Libby Hobbs

I want to share stories of artistry with the world, particularly those by minorities. I’m a junior at the University of Georgia pursuing a journalism degree, music minor, music business certificate and news literacy certificate. I vow myself to veracious storytelling because I felt the consequences when the truth remained unknown.

UGA MBUS Student Ritika Sharma Forges Her Own Pathway

Posted on by Libby Hobbs

At ten years old, Ritika Sharma learned how to play the guitar—but upside down. Her father, who was left-handed, refused to buy her the instrument because she often struggled with sustaining a hobby. 

“After a week, I’d be like, ‘I’m bored.’ He didn’t believe that I would stick with it. So, I learned the guitar upside down,” Sharma said. 

Now, Sharma carries a dedicated spirit, with her seventh song “Love You Have Left” being released in late March. Even though she started writing songs at ten years old, she has wanted to pursue a career in music since she was 14—not giving up on her musical journey. 

Sharma describes her music as “textured.” She doesn’t like to label or confine it to a particular genre, having learned rock from her father, talking heavy metal with a former boss, and being classically trained all the while.

Instead, she often asks herself what mood she wants to create, letting the lyrics stand for themselves in the absence of production, and vice versa. 

“If you took the lyrics away, the production would shine, it would tell a story. And, if we took the production away, the lyrics still tell a story—that’s a test I do with all my songs,” Sharma said. 

As a student in the University of Georgia Music Business program, Sharma says she’s learned that she can forge her own pathway, with each musician’s route to success being different. She currently has a mix of singles and an EP released. Vinyl Magazine met with her to discuss some of the lore behind each. 

For The Fish

I think [with] the oceanic-like ambiance, I wanted it to feel like two fish were singing to each other. I think I kind of accomplished that. It was my first fully produced song. So, it’s definitely a learning process. I don’t think it’s a perfect song, but it’s really cool to see my progress. 

Arabella

I wrote this about a friend I had in high school who was going through a rough time. She would always be like, ‘Oh I’m trauma dumping.’ And, I’ll just be like ‘Girl, you’re my friend, I want to hear about everything that’s going on in your life.’ … I don’t talk to that person anymore. But it’s weird because people are in and out of your life, but songs can just stay with you. And I think about that person a lot. So, I think that song just means a lot to me because it was about a special person.

Water Fights

That one’s about a relationship that just changed and shifted, it wasn’t the same as when it first started. I think that was just about youth and friendships.  I think we have a lot of these friendships early on that just changed. It’s folk-inspired, and I just really liked the guitar melody.

14

That song was about middle school. I think growing up, I was in a very racist county. I’d get angry, my natural expression initially was anger. … But, my dad had a very kind expression, he thinks they don’t mean it like that—we have a different outlook on what people mean and why they do things. … That song was about [how] we’ll never be on the same page about how we want to react to things, how we want to treat other people… you can love people and them not think the way you do. 

The Bear

The Bear was the first song I technically posted on TikTok and got me thinking about putting songs out publicly. … I wrote that about [how] it’s like the grass is greener on the other side—you have this bear that’s outside of a cave and a man who’s in a cave, and one wants to leave and one wants to be in the cave. There [are] positives and negatives to both sides. … I think it’s some of my best lyrics. 

Sweet Bitter

It was the first time I was genuinely amazed by [the] stuff I created. … Usually, I would write, and then what my rough draft was was also my final draft. But, this was the first time I was like, ‘How can we edit this? How can we make it better?’ … So it started folk, turned R&B at one point. We meshed them, so the third section has R&B melodies if you really listen to it. It’s like four completely different sections that kind of signify the healing process. I think it perfectly takes you through you going insane and feeling not healed to being healed by a person who may have affected you. And it’s that sweet bitter feeling—you love them, but it’s time to move on. And, you also hate them.

Love You Have Left

I did it for an MBUS class. I had to do it so quickly… I had like multiple people, my friends who were trusted sources, who said ‘This one had some sauce to it, put this out.’ It was more [of a] pop sound. I didn’t want to go back to folk, I was like ‘Let me keep it pop.’ The hardest part was the ending, and I think I achieved a good ending. And again, texture [and] ambiance was really big to me. I think it’s some of my best lyrics, the melody is really catchy.

