#// The discordant but harmonizing vocals

[initial-lime]

people keep saying the hunt and the slaughter are basically the same except one is targeted violence and the other is random, which is mostly true I guess

but I feel like that completely ignores the point of the hunt? Yeah violence is the result but as explained by Daisy herself the kill is always the worst part, the point is PURSUIT.

I just don’t get how it’s a misconception at all, like what??? Y’all aren’t terrified of the horrible hounds that lurk and pursue and chase and chase and chase and chase and snap with their horrible fangs as blood and adrenaline sings in your ears. The horrible teeth that grow ever closer as it runs you down and you do not know when it’ll get you because if you stop to check how far behind you it is, it might get you quicker and once it does it’s all over.

your legs ache as you long to give out held upright only by instinct. The blood sings and sings and the ivory teeth still chase, you do not know if the glinting maw even has a body behind the rush of fangs and taunting barks all you’ve ever seen of your assailants was the accusation in those glinting eyes.

You know what you’ve done, the moment you became prey sits pretty in your mind there is no other possible reason, you know you are prey and you know why and you know the hounds know. Your lungs give out in a horrible cry, wailing towards the moon and briefly harmonizing with the choir that pursues you, but it’s brief and falls discordant within the same breath. Recriminations and accusations share in their thesis but the events portrayed can only ever match their source and biases are so very common here.

The chase is forever and there are a million reasons you may find yourself here, but no matter who or why it’s always the same isn’t it? It’s the chase, it’s the blood in your ears as you run it’s the lungs you must still have pushing air to vocalize in a horrid bark, the only thing you wonder now is when the chase turned, when did you find the time to seek out your own prey and why does the panicked backwards glances of that pathetic thing fill you so with satisfaction as you snap your teeth around open air.

[twin-chains]

Just found out about Cadence of Hyrule, kinda in love with this game and I could totally envision a hero from it (probably won't be added to this au but fun to think about)

Cade? Rhythm? Sere? would be very rhythmic in battle and never wastes a move or step, nor a swing of their breakable items. They'd always walk/march on beat, even when they're sitting down they have a habit of tapping their fingers or foot to their own internal rhythm. They like to hum and repeat pretty sounds they hear, everything sounds like music to them (the buzz of cicadas, the whistle in the wind, etc). Even their voice would have a slight sing-songy accent around the other Links, accidentally singing a word or syllable while speaking.

Their world itself thrives on a music-based culture. Everyone has a song in their heart and family members have similar songs while close friends and partners have songs that harmonize and compliment each others well. Clans or villages could perform similar music genres or styles. People would sing to express respect, love, or joy in their words, the stronger someone sings their words or speech the stronger they feel these emotions. On the other hand, yelling, arguing, and screeching holds greater weight in conversations due to being strong, loud negative noises (heavy metal is frowned upon unfortunately).

It's common for rituals and ceremonies to be performed through song: wedding vows, birthday celebrations, festivals, even funeral dirges, etc. Even one of a child's milestones are their first tune or instrument (along their first word and step). When Princess Zelda (Lyre? Ballad? Harmony? Melody?) was coronated, one of the requirements was for her to write and perform a song to her people to portray her good and honest intentions to serve the kingdom.

Someone's vocal register (soprano, alto, tenor, bass, etc) is commonly shared with others and treated in a similar way as astrological signs (gemini, cancer, leo, etc).

If one chooses not to sing, they typically dedicated themselves to an instrument or two instead. Multi-instrumentalists are often admired and seen as gifted.

Music and rhythm is all around them in nature. Everyone is typically expected to learn to sing or play an instrument of some kind (it's an unspoken thing). To these citizens, song is seen as something that makes them hylian. It's said that their pointed ears let them hear song better and be closer to the music of the heavens. It separates them from monsters and animals that follow a beat but can't produce decent song of their own, mostly due to a lack of the proper vocal chords. Many birds are highly valued and respected in their culture due to their ability to produce melodious bird calls, even common as pets. Because of this, many in Cade's world often depict religious figures like the golden goddesses with great bird-like angel wings and bright plumage in their respective colors (Farore=green, Din=red, Nayru=blue). Maybe even feathers are common in royal or high fashion, I could definitely see Lyre wearing cute feathers in her hair or accessories.

