I think it should go to number one maladroit fan u/RedCastin but idk if he's still active

It's worth noting the difference in nair 1 hitboxes. If you get the toe it'll send them a lower height than if you hit the inside hitbox. I find the inner hitbox feels a lot more consistent than the toe hitbox, although I'll often link the toe hitbox into upsmash. Being able to anticipate how high the opponent is going helps you react to if you need to short hop knee or full hop knee. As far as actually hitting it in match, mixing in a lot of tomahawks and conditioning them to try and get out of shield early. Also using it to catch rolls from ledge is REALLY useful, pressuring a neutral getup into fadeback nair 1 knee is the greatest feeling ever.

I'd listen to pink moon by Nick Drake. That's arguably the gold standard for just a man and a guitar, and it's incredibly popular among a lot of music fans. Joni Mitchell's blue is fairly stripped back for a lot of the tracklist too, even if it doesn't go as far as being just her vocals and one instrument for the whole tracklist. There's definitely a market for it, especially if you're doing a lot of storytelling.

I met these guys at a Jacob Collier concert back in 2019, they're cool dudes! Happy to see em popping off!

I typically start with lyrics, and I also typically decide if I'm writing lyrics or poetry before I actually put pen to paper. When I write lyrics I generally have a rhythmic flow that's informed by the way the words go together. From there there's often a melody that feels "natural" which will inform the chords. I make adjustments here and there, but I mostly follow my instincts, and if something feels unnatural, it's probably because it is.

Sometimes I'll start with a riff and work backwards from there. I typically end up with more expressive melodies this way, but often I feel my lyricism slips a bit. I'm still trying to find the happy medium and marry the two approaches.

It could just be because I mostly hang around other autistics but I never hear NPC in reference to us. I always hear it in reference to NTs lol.

Something Haley Dahl of Sloppy Jane said (which I'm paraphrasing) is that her favorite music exists at the edge of the ability of the artist. She used the example of a singer reaching for a note without the knowledge if they could hit it or not but then nailing it. I always shoot to write ambitious stuff that I have no clue if I'm capable of until I'm finished, and it always leaves me excited about what I'm writing.

I am of the opinion that it is one of the greatest albums of all time. It somehow manages to avoid coming off edgy because the music backs it up so well. The concept is dark and insane, but I think it's so successful because for many of us, we feel like we're a few bad mistakes away from becoming that main character. Trent tapped into something so unequivocally human that it resonated with so many people despite its really dark subject matter. Incredible aesthetics, great writing, immaculate sequencing, and insane compositions. Perfect record.

Yeah man

It's an act of discipline more than anything else, also an understanding that most of what you write isn't gonna be your best material. Being okay with writing bad songs and looking for things to write songs about and phrases you find interesting is more of a mindset. I made the decision to write every day last year, and while I've not done it every single day, I've noticed that the process of actualizing a song has become way easier. I just started with poetry, and now the act of writing lyrics feels almost second nature.

One of the most insane supergroups to ever exist

Big fan of Beanpole, had 2/3 Primus members along with a couple other guys. Some hilarious lofi rock stuff.

Yeah it's primarily that last point. I've got records I've tried to force myself to like, such as Lonesome Crowded West, and despite 10 or so listens I really don't like it. I don't think everyone needs to like every critically acclaimed album. it's mostly just 10x10 charts on Twitter with numbers on every album and a caption like "first listens for this month ranked!"

You're definitely right! I agree with pretty much everything you said. I'm not trying to drag people who are busy with jobs or school or kids or whatever, nor do I think everyone needs to listen to every record 15 times before stating any sort of opinion. Sometimes something just isn't your cup of tea and that's totally okay!

I'm primarily talking about the people who listen to anywhere between 3 and 10 new albums every day just to make a big chart with ratings for Twitter. They have plenty of time on their hands, and there's detached gluttonous consumption of all the music that treats it as a disposable thing to attach a number to. It feels like there's no actual engagement with the work, and it really bugs me. This is a phenomenon fully unique to online discourse from my experience.

First listen rating culture. The idea that you can understand a deeply complex piece of art with a single listen is a baffling one, and so often justifications for calling a widely acclaimed record mid are "idk it was just boring." I don't care if you've listened to 10000 albums if you only have a vague understanding of most of them. The artist put countless hours into that, the least you can do is put a few of your own into a few repeat listens.

I didn't see that it was solo acoustic mb

It's absolutely crucial to have musicians that you swap music with. Most of your earliest audience will be other musicians. Also, if they don't like something, they'll actually be able to tell you why in greater detail than a non-musician. My songwriting skyrocketed in quality when I finally had a good quality songwriting partner who I regularly exchanged ideas with. So find a handful of local musicians to swap ideas with, and if you don't have that, there's plenty of discords and subreddits where you can find cool people to work with.

It's also really helpful to write very frequently, and also to be okay with writing bad songs. You'll learn more about what you like and don't like in a song, you'll figure out what your stylistic habits are, where there are holes in your ability, and you'll start writing stuff that gets you super excited. You'll have a far better idea of when a song is done, and your writing will just naturally feel more professional and confident. And when you get to the point where you can articulate why you're proud of it, you don't crave the validation of others nearly as much.

Also the last thing to consider, IT'S REALLY HARD TO GET PEOPLE TO GIVE A DARN ABOUT ANYTHING NEW. If you go to open mics or whatever, people will ALWAYS pop off harder for a well done cover of a popular song than an original they've never heard before. It's not a fair comparison to make if Blonde Guy with a 6 string is singing Ed Sheeran and you're out here trying to write whatever it is you write, it takes time for people to warm up to who you are. I like to make relatively weird music, so I especially had to realize I need to be okay with most people not caring about what I do. Once I just swallowed that pill that I won't be more popular than that guy to any new audience, it was easier to put my head down and work on my stuff.

Good luck on your journey! That question is an important one to ask and it's an important thing to come to terms with. Freeing yourself from the need for external validation is hard, but once you do you can lock in so hard and make some incredible stuff.

If you don't got Loser by Beck and/or the Distance by Cake, pls add those!

The white hart cafe is a pretty good hub for a lot of good local music events. Their open mics on Thursday nights are awesome, you get so many different styles from hip hop to singer songwriter to country to spoken word to jazz. Every third Sunday of the month there, local jazz/soul band Selah Vie does an open jam kinda thing, and that's also really fun. That particular community is super tight knit, but also very welcoming.

It's on my list! It's one of the handful of records from this year I'm gonna check out before finalizing my year end list. Cameron Winter is one of my favorite vocalists, I'm super stoked to hear it.

Yeah I think it's just B-sides, but honestly I find it more consistent than the base album.

I'd opt for 4D Country, it's a fair bit more accessible. There's some WEIRD stuff on 3D country, and while 4D country (the song) has a bit of a noisier section, for the most part that EP is just tight songwriting

Yeah in like 5 minutes

I feel like I should elaborate that I'm a lyricist first. I consider myself to be good enough at my instruments, but shaping out the vibes from my lyrics has been something I've been honing. More often than not, if I can't get the vibes right, it means the song isn't good enough and I just trash it.