As I have previously mentioned, this summer I’m teaching an asynchronous on-line class for Stephens College’s amazing conservatory program. It’s labeled MUS156; it’s called “Rock and Roll”; however, it’s focused on the discoveries and theories of neuroscientists Susan Rogers (former sound engineer for Prince, of note on the Purple Rain soundtrack) and Ogi Ogas, as articulated in their cool book This Is What It Sounds Like: What The Music You Love Says About You. That’s our course text, and it’s stimulated some excellent writing, which I’d love to showcase again here.

From Hugh Paul, a confirmed and confident Swiftie and a concise and enlightening writer:

Assignment: Write About a Song That Checks All the Boxes

My Favorite Taylor Swift Song

            Taylor Swift’s peace, my favorite track from her 2020 release of folklore, is one of the few songs that I can confidently say checks every single box in my listening profile. Being one of my favorite songs of all time, this song is what solidified Taylor as one of my favorite artists, and I still get chills from it every listen. Beginning with authenticity, this is definitely a “neck up” song, as Taylor crafts every note, lyric, and tone in her voice to convey the meaning of the song. As a singer and (beginning) songwriter myself, I am definitely a music/lyrics type of listener, making these cerebral types of songs some of my favorites.

            Moving on to realism, I think this song is a perfect split between realism and abstraction. While Taylor’s voice and the guitar accompanying her are organic and authentic, there is reverb and other effects playing in the background, making this a nice split between the two extremes. This also checks my listener profile, as I enjoy both realistic and abstract songs equally, as long as the voice is mostly natural and unaffected. As far as novelty goes, I think this is also a nice blend between novelty and popularity/familiarity, especially for a mainstream artist such as Taylor. Experimenting with a stripped, sparse arrangement, Taylor allows the lyrics and melody of the song to take the forefront, a more novel choice for the average pop listener. In addition, she keeps the song soft the entire time, allowing it to take the form of a laidback indie song, rather than the “bangers” she’s known for. It still has enough popularity/familiarity to place it squarely in my listener profile, however, with a traditional song structure and simple, folksong melody.

Now to the heart of why this song is so amazing: the melody and lyrics. While the melody is fairly simple for most of the song, the bridge sees her playing around with more complexity, going from a high, rapid-fire section to a low, grounded section in the span of four lines. While the song stays relaxed and in Taylor’s comfort range the entire time, the contrast between the gorgeous, wistful highs and dark, cloudy lows makes this melody much more interesting than it may seem at first glance. The undeniably best part of the song, however, are the earnest, heart-wrenching lyrics so honest you can’t help but hang on every word. While I could go into an in-depth analysis on every line of the song, for time’s sake I’ll only mention the best ones, the first being the sincere, pleading chorus, “But I’m a fire and I’ll keep your brittle heart warm / If your cascade ocean wave blues come / All these people think love’s for show / But I would die for you in secret.” Confessing her undying devotion to her partner, she begs him to understand how much she would do for him, praying that it will be enough, “Would it be enough / If I could never give you peace?”

            Moving on to the unbelievable bridge, the music strikes a minor chord as she continues, “And you know that I’d / Swing with you for the fences / Sit with you in the trenches / Give you my wild, give you a child / Give you the silence that only comes when two people understand each other / Family that I chose now that I see your brother as my brother.” Admitting she would give him every part of her, both the good and the ugly, she ends the bridge with the heartbreaking lines, “I’d give you my sunshine / Give you my best / But the rain is always gonna come / If you’re standing with me,” reaffirming that the ugly parts of her will always be there. These lyrics couldn’t possibly be closer to my listening profile, as they are so raw and meaningful that I can’t help but be moved to tears nearly every listen. To have someone you could give yourself completely to, who would accept all the good and bad parts of you, is something that I can’t fathom at my twenty years of age, but is still something I yearn to one day have.

