TV Lists

The 9 Best Thanksgiving TV Episodes to Watch on Turkey Day

Celebrate thanksgiving by hiding from your family and watching these fictional families enjoy turkey day!

Celebrating Thanksgiving usually entails a day of eating, answering uncomfortable questions from your family about your career and romantic life, hearing about your grandma's bunion surgery, and, if you're lucky, a well-earned doze in front of the TV. This year, given the social distancing guidelines, you may bypass the family time and go straight to the couch.

Regardless of your plans for Turkey Day, when that second helping of turkey starts to settle in your belly and your eyelids start to feel heavy, it's time to shove your cousin (or cat) over on the couch, settle in, and turn on one of these classic Thanksgiving-themed episodes.


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Music Reviews

LANY Reveal Their Most Authentic Selves on "mama's boy"

They say you must choose between going big or going home—but on LANY's third full-length album, the alt-pop trio do both.

L-R: Les Preist, Paul Klein, Jake Goss of LANY.

According to Wikipedia, LANY is an alternative rock band.

This classification feels wrong, even in consideration of how hazy and debatable the term "alternative" is in the context of music. But the pop group, based in Los Angeles by way of Nashville, do make songs most fervently loved by melomaniac teen girls fond of labeling things as alternative or "counter" for the sake of feeling quirky or different—so a superfan's editing of their Wikipedia page likely explains this inaccurate categorization.

I say this all not dismissively, but knowingly, as I, myself, was a 19-year-old girl just a half-decade ago, living through a phase in which anything mainstream or popular deeply offended me—and enjoying a band like LANY, DIY but only faintly left-of-center, felt like a betrayal of hipster-dom.

So I, too, was the kind of fan who would hide my favorite bands' pop identities behind other descriptors. They weren't pop, because plain pop was basic. They were indie pop, or alt-pop. They were superior.

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MUSIC

Riah Talks Confidence and Joy On "Heartbreak Magic"

The independent singer-songwriter discusses her dark and inviting debut EP, the culmination of her years of hard work and growth.

Riah's Heartbreak Magic feels like something of a homecoming.

Most of the songs on her debut EP are singles with release dates stretching years back, before Riah ever released any kind of official project. On their own, they're an interesting historical record, an invitation into the development of a growing artist experimenting with tone and mood. From the grooving hook of "Wildfire" to the bitter longing in the lyrics of "Nice" to the nostalgia-soaked bassline on the disarming "Prom"—you can picture Riah in the lab, curiously tinkering with her sound with her collaborator, Chad Copelin. Linked together and re-ordered on the EP, though, they're proof-positive of Riah's talents. Riah asserts herself quickly and completely in Heartbreak Magic's twenty minutes, and it's exciting to hear the way her musical growth has become its own story.

Heartbreak Magic is Riah's arrival in the artistic space she's been quietly building for herself for years. It's a small project, both lush and sparse at once, but that's what makes its immediate emotionality—and Riah's confidence in it—so riveting. Popdust was able to speak with Riah about how she crafted her sound and what she learned while preparing Heartbreak Magic.

First off, congratulations on the release of your first full project! What feels different about having one cohesive body of work out?

The difference for me is I've done five separate singles, so to have a body of work that has a common theme is really important. I think it tells my story, and anyone's story, just a little bit better—to have a full experience, to have a whole narrative out in the world. It's exciting, it's scary, it's new, and I think it builds the story of what I've gone through and what I'm going through. It just paints a better picture.

Considering the EP is the sum of more than a few years of work, now that Heartbreak Magic is out, what do you think the titular single does to bring all the songs together under one umbrella?

The reason I decided to do the EP now, after releasing those songs first, is me feeling more confident in who I am as an artist. There's a lot of pressure on the things that you release to represent who you are, and I felt really excited and really confident about these songs and this EP saying, "This is who I am...I know who I am, I know what I want to say, and I know what I want to sound like." I'm really proud of who they show me to be.

How do you feel now about the time it took for you to get to this point?

