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Sky Ferreira contributes lead vocal on the exhaust-huffing "Blue Boredom," deadpanning sing-talk beat poetry that imagines the two as Kim Gordon and Thurston Moore rather than Kurt and Courtney. You can make legitimate guesses as to whom that song might be dedicated-scene guys in Brooklyn, drugs themselves, people once in his inner circle? Smith’s measure of quasi-celebrity might give him unfair advantage over his stylistic peers, but it’s an advantage all the same, so when his conversational lyrics feel insular, we at least know who’s having the conversation. "Mire" repeats "I was blind but now I see" as an epiphany, and Smith immediately regrets awareness thereafter by meeting the "Incarnate Devil." On "Bent (Roi's Song)," Smith sighs, "When it feels right, you just lost the fight," a deflated admission of defeat before "Dopamine" echoes the same sentiment with a false sense defiance.
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We don’t get to find out much about the Roi and Grant to whom " Bent" and "Mire" are dedicated DIIV’s obsessive tinkering turns everything outside of Smith into a hall of mirrors, false friends and true loves reflecting back on his own struggles. But beyond lending Is the Is Are a necessary heft to back Smith’s claims, these songs are convincing portrayals of checked-out living. the jumped-up rhythm of "Valentine" is sourced from the Smiths while retaining DIIV’s clenched-teeth tension Devin Perez’s melodic basslines function as a lead instrument and allows Smith and Andrew Bailey’s guitars to search out more interesting textures and harmonies.Īn hour of this ensures there are times where DIIV threaten to become too in love with their own sound, particularly toward the middle. Now functioning as a road-tested, democratic band in the studio, every member of DIIV has to assert himself, and the slightest alteration to their usual sound brings out new features-a brief glimmer of piano cuts through an enveloping humidity on "Healthy Moon" similar to early R.E.M. Even "(Fuck)" serves its purpose as an 17-second cleanse between the record’s murky midsection and its luminous final stretch.
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Whereas Oshin was meditative and static, "Dopamine" and " Under the Sun" are transportive and intricate, taking mid-song off-ramps to more interesting vistas. Written and performed entirely by Smith with every instrument mixed evenly, Oshin relied on its cumulative effect, soft-selling its hooks. Call it Requiem for a Dream-pop, dedicated to a gorgeous yet unglamorous portrayal of addiction.ĭIIV's signature trick is conflating the treadmill momentum of habit with the false hope for escape, and this was about the only trick they had going on Oshin. And like those records, Is the Is Are doesn’t engage in fantasy or open up new worlds-it builds a nearly impenetrable wall around the self. However, this is more in the spirit of Seventeen Seconds to Pornography: gray, gloomy textures, depressive fatalism. The revelation of a 17-song tracklist promised scatter and sprawl, like a hybrid of Kiss Me Kiss Me Kiss Me and Disintegration.
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With each of the five singles in its protracted rollout, DIIV confirmed they were making their proprietary sound deeper and more immersive. Though not the Tago Mago or Tusk-style double album Smith originally planned, Is the Is Are makes unusual demands for an indie rock record.
![Oshin opening theme piano sheet](https://kumkoniak.com/43.jpg)