Continuing on to the rhythm of the song, although still in the “basic” 4/4-time signature, there is a lot of variety in the way the beat lands, with an electronically created note landing every eighth note, and the vocals and other instruments coming in at different, odd places, especially during the bridge. This intricate rhythm conveys the complex message of the song, and lands in a way that falls perfectly for my listening profile. The timbre of the song is another huge reason behind why I love it so much. Beginning with a breathy, light falsetto on the first verse and chorus, Taylor’s innocent, youthful tone expresses the vulnerability and sincerity behind the words. Reaching the bridge, however, her voice lowers and becomes stronger, as she approaches the mature lyrics with more intensity and grit in her voice. Sinking into her lower register at the end of the bridge, and then at the end of the song, she juxtaposes the positivity and innocence of the high notes, with the honesty and humility of the lows. Overall, this song is truly one of my favorites of all time and continues to mean more and more to me as time goes on. Song Link: https://music.apple.com/us/album/peace/1524801260?i=1524802476

We also have weekly “Record Pull” assignments. I “pull” a couple of records I love, make a case for them, and ask them to respond to those and make a case for a favorite record of their own. Here’s one of Hugh’s recent offerings (I had “pulled” Steve Lacy’s “Sunshine”):

Steve Lacy’s “Sunshine” (feat. Fousheé) was a very enjoyable listen for me, as I found the melody, rhythm, and timbre of the vocals extremely pleasing. I think it is a great representation of how music has evolved and where it’s headed, as it combines a lot of different sounds together in a way that feels new and interesting. I would say the song is definitely a “neck-up” song for the most part, as the lyrics and melody seem very planned and calculated. Although containing elements of realism and abstraction, the song leans more towards abstraction, as the reverb on the vocals and technologically produced instrumentation give it an abstract feel. This feeling and use of different sounds make it a fairly novel song, relying on its own sound rather than following current musical trends. I found the melody very pleasing to the ear, as it glided up and down a pretty narrow track, and while the lyrics were pretty basic, I think they accomplished what the artists’ set out to do. The rhythm was very nice to me as well, consistently coming down on the first three quarter notes and then the “and” of four. The timbre of the song, however, had to be the best part about it, as Steve and Fousheé’s calm, soulful voices dripped over the feel-good melody. Steve’s flips into falsetto on the first verse were especially pleasing, and the whole song had such a chill, “vibey” timbre I instantly felt at ease listening to it. I think this focus on “feeling” is definitely something music is leaning more towards, as it becomes the background for events in our lives.

A song that I think points to where music is headed is Moroccan-Canadian artist Faouzia’s “Don’t Tell Me I’m Pretty” from her debut album, Citizens. An extremely innovative artist, Faouzia combines Arabic-influenced scales and riffs with the standard conventions of pop, in a way that allows for commercial success. Also definitely a “neck-up” song, Faouzia takes great detail to make sure every note, lyric, and riff suits the song perfectly. Almost completely abstract, the song feels cinematic and almost futuristic, as the production is completely technologically created. This futuristic sound makes it a very novel song, and the combination of Arabic and Western influence only heightens this. The melody is absolutely beautiful, going from Faouzia’s dark, angsty low notes to her exhilarating, powerful highs. The lyrics of the song are also great, building tension in the verses, “You got such an ego / So much pride, it fills the whole cup,” and then taking flight at the chorus, “Don’t tell me I’m pretty or that I’m beautiful / I know you don’t love me.” While the rhythm is nonexistent for much of the song, when it does come in on the second verse it adds to the climactic feeling of the song in a strong way. Once again, the timbre of the song is what makes it great, as Faouzia’s incredible voice travels between different registers and intensities. Starting in her lower chest voice during the first verse, she shifts to a light head voice at the chorus, then explodes into a full belt at the second chorus. She then comes back down to a soft head voice at the end, using a traditional Arabic riff to end the song. All of this makes the song very unique and unlike anything I’ve ever heard before, which is where I think the musical landscape is headed. I also think that the combination of different genres and cultural influences found in this song are going to become more and more popular as time goes on.