I wish it didn't take me so long. It's been a twelve-year journey for me in music to figure all this stuff out. I'm really grateful for it. I look back and I'm grateful I didn't rush into things. Even now, things feel like they're going fast, even though I look back and think, "This has been such a long time coming, I've taken my sweet time with all of it." I'm glad I waited until I was confident in who I am. I know that if you're not solid in who you are, things can sweep you off your feet and change the way that you sound, the way that you write. I'm grateful for the time, even though I wish it'd taken less.

The EP was co-written with Chad Copelin, your longtime collaborator. How has your collaboration helped build your sound, from your writing to your production style?

A big part of the reason that I click with him is how [his process is] so different from the way I do things. And when I started this project, I really wanted to test my limits and not stay comfortable. I wanted to feel safe, but I wanted to push myself and see what I was capable of. He really continually pushes me out of my comfort zone, and I think he's constantly pushing himself out of his comfort zone. It keeps me learning; it keeps me on my toes; it keeps me challenging my own ideas. It was so important for me to find someone like that, and it's been pretty much the biggest part of the way that I sound and the way that everything's been released, because of what he hears and the marriage of our instincts.

Your music lives in this indie-pop/synth-pop arena, a genre subsection that's only grown in popularity in the last few years (even though genres can hold artists back). Who do you feel you've been learning from when making music, regardless of genre?

LANY's a big one. Troye Sivan, Miguel. The person I listened to most growing up was Bjork. I feel like I learned a lot of my vocal style from her and my not-mainstream instinct from her. But the idea of genre feels interesting to me, being influenced by specific genres. I think the best people are influenced by everyone. Like, Miguel is one of my biggest inspirations—maybe you wouldn't be able to pull that from the music, but I think that's kind of the beauty of art. You can gather things from everyone, not just looking at the best of whatever genre you're put in, but looking at the best of every genre, the best of all art that's out there. I constantly want to be reading books and looking at magazines and listening to music that's not necessarily what I would follow. I look for things that are different from what I am so I can evolve and so that the music can evolve. I think that's beyond genre.

What is it about your sound that tells the stories you want to tell?

I want to portray reality and groundedness but also joy and a sort of carefree perspective. I think you have to be able to say, "This is real life, this is tough, and I'm going through it, too." That's how you become connected to the person on the other side of the sound, you know?

There's a position that I have about living a life of joy. I'm not gonna sit in my reality; I'm gonna try to create a better one. I'm gonna try to create a better world for everyone else. Like, "This is what's happening, but I'm not gonna stay here. I'm not a victim of circumstances or my choices. I'm gonna keep going, and keep pushing, and keep being better." You can't always say those things in a song (you can't say all that in three minutes). But that's the motivation and heart behind my creative process. That's where I feel like my drive to say what I need to say comes from. If you can make life better for yourself and for everyone else, you're not in it alone.

Riah - In My Dreams (Official Music Video) www.youtube.com


The video for "In My Dreams" dropped this summer: What went into the production of the video? What do you want it to say about you, the music you make, and the direction you want to take as an artist?

The thing that I love about that video: It was after a pretty crazy week of shows, and the last few music videos I'd put out were very dreamlike, very much a persona. With this video, I wanted to try to strip it down to something very natural. The idea of the song is that you don't know what's real or what's fake, and all these amazing feelings you have with someone end up being a figment of your imagination. I wanted it to feel like you didn't know if you're in reality or if you're in a dream. But the other side of it is that I wanted it to be true to who I was. I didn't want to be overly made-up, I didn't want the world that we were creating to be overdone. The more I move forward with music, the more I want to just be completely who I am. With every music video, with every picture, with every song, I keep getting closer to who I want to be, tearing down the walls of needing to have a persona. That was a big step for me, to try to be as close to who I am as I can,[with] as little make-up, as little production [as possible]. It's getting to the core of what I want to be, and that's just myself.

Follow Riah online: Facebook | Twitter | Spotify

MUSIC

REVIEW | LANY delivers synthy, sappy romance on debut album

MUSIC | The trio present a slew easy (albeit forgettable) listening pop tracks to their first full-length

Paul Klein, leading man of LANY, turned twenty-nine this past April.