Staff Picks to Satisfy Your Inner Choir and Band Nerd

Posted on by Libby Hobbs

Whether to help you study or because you’re actually a choir/band nerd, orchestral and choral music are a staple. Personally, I’ve been singing in choirs since middle school, discovering many fantastic pieces throughout my years. 

Even though it’s not your typical pop music, orchestral and choral music still has the ability to reach souls and spark memories. I’ve often found myself in my deepest reflection when I’m listening to pieces like these. 

So, three Vinyl Mag staff have each chosen songs to add to your orchestral and choral playlists, hoping they satisfy that inner band and choir nerd we know lives in each and every one of you. Check it out below.

Staff Picks for Your Perfect Granola Playlist

Posted on by Libby Hobbs

With the weather warming and summer swiftly on the way, it’s about time to break out your favorite “Life is Good” T-shirt again. The chacos make a reappearance, and driving with the windows down is back “in.” The only thing missing — the perfect granola playlist to transport you away from Athens, Georgia, and into the Colorado mountains instead. 

The “granola girl aesthetic” has been something I’ve long aspired to have. The carefree and folky vibes that radiate off every granola person ease my type-A persona. I like to imagine myself in the woods with the sun on my face and growing my chaco tan line. 

With that spirit in mind, three of our Vinyl Mag staff have each chosen songs for your perfect granola playlist this spring and summer. Some are perfect for driving and others would be ideal for a night campfire. Check it out below.

Review: Jazz Ensembles Performance in Ramsey Concert Hall

Posted on by Libby Hobbs

Jazz music not only has the ability to transport us back in time through various musical eras but also to old memories in our lives. On Wednesday, April 3, I traveled to the streets of Paris, France, and also to past loves in my own life because of music performed by the Jazz Ensembles in Ramsey Concert Hall. 

There were two ensembles: Jazz Ensemble I and Jazz Ensemble II. According to the Hugh Hodgson School of Music website, Jazz Ensemble I consists of more advanced students and comprises saxophones, trombones, trumpets, drums, piano, guitar, and bass. Jazz Ensemble II, however, is an introductory ensemble that allows students to refine their improvisation skills. 

Jazz Ensemble II performed first. Immediately, I could pick up on the group’s cool and collected vibe. The director and Assistant Professor of Jazz Piano and African-American Studies at Hugh Hodgson, James Weidman, thanked audience members for being there on the “lovely spring day” and said the ensemble was having a good semester exploring all kinds of sounds. 

They opened with a fun piece “Day by Day,” followed by a smoother, slower, relaxing piece called “I can’t get started,” which is by Vernon Duke but was arranged by a friend of Weidman’s.  

However, my favorite piece they performed was their third, “Parisian Thoroughfare,” arranged by Mark Taylor. It starts with exciting rhythmic clacking and buzzing runs to signify the bustling, crowded, and chaotic feel of these Parisian streets. As I looked around, many people were tapping their legs to the beat. 

At first, the noises startled me, though. I quickly adjusted and really enjoyed the excitement of this performance. I imagined myself riding on a bike through these narrow roads, barely dodging the various shops and people nearby. There was a guitar solo that felt a bit out of place initially, but then I began to follow the progression of notes. 

Ensemble II closed out their program with a funky piece by Gerry Mulligan and a smooth one with nice progressions called “Blue Skies” by Irving Berlin. 

Not only was Ensemble I physically larger, but they also played a couple more songs. The band was directed by David D’Angelo, a Senior Lecturer of Jazz at HHSOM. They opened with “The Blues Machine” by Sammy Nestico and continued with “Jitterbug Waltz,” arranged by Eric Richards. 

The University of Georgia Hugh Hodgson School of Music Jazz Ensemble II performs in Ramsey Concert Hall on Wednesday, April 3, 2024. (Photo/Libby Hobbs)

I noticed several small interactions between the band members in this ensemble, which made me smile in the audience. I could tell they were all close with one another and valued the others’ artistic craft. Many would cheer each other on during soloist moments.

Similar to Ensemble II, the third piece performed by Ensemble I, called “When I Fall in Love” by Victor Young, was one that lodged me back in time. It was a beautiful ballad that left me deep in thought and reflection, which I always value when music moves me like that. 

I especially loved the descension of chords at the end because it felt like stages of falling in love. It didn’t resolve right away and teased a more minor sound, which made me think of conflict and left me wondering if maybe this romance wouldn’t work out. But then, it settled into a nice chord that had a bit of dissonance — leaving a little room open for the future. 