Another terrific writer, thinker, and explorer in this class has been Arden Ogilvie, who regularly challenges me to explore further. Here’s a recent submission (keyed to Rogers’ and Ogas’ theory) by her that is just terrific–Ethel Cain’s work is making a dent in this class:

Ethel Cain’s “Ptolemaea” is THE song I have been most excited to write about since starting this class. The 6-minute story-driven masterpiece intertwines some of the most haunting yet ethereal soundscapes I have heard in any record. The album, Preacher’s Daughter, satisfies a specific aesthetic I have never once found before in the medium of music and creates a story that is both familiar and frightening. The album itself follows Ethel Cain, a young romantic southern preacher’s daughter (“American Teenager,” “Western Nights,”) as it shows the exploitive and manipulative nature of the church (“Family Tree,” “Hard Times”) which leads Cain to run away with a pimp, Isaiah(“Gibson Girl.”) “Ptolemaea” sits as the climax of the story, where the pimp Cain has run off with has drugged her and begun cannibalizing her body. Cain’s exploration of youthful deceit, family and religious trauma, and depraved manipulation is of pure horror which is wholly encapsulated in the composition and production of “Ptolemaea.”
Authenticity
The record opens with manufactured groaning as a drugged-out Ethel Cain finally gains consciousness as her abuser mutilates her. As a listener, it is jarring and alerting. It twists your gut and you become uneasy, and as further samples emerge, specifically that of the flies swarming, the below-the-neck feeling becomes almost unbearable. The record itself tortures the mind of the listener and puts them in a similar feeling of confinement as Cain herself. However, that does not discredit the genius of the lyrics. The very name of the song, “Ptolemaea,” as well as Ethel Cain’s surname, are allusions to the brilliant work of Dante’s Inferno; the
traitorous 9th layer of Hell. This layer is reserved for the worst sinners and is where the Devil himself resides, however, this layer is further divided into four other rings, two of which are Caina, harboring those who are traitors to their families, just as Ethel herself betrayed and deserted her family. The third ring, the namesake of the record, is Ptolemaea which harbors hosts who betray their guests, just as Isaiah has led Cain to be his guest but betrayed her. This allusion coupled with the incredibly nuanced lyrics which will be expanded upon later subsequently create an above-the-neck quality to the record. This cohesion, both of the below and the
above-the-neck qualities are what generates such a raw emotional response from the experience that is “Ptolemaea.”
Realism
Despite having incredibly manufactured vocal effects on the voices of both Isaiah and Ethel Cain, as well as distinct industrial influence on the guitar and overall soundscape, there is a tragic realism in the performance of Cain. The disgusting sounds of flies swarming in your ears, metal hitting the ground, and the penultimate screaming of a woman being murdered. The record itself explores a drug-induced hallucinatory state, which in itself cannot be purely realistic. As an experience, the production makes it a point to confuse the listener with the reality of Cain’s experience. All the listener knows is that the screams are real. The only thing untouched by the mixing and editing. “Ptolemaea” makes it a point to use distinct and realistic inputs, however, twists and modifies them into something horrible to which the mind can hardly tell the original sounds. Something so familiar yet distorted it becomes unrecognizable and abstract.
Novelty
Many artists produce records and albums, in Ethel Cain’s case, that tell stories. However, never have I come across such a polished example as Ethel Cain. American gothic is a genre, specifically in literature, that is quite familiar and has gained popularity surrounding the profound works of Edgar Allan Poe and Nathaniel Hawthorne, but never have I heard of this genre influencing a story as complex as Cain’s through the medium of music. The medium of music, much like literature, leaves visual interpretation to the consumer which in cases such as “Ptolemaea” generates a vivid sense of fear and affliction. It takes the mind to a dark, tragic, and depraved state that allows it to conjure up the worst possible results. And the layer that the narrator, Ethal Cain, is drugged and amid hallucinations, creates a mystic quality that is quite novel in music.
Melody
Preacher’s Daughter, as an album, is more conceptual rather than musical, this does not discredit the musical intellect and talent of Cain seen in songs such as “American Teenager,” “A House In Nebraska,” “Televangelism,” or “Strangers,” however, “Ptolemaea” acts as a divulge from the Lana Del Ray inspired sound to that of something much darker and tragic. The melody within the first act remains rather angelic and light, despite the context and content. Melodically it remains fairly simple and closes together, not breaking or divulging nor trying to be impressive. This, however, is a musical setup for the vocal and melodic break of