Sunny or clear weather sounds like calm and relaxing music while heavy rain or stormy weather sounds discordant and loud with the claps of thunder.

[mindfulblisstribe]

Unveiling the Power of Sound Healing in Tampa: A Guide to Understanding How it Works

In the realm of alternative medicine and holistic wellness, there exists a practice that transcends conventional understanding—the art of sound healing. Rooted in ancient traditions and embraced by modern practitioners, sound healing harnesses the power of sound frequencies to promote physical, emotional, and spiritual well-being. But what exactly is sound healing, and how does it work? Read more to learn about Sound Healing in Tampa, FL.

The Essence of Sound Healing In Tampa, FL

Sound healing is a therapeutic practice that utilizes the vibrations of sound to restore harmony and balance within the body, mind, and spirit. This ancient healing modality traces its origins to various cultures across the globe, including ancient Egypt, Greece, India, and indigenous societies.

At its core, sound healing operates on the principle that everything in the universe, including our bodies, is in a state of vibration. When these vibrations become imbalanced or disrupted, it can lead to disharmony and dis-ease. Sound healing aims to realign these vibrations, allowing for a return to a state of equilibrium and wellness.

The Mechanisms Behind Sound Healing

1. Resonance and Entrainment

One of the fundamental mechanisms of sound healing is resonance—the phenomenon where a vibrating object causes another object to vibrate at the same frequency. When a sound frequency is introduced to the body, organs, cells, and even individual molecules resonate in response. This resonance facilitates the release of stagnant energy, promoting relaxation and healing.

Entrainment is another crucial concept in sound healing, referring to the tendency of rhythmic vibrations to synchronize with an external source. When exposed to specific frequencies, such as those produced by singing bowls, tuning forks, or vocal toning, the body and brain naturally synchronize to match these frequencies. This synchronization induces a state of coherence and balance, promoting a sense of well-being.

2. Neurological and Physiological Effects

Sound waves have a profound impact on the brain and nervous system. Studies have shown that certain frequencies can stimulate the release of neurotransmitters and hormones associated with relaxation and stress reduction, such as serotonin and dopamine. Additionally, sound therapy has been found to lower heart rate, blood pressure, and cortisol levels, thereby promoting overall cardiovascular health and stress management.

3. Emotional and Energetic Healing

Beyond its physical effects, sound healing also holds profound implications for emotional and energetic well-being. The vibrations of sound have the ability to penetrate deep into the subconscious mind, releasing emotional blockages and promoting emotional release and catharsis. Many practitioners believe that specific frequencies and musical intervals correspond to different emotional states, offering a means to address and transform negative emotions.

Exploring Sound Healing Modalities

Sound healing encompasses a diverse array of modalities, each employing different instruments and techniques to achieve therapeutic outcomes:

Singing Bowls: Used for centuries in Tibetan and Himalayan cultures, singing bowls produce rich harmonic tones that resonate throughout the body.

Tuning Forks: Tuning forks emit precise frequencies that can be applied directly to the body or placed in the surrounding environment to create a healing resonance.

Voice and Vocal Toning: Vocal techniques, such as chanting, toning, and overtone singing, harness the power of the human voice to create therapeutic vibrations.

Gongs: With their deep, reverberating tones, gongs produce a wide spectrum of frequencies that facilitate deep relaxation and meditation.

Conclusion: The Symphony of Healing

In a world where stress and discord often reign, sound healing offers a harmonious counterpoint—a melody of healing vibrations that resonate deep within our being. Through resonance, entrainment, and neurological modulation, sound healing holds the potential to restore balance and vitality to the body, mind, and spirit. As we continue to explore the depths of this ancient practice, may we rediscover the profound healing potential that lies within the symphony of sound.