They also closed with a love song, Alan Baylock’s arrangement of “What Is This Thing Called Love?” It featured a drum solo that I really enjoyed following. Ensemble I also played “Moten Swing,” a crunchy and anticipatory piece called “Evidence” by Thelonious Monk and arranged by John Clayton, and Callum Au’s arrangement of “Let Battle Clements.” 

However, my favorite performance by Ensemble I was “Sister Sadie.” The main melody was catchy and memorable. It reminded me of a sweet but sassy southern woman that everyone in town swooned over. 

The soloist who performed this melody on alto saxophone did an amazing job—they really got into the music, sliding into certain notes and then whispering the theme before belting it more loudly like a back-and-forth interaction. In the end, the saxophonist and trombonist actually did go back and forth in their improvisations, and I enjoyed watching this enthusiastic and emotional performance.  

This was my first time attending a Hugh Hodgson Jazz Ensembles concert—but it certainly won’t be my last. I’ve watched the school of music put on a jazz concert before, but I really enjoyed both ensemble’s ability to lodge me in place or memory on Wednesday night. 

Several others seemed to agree because this was one of the most packed nights in Ramsey Concert Hall that I’ve experienced. I look forward to Jazz Ensemble’s future shows and what new feelings may arise then.

UGA Concert and University Band Bring Whimsical and Exciting Performances

Posted on by Libby Hobbs

The University of Georgia’s Concert Band and University Band both performed in Hugh Hodgson Concert Hall on Wednesday night, delivering a whimsical and exciting show. Each band performed five songs, with the Concert Band’s theme being “Dragonfly” and the University Band’s theme being “Darkness into Light.” 

Both bands were composed of mostly non-music majors, displaying a variety of students and music. Overall, attendees left feeling as if they were transported into fantastical worlds, celebrating the power of music.

“It’s worth experiencing and taking the trek to the music school to have these experiences and listen to this because it’s really beautiful seeing what other students on campus spend their time on. And, music’s always a great outlet for us to experience art,” Erika Rosenzweig, a senior landscape architecture major, said.

Conducted by R. Scott Mullen, the Concert Band started with a bang. They performed the following:

  1. “Dragonfly” by Katahj Copley
  2. “Contre Qui, Rose” by Morten Lauridsen and translated by H.Robert Reynolds
  3. “…and then the Universe exploded” by Olivia Kieffer
  4. “Song for Lyndsay” by Andrew Boysen, Jr. 
  5. “Caravan” by Chandler Wilson

The program’s namesake, “Dragonfly,” took listeners on an adventure. According to the program notes, Copley was inspired by the Japanese film composer, Joe Hisaishi, famously known for his work in Studio Ghibli films. 

“I wanted to use [Hisaishi’s] colors and his palette to paint a picture of intensity, beauty, and adventure. From the beginning of the piece, it is an explosion of color and energy,” the program note said. 

“Contre Qui, Rose,” on the other hand, is a French poem intended to leave questions unanswered with unresolved harmonies, according to the program note. 

“Against whom, rose,

Have you assumed these thorns?

Is it your too fragile joy that forced you 

to become this armed thing?

And from whom does it protect you,

this exaggerated defense?

How many enemies have I lifted from you who

do not fear it at all?

On the contrary, from Summer to Autumn

you wound the affection that is given you.”

From “Contre Qui, Rose”

As the program continued, the pieces built in excitement too. Despite the seemingly daunting name, both “…and then the Universe exploded” and “Song for Lyndsay” were joyful pieces. The program note said that sometimes, the very end is the most beautiful.

Finally, “Caravan” walked audience members through the desert regions of the Arabian Peninsula, North Africa, the Levant and Mesopotamia. Denise Deal, a consultant for the Sassafras Group, said this piece was her favorite. 

“It was fun … the young adults seemed like they had a lot of fun playing it, and you could tell,” Deal said. 

Deal felt like the program’s theme, “Dragonfly,” was very fitting for spring. It made her think of walking through a garden with all the winged bugs. She was happy to support her daughter, who played in the University Band, and support what she thought was “treasure for the community.”