Cain’s scream disrupting the senses and allowing the guitar and bass to come full force with Cain’s droning, almost mocking, the melody of “I am the face of lover’s age.” Despite being melodically simple, “Ptolemaea” through sound samples and industrial effects, achieves something much purer and more realistic than a musical melody. Most of the lyrics are monotone, and the music itself is secondary, but the experience of the abuse and mutilation ring far heavier on the body of Cain and the ears of the listener.
Lyrics
Ethel Cain is a master of biblical allusions within her work. From the very name of her character and title track to the incredibly nuanced lyrics whispered or screamed out. As Cain emerges to be revealed as a sacrifice, “the white light” for Isaiah, her captor, and pimp. However, because of this realization, or the lack thereof in drug delusions, Cain herself starts accepting her fate for “the iron still fears the rot.” This is where the attack begins and the chorus, a series of “stop” ensue. It’s pleading, horrifying, and a pathetic display of the lack of power she has in this position. There is no one to help her and no one to stop the sacrifice of her blood. And with the infamous scream, Ethel Cain is no longer the traitor, but rather, in her horror, “the face of lover’s rage.” The record ends with a prayer spoken by Death as Ethel Cain’s distorted screams are vaguely heard in the distance:
“Blessed be the Daughters of Cain,/ bound to suffering eternal through the sins/of their fathers committed long before their conception./ Blessed be their whore mothers,/tired and angry waiting with bated breath in a ferry that will never move again/Blessed be the children, each and everyone come to know their god through/some senseless act of violence./Blessed be you, girl, promised to me by a man who can only feel hatred and/contempt towards you./I am no good nor evil, simply I am, and I have come to take what is mine./I was there in the dark when you spilled your first blood./I am here now as you run from me still./Run then,
child./You can’t hide from me forever.” A grim reminder that despite faith in God or some higher power, the world is still filled with cruel and flawed individuals. Despite the pain and violence that goes into finding meaning and purpose, we all experience the same end. Death. There is no way around it, and in Ethel Cain’s case, her martyrdom is that of manipulation and abuse.
Rhythm
“Ptolemaea” is quite simple regarding rhythm. It is in 4/4 with accented beats on the first and third beat. The drum kit is one of the only instruments not too heavily industrialized, however, it does act as Cain’s heartbeat for the of the song, explaining its steady rhythm increasing and becoming unpredictable. During the
pre-chorus of “stops,” there is the beginning of accented 16th notes in the background, however, this is expanded upon after the chorus break into the prayer where the drums start becoming more erratic and impulsive. The drumkit itself acts somewhat as a heartbeat of Ethel Cain, and the erratic beat pattern declines
and slides down as the song ends in tandem with her life.
Timbre
Because Preacher’s Daughter is considered a concept album and tells a story rather than a collection of songs, I believe there was a bit more flexibility with the included timbres. “Ptolemaea,” specifically experiments with a variety of sounds and qualities to instruments creating a familiar yet distant perception of both the vocals
and instrumentalization. This is incredibly evident with the mixing of both Ethel and Isaiah’s voices, where Ethel’s has some distortion and echo, while, Isaiah’s is deep, fuzzy, and sinister. It is hard to tell the musical composition of “Ptolemaea” because of the intense distortion, however it is because of this industrialization that the atmosphere, both depraved and metallic, is created. How the screeches of both the human voice and the guitar are almost synonymous. How the sound of flies creates a feeling of unease and disgust. “Ptolemaea” is not out to be realistic in the sense that you envision Ethel performing it at a concert, but rather the vivid and depraved images of torture and brutality that pop up into the listener’s mind whilst experiencing and taking in all the added metallic and distorted soundscapes. I would probably name “Ptolemaea” as my favorite song of 2023 from the sheer impact and obsession I had over this song and album. The combination of
industrialized rock and American gothic storytelling that flips off the church is a combination I did not know I needed until then. It is tragic, brutal, depraved, and makes you think. Makes you feel. Those are the records that last with me. The ones that I remember distinctly are the initial feeling of nausea of grief or affection. That is what encapsulates Ethel Cain’s “Ptolemaea.”

Wouldn’t you LOVE to have students like Hugh and Arden?