During what is arguably one of the most influential decades of your life, Klein and fellow bandmates Les Priest and Jake Goss, have had their hands in many pots, from attending music colleges, to Priest and Goss trying to work on a musical duo project together entitled WRLDS, to Klein crashing the partnership when he realized the complete dissatisfaction he was having as a solo act covering other artists' tracks. Flying out to Nashville from Los Angeles, the trio began work on what would become LANY — a nod to their desire to have their music extend from coast to coast (Los Angeles to New York).

Shortly after releasing their first songs, the group's R&B-influenced pop tracks about love experiences drew the attention of major record labels and audiences alike around the world, despite the band having a small internet presence (their first profile picture featured Michael Jordan and Magic Johnson instead of themselves). Their work was compiled together in a series of EPs and brought them on tour with the likes of Troye Sivan, Ellie Goulding, Halsey, and X Ambassadors.

After signing with Polydor Records, the band started work on a full-length release while also heading out on a world tour and basking in the success of their single "ILYSB." Fifteen months, 117 shows, and twelve countries later, with serious breaks taken in between to write and record, their eponymous debut has arrived.

Rather than simply scrapbooking the strongest tracks from their EPs in a project, the band was adamant in their desire to write and record new material and put in the due amount of time for the record, hence its lengthy production time. In some ways, this extended production time is evident in the final product. The album definitely shows its fair amount of growing pains, none the least of which being its hour-long runtime feels a little indulgent for the genre. It's a byproduct of an exploratory first time. And that's not necessarily a bad thing.

Musically, the album is a success. There is no doubt that there will be an inclination to dance to most tracks. The opening track, "Dumb Stuff," blends EDM influences with pop music in an accessible fashion for those who might not be inclined toward either genre. "Flowers on the Floor" has one of the catchiest chord progressions I've come across as of late, immediately inducing moving in your seat to the beat, where again genre elements cross over. LANY masters this over and over again, from their most recent "Good Girls" to "The Breakup."

Lyrically is where the band struggles. The insights LANY delivers are about as much as any young woman can hope to get from her clueless twenty-something boyfriend, which isn't much. They sound kind of sweet, but when broken down, are really kind of lame and hollow. It's a toss up in deciding whether there is something commendable in the efforts put forth to capture the exact dialogue and ridiculousness of so many twentysomething relationships, or if there's no need for any more attention drawn to this as television shows like Master of None and Girls have showcased this dysfunctionality (arguably, better) already. Do we need this again in music, or do we need something more raw and emotional, like the detail-oriented debut of Cigarettes After Sex?

You need not look further than the titles to support this case. Starting an album with a song literally discussing the desire to talk about "Dumb Stuff" with a girl you're into makes it hard to take the relationship seriously. The extended metaphors and plays on words don't help. The band's frequent use of acronyms, combined with playful spellings on "Hericane" and "So, Soo Pretty" show the band's age, and for Klein, who was trying to get away from playing the songs of Harry Styles and company, it's awfully risky territory.

Some parts of the album make it feel annoyingly diaristic rather than detailed and clever as such material should. This is particularly true for the interludes between the bigger tracks. Preluding "ILYSB," the band's most popular track to date, with a voicemail remarking what you must assume is band member Goss's tattoo is humorous between bandmates, but does little for listeners in a body of work about what it's like to be young and in love.

The struggle of describing relationships offers enough trouble. Again, the age of these confessions shines through in waves of immaturity. In, "Overtime," Klein sings, "This can't be the end / If it ends like this, you win," making you beg what this argument is that it's so important for him to win? This dissipates into complete silliness the further you dwell in the album, like on "Pancakes" which sings about eating them with champagne and connecting with someone, I think, or "Purple Teeth," delivering a montage of sleeping in your clothes at a party but not fully wanting to commit to something. It's the sort of ridiculousness that their audience will relate to...for now.

Endurance is where LANY must fear. The final track, "It Was Love," seems to say that each of these instances depicted on the album's tracks were, in some sense, a form of love, however fleeting. It tells a specific story, but seems to speak largely for what the band is trying to show on their debut. And they do, but they do so in a way that is not going to permeate. These songs will perform on the road because they're a delight to listen to, but they will perform less well in the hearts of listeners until the band's material works to grow up a little bit more.

LANY is available now via Polydor Records.

Follow LANY on Facebook, Twitter, and Instagram.

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