — 3.09 & Even Angels Won't — 3.18

Aaaaand everything went downhill, eh? When it comes to Destroyer, I can't really say anything because my brain is apparently not braining...? Sure, I have something inside my mind regarding this title. Is it a way to shield you from more hurt by the one you love? By purposely hurting them first? So, he NEEDS to do that to save himself. Sounds bullshit but I've heard and seen some people in real life do that. If anyone is currently going through a similar situation, I don't think this is the way to... behave. Surely, there will be other options other than "I have to be your destroyer to save myself" ...right? Walk. Walk far away. Run. It's easier said than done, but try. Rather than just succumb yourself into this spiraling and toxic mess.

Oh, and please. Please. I, for the love of God, beg you to know your own worth. Screw being called like an angel— why would you want to be called an angel when the other party clearly doesn't have any respect left for you? We pack our things and leave. ASAP. No more behaving like the goody two shoes angels because even angels won't do that.

Wild Guess — 3.24 & No News Is Good News — 3.47

I thought this album was going to be full of love, of happiness, of joy!!! Not whatever these two songs are. GODS. One of the most sad things in the whole world is when you realize someone is changing— and NOT in a good way. That thing hurts, especially when you know you can do nothing but accept it. Looking at the distance they have taken from you. Silently praying they will still be there tomorrow, when they clearly won't let you hear even a peep from their voice. No News Is Good News? Really? I think that is one of the biggest signs that you are in a denial situation (I have gone through this route) (not recommending this to anyone).

Not What's Going On — 2.56

Hmmm, yes, that feeling of being hunted by the baggage you thought you had sealed off for good. I definitely had experienced this before (for years, at that). Not What's Going On is definitely quite straightforward. It is awful. When you just went about your day, thinking you are fine, but within the next second something from the past strike you right on the head? I've had enough. No more. Maybe that is why I keep myself closed off. I can still feel the tiredness from that phase of my life.

dst (outro) — 0.53

Why are all outros (or intros) sound so good (well, not all of them)? Why would artists make such great yet short—TOO SHORT, mind you—music and then slap it as an outro?

𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙𝅙————————

You might have noticed that I didn't follow the original tracklist position while giving my thoughts and reviews, and the reason for that is: This is how I see the whole album unfold. Think of it like reading and going through every chapter of a book in a progressive way, hence the result from my eyes.

Kicking My Feet is not entirely a new sound coming from Ruel (again, this is my personal opinion), and there is nothing wrong with it. A bit of nostalgia and familiarity is accepted in my house, I have no qualms about it as long as the songs are enjoyable. Ruel managed to do so. So, props to him!

Shout out to The Suburbs and No News Is Good News for making their way into the top of my heart. :)