The University Band, however, started on a darker note. Conducted by Brett Bawcum, they performed the following: 

  1. “The Cave You Fear” by Michael Markowski
  2. “On Shores of Endless Sea” by Kevin Day
  3. “España Cañi” by Pascual Marquina and arranged by Robert Longfield
  4. “Scrapin’” by Benjamin Horne
  5. “Illumination” by David Maslanka

“The Cave You Fear” was a suspenseful and mysterious piece, serving as a “thrilling call to adventure” that urged listeners to venture outside their comfort zones, according to the program note. Dalton Self, a junior mechanical engineering major and trombone player in the University Band, said this piece was the one he was most excited to play. 

“It’s one of the more darker ones. There’s this really cool low brass feature towards the end, and because, you know, trombones, we kind of like that stuff,” Self said. 

“On Shores of Endless Sea” was meant to represent a paradise of “immense beauty and majesty,” according to the program note. The piece was based on the hymn “Called by Earth and Sky,” which has the verse: 

“Precious these waters endless seas, deep ocean’s dream, waters of healing, river of rain, the wash of love again.” 

Rosenzweig said this was her favorite piece because it felt magical. She was reminded of Disney’s “The Little Mermaid” and said she could see herself on a boat, rowing along.

“España Cañi” is a popular pasodoble, a fast Spanish military march song. Andrew Niemann, freshman computer science major, plays trombone in the University Band. He said this piece was the most fun to play. 

“Scrapin’” and “Illumination” were both energetic songs, with “Scrapin’” incorporating elements of trap that had the audience nodding their heads to the rhythm. “Illumination” had the goal of sharing creative energy with a community through music, the program note said. 

Both Selft and Niemann expressed similar sentiments, saying they hoped their “Darkness into Light” performance drew more people to the music school who appreciated their musicianship.

“I think it’s especially important at this this time of year—a lot of students and adults start feeling burnt out. It’s really nice to take a moment to appreciate the fact that there is a transition between darkness to light, day into night, sadness into happiness, and I think that they portrayed that really well,” Rosenzweig said. 

Athens DJ Scene Is on the Climb Post COVID-19

Posted on by Libby Hobbs

A flow state of pure connection and free movement—this is how Izzy Morrow, a DJ and promoter in Athens, describes the music environment that she hopes to curate. She says this state of being is when she feels the most connected to the universe and, when she’s on stage, to the crowd.

“Movement is such a healing thing—just dancing freely,” said Morrow. “[In our] normal everyday lives, we literally don’t get to do that… I feel like I just shed all my layers and it’s just pure human.”

Before the COVID-19 pandemic, Athens had a thriving DJ scene. According to Morrow, the Georgia Theatre in Athens, Georgia, used to book EDM shows frequently on the weekends. However, she says the number of shows and DJs in Athens has since slowed down in the post-pandemic era. 

Still, many of Athens’ DJs—from underground to EDM to old school—predict that the scene is regaining footing, preparing for an anticipatory comeback.

Two people dance at the Raving Hearts event, which raised money for the Cottage Advocacy Center, on Saturday, Feb. 17, 2024. (Photo/Libby Hobbs)

Current trends

The live music industry, like many other aspects of our lives, changed after COVID-19. According to a study by the National Library of Medicine, the total monthly consumer spending on music has decreased by more than 45% compared to the pre-pandemic levels, impacting live music and physical sales the most. 

While sales in pop music concerts have recently skyrocketed three years post-pandemic, the New York Times reports that amphitheaters operating below arena levels have seen climbing costs, and other industries, like Broadway audiences, are still down from pre-pandemic numbers.

On the other hand, the pandemic also offered rare free time for many people to try out new things—for musicians to perfect their craft. Another study by the National Library of Medicine reports that some musicians referred to the pandemic aftermath as a “creative period,” despite the disadvantages of lockdowns.

Athens also gained some quality music from the DJ scene during this time, according to Henry Landgraff, known as DJ Henny. He attributes this spike in creativity to the increased time people had to learn how to produce.

However, even beyond the pandemic’s influence, Morrow says most musicians in Athens, not just DJs, are “hungry” to create. It’s that freedom of expression that made Morrow fall in love with the Athens DJ scene in the first place. Even Landgraff, originally from Ohio, attended the University of Georgia because of the attractive music scene and music business program. 

“Having like-minded people that are so musically intelligent, even if it’s not about music … it’s a microcosm [where] you can fail and there’s no downside,” said Landgraff. 

