#bound to be

[komsomolka]

this yaoi is getting too real😭

[mylimoji]

yoonhee is the funniest man alive

[marxismopportunism]

the sillies pt.1

[arin-villa]

I decided to take part on @shootingstarrfish base drawing thingie. Honestly one of my favorite artist who I adore and get so happy seeing on my feed !!

Might do on ewith belphie on my other account hehe

Bonus under the cut

[russianimperialist]

AHHHH MY SORA HAS GROWN UP SO MUCH

[vampiretblog]

At least he is organized XD

[dustedmagazine]

Corvair — Bound to Be (Paper Walls)

Bound To Be by Corvair

This second album from the Portland power pop duo Corvair is both sharper and moodier than the excellent debut, its dream-drenched melodies framed by stinging guitars, its shifting major-to-minor harmonic swoons couched in upbeat, incisive hooks. When I caught Corvair’s debut in 2021, I wrote, “Corvair combines multiple elements — the strident new wave guitars, the weird little synth elements, the buzzy, hypnotic harmonies — in a way that’s clean and logical.” Bound to Be isn’t a radical overhaul of the New Pornographers-into-Imperial Teen aesthetic of the first record, but it is shadowed and haunted by the ordeal of the pandemic.

The album opens with the unadulterated fizz of “Shady Town,” with its slashing Breeders-redolent guitars, its sweet girl pop singing, its surging chorus. But while the opener raises a celebratory ruckus, “We Fall Down,” just behind it, turns darker. Dissonant guitar sound and a high, eerie keyboard, kick off a critique of the last few years (caged immigrants, COVID, climate change) in an agitated jangle that might remind you a little of R.E.M. “Right Hook” is more personal, less political, but also tinged with uncertainty, especially in the verse where Heather Larimer sings with a little tremor in her tone. This song has a full-blown, sugar high chorus (very New Pornographers), but there’s a lot of emotional ambiguity here and elsewhere, a lot of sadness with the glee.

The two principals of Corvair—Larimer and her husband Brian Naubert—likely had a lot of time together during the lockdown, and they’ve honed and elaborated on their sound. Even the most straightforward of songs have multiple moving parts, with intricate guitar accents and vocal counterparts weaving together in compelling ways, razor sharp but inviting. The sound is, if anything, better than before.

This is a record that it’s easy to misclassify. I found myself remembering it, between listens, as just pop, then being consistently surprised by its complexity and emotional shifts as it played. You think it’s a guilty pleasure, then realize that it’s nothing to feel guilty about and actually not 100% undiluted pleasure. It’s a bop with depth and contradiction, no less a bop, but more interesting.

Jennifer Kelly