Izzy Morrow spins at Open Decks at Mai Kai Kava Bar in Athens, Georgia, on Thursday, February 29, 2024. (Photo/Libby Hobbs)

Mark Weathersby, or DJ Mahogany, started DJing back in 2005. So, he’s seen the evolution of Athens DJs over the last several years. In a Flagpole story from 2016, he said that the scene in Athens was varied, ranging from top 40 hits to obscure jams—he largely agrees today. He says there’s still a crowd that enjoys older music, but there is also a new, youthful movement. 

“Here in Athens, I think it’s definitely more of that top 40 scene, I think it’s going towards that … youthful, vibrant, very energetic, fun, dance scene with EDM. And, that definitely is the movement where music is going towards,” said Weathersby. 

Ben Bradberry, also known as DJ Reindeer Games, describes in Flagpole a “split scene,” which poses the question: Are people coming to shows because they enjoy the music, no matter who is spinning, or are DJs attracting crowds with the specific vibe they create?

Morrow, being more involved in underground EDM, says her experience has been going to a show because you like their sound. Landgraff, who also works in EDM but for a more fraternity crowd, thinks the answer is a little complicated. He doesn’t necessarily want to be confined to one sound, which makes it a fun challenge to experiment with all kinds.

“You need to set an entire vibe—there’s nothing to watch… it’s just me and my board,” said Landgraff. “My favorite part is being able to set an entire tone of how you want your set to be… I think that the balance of Athens music makes it so people know to not expect anything going in and kind of accept it for what it is.”

Current opportunities

In the post-pandemic music scene, Morrow attributes much success to the Nightshade Family, which she describes as being like a label and events promoter. She worked as one of their resident DJs and says they’ve been instrumental in throwing shows for the underground scene, which struggled after COVID-19. 

Morrow also helps host Open Decks at Mai Kai Kava Bar, which she describes as “an open mic night for DJs.” Anybody who wants to play can bring their USB and plug it in, allowing beginners to give it a try and pros to experiment with something new.

Two people practice spinning at Open Decks at Mai Kai Kava Bar in Athens, Georgia, on Thursday, February 29, 2024. (Photo/Libby Hobbs)

Scottie Stephens, known as Karezza, is one of the other hosts for Open Decks. Morrow says he helped her learn how to DJ and produce. Stephens started DJing and producing about five years ago, saying he also used the lockdown time to work on his music. But, he didn’t start playing shows until two or three years ago, many of which were with Nightshade.

Morrow is the one who invited Stephens to Open Decks, which they soon started hosting together. While it felt like a big step at the time, he says this opportunity helped him make connections. He reflected on how different his and Morrow’s lives would be if she had never asked him to come to Open Decks.

“Honestly, this place has changed my life for the better,” said Stephens. “I’ve met so many people in the community, and it’s given me a place to come to and keep growing my relationships with all these people.”

What’s next

Stephens agrees that the DJ scene is slowly being revived and is on a good path. 

“It’s slowly being built back up, but it’s just harder to find,” said Morrow. 

Now that anyone can watch a YouTube video, DJing is more accessible, according to Morrow. She emphasized the need for production skills because people can pick it up pretty quickly. Landgraff agrees, saying his biggest regret was not releasing original music fast enough. 

Overwhelmingly, the DJs want beginners to approach their craft with an open mind. Landgraff said that even though a vibe cannot be predicted, the DJ must be prepared. Weathersby said he had to be like a sponge that absorbed it all. 

“You need to have fails,” said Landgraff. “You have to have those kinds of low-stakes shows in order to make those high-stakes ones good.”

With summer quickly approaching, Morrow already has her eyes on the third annual “Earthday Everyday” event on May 11 at Southern Brewing Company, which is put on by Afterglo. Weathersby also thinks the warmer weather will draw back more shows to their previous hot spots.

“I bet you we’re gonna see DJs on the rooftop [of the Georgia Theatre], and I think they’re gonna be packed and ready,” said Weathersby. “By the end of this year, everybody’s gonna be back out on the dance floor dancing.”

UGA Glee Clubs Embrace Unity With “Vive La Compagnie” Concert

Posted on by Libby Hobbs

The University of Georgia Glee Clubs echoed messages of unity at Hugh Hodgson Concert Hall on Tuesday night for their “Vive La Compagnie” concert, which translates to “Long Live the Company.”

“Singing together is one of the most human things you can do,” said Conductor Sarah Gallo. “We think it’s really special … it’s also just deep in our core.”

Both the men’s and women’s groups performed a variety of pieces. From a Bulgarian folk song to a song sung in Sámi, a language spoken by Indigenous people in the northern Scandinavian region, to a poetic ballad—the repertoire was diverse.

Perhaps the most exciting piece from the Women’s Glee Club program was “Ozdolu idu,” arranged by Philip Koutev and sung in Bulgarian style. Gallo said singing in Bulgarian style required a brighter sound, which was not a typical vocal placement for choral singing.

Not only did “Ozdolu idu” bring joy to the audience, but choir members were smiling and dancing along to it too. Katie Bethbrewer, a sophomore biological sciences major, is in her second semester at the Women’s Glee Club and said this was her favorite piece to perform. According to the program bulletin, this children’s song tells a story about colorful carts “bumping and jumping” down the road.

“The concert was just awesome. I love, love, love Dr. Gallow,” said Bethbrewer. “She always does such an amazing job picking such a wide variety of music. I’m so excited every semester to get to sing all the different kinds of songs.”

Cooper Hardy, a sophomore agricultural communication major, also noticed the variety of pieces and would love to see even more languages in the future. He, however, enjoyed the “quiet and lowkey” performance of Gwyneth Walker’s “Crossing the Bar” by the Women’s Glee Club the most. Alfred Tennyson wrote the poetry, which included lines like:

For tho’ from out our bourne of Time and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crost the bar.

However, the namesake of the concert was the Men’s Glee Club “Vive La Compagnie” performance, arranged by Alice Parker and Robert Shaw. This piece matched a jaunty mood and faster pace like the Bulgarian piece. Braden Rymer, a baritone, had a solo.

Words in “Vive la compagnie” translated to “Should time or occasion compel us to part, vive la compagnie! These days shall forever enlighten the heart,” according to the program bulletin.

“I thought the whole idea of music bringing everyone together was a great way to highlight how the music school works,” said Hardy.

Tuesday’s concert was the last opportunity of the semester to see a Glee Clubs-only performance. Because of this, Gallo made an effort to recognize the graduating seniors in the choirs.

The Glee Clubs will combine with the other UGA choirs and UGA Symphony Orchestra to put on the “Dona Nobis Pacem” concert on April 26.

“Dona Nobis Pacem is an incredibly timely and really moving piece that is unfortunately really appropriate for our world today — it’s begging for peace,” said Gallo.

A few days before the concert, two UGA students—one current and one former: Wyatt Banks and Laken Riley, respectively—died on campus. Bethbrewer said many of the songs were about hope, finding a community and finding beauty in the state people find themselves in, which helped bring her peace among the tragedies.

“Getting to hear those words and get to sing those words and preach that to our community at this time is really empowering and helps, I think, bring hope to our campus,” said Bethbrewer.

The Men’s Glee Club ended on a positive note with their performance of the Georgia Medley. This included the tradition of calling the Dawgs and skit-like choreography to engage with the audience.

“It feels like you get to experience something that’s really intimate that these people have put so much time into—I feel like it is our duty to go out there and to show our support,” said Hardy.

The University of Georgia Glee Clubs performed at Hugh Hodgson Concert Hall on Tuesday, Feb. 27, 2024. (Photo/Libby Hobbs)

Score Soundtracks For Your Whimsical Fiction Movie Life

Posted on by Libby Hobbs

We all need a whimsical fictional world to escape to now and then. There’s How to Train Your Dragon to make you feel like you’re soaring, and Tangled to get you up off your feet. UP is a real tear-jerker, but Monsters Inc. is a real toe-tapper—all this to say that score soundtracks are a seamless way to transport us into those fictional worlds we crave.

As I’m reminiscing on my time spent in Copenhagen, Denmark, this past summer, I’ve listened to a lot of fairytale scores. Copenhagen was magical—the weather, the air, the scenery, the almond croissants, the parks, the people—I could go on. I was exploring the city on a bicycle when I stopped to take this quick photo shown above. That moment didn’t feel real.

Then again, nothing about travel feels quite real. As soon as I felt the plane take off, a supernatural buzz consumed me. Even though I’d only flown on a plane once before trekking to Denmark, I still knew I had to have a playlist ready for takeoff. The perfect song for being hurled hundreds of feet into the atmosphere: “Test Drive” from the How to Train Your Dragon score.

Here is a playlist of the best scores to be in your fiction movie moments—times like when I biked around Copenhagen and wondered upon the most perfect scenery.