To learn more about sound healing and book your private session, contact Mindful Bliss Tribe at www.mindfulblisstribe.com/book-online.

[hugh-lauries-bald-spot]

give me any music recommendation, please

thank you SO MUCH for this ask you have no idea-

this is one of the best collaborations ive ever heard.

a lot of it is because they both have very distinctive styles, but they know how to work together. each artist not only has their place in the song, moments where it really highlights their signature artistry, but they also have a super strong blending of styles in other parts.

im going to try to explain why i picked this song in a little more detail under the cut (im not an expert by any means, this is just my attempt to verbalize what makes this collaboration special to me)

Nine Inch Nails is a pillar of the industrial and alt rock scene(s), as we know, and it gained a lot of its notoriety in the nineties with songs like Closer and Mr Self Destruct.

A lot of their music's grittier feel, from the quality of Reznor's voice to how the instruments sound, comes from noise distortion (essentially the altering of the original audio). That, and they often layer it with other electronic and industrial noises to accompany the vocals (you'll notice this almost right away).

Trent Reznor is known as the man who made industrial rock as a genre popular, and is recognized as something of a magician by blending electronic, alt, acoustic and classic rock sounds into cohesive music. It takes that kind of harsh noise you get from industrial and marries it with those other genres.

Another reoccurring element I've noticed in a lot of NIN music is a fairly stagnant baseline, one or 2 deep notes kind of suspended in the background, while vocals or other noise plays on top of it (you'll notice this especially in the first chorus).

To return to the topic of vocals, the droning melody of the lyrics is very reminiscent of Add Violence, with slower tracks like The Lovers that contrasted with a lot of their quicker-paced, more aggressive, earlier albums, and their music in general (in my opinion, it just really stands out as an album).

HEALTH made their debut in the noise rock scene in 2005, so while perhaps less iconic as NIN (because that's a high bar for any industrial band post-90s...), they've still anchored themselves as one of the more popular bands of that sub-genre in the 2000s.

Their earlier releases, like the song Triceratops, features a lot of seemingly discordant, fast sounds that create a kind of angry and anxious environment with minimal (or no) lyrics.

In more recent years, they've experimented more with electronic rock and incorporating electronic elements into their usual sound (such as digital beats and more noticeable audio distortion, as well as the incorporation of synth).

For the most part, in their albums from 2007-2009, the vocals are largely overwhelmed by the sound and instruments, and are there namely for atmosphere. What makes the vocals unique is their contrast with this more jarring musicality, they are slow and unusually metered, as well as much more harmonic than the rest of the pieces (which reminds me a lot of newer Radiohead like Supercollider/The Butcher).

What I've found defines HEALTH from a lot of other noise/indusrial/experimental rock groups are those ethereal, almost haunting vocals. They're almost intimidating, as due to their calm tempo and overall consistence of tone, they're really juxtaposed with the strong beat and (at times) aggressive instrumentation. Listen to LOSS DELUXE to feel a bit of that effect.

What I feel makes this collaboration so strong is just how well they've utilized their respective styles to highlight what the other brings. The song's intro is profoundly NIN (so much so that I didn't even realize this was a collab until the chorus). HEALTH slowly bleeds into their sound, and from 1:46-2:11, its a perfect blend, both their styles harmonize during this section.

From 2:13-2:38, we hear HEALTH's sound entirely, melodic and almost tender, which contrasts with the previous section's more rough energy brought by the other band. NIN bleeds back into the song around 2:39, bring back that harsh bass line and Reznor's droning vocals. The song's aggressive feel progresses from here, with the augmented intensity of the instruments and Reznor's vocals turning into more of a scream until both bands are infused into one another's styles once more.

As the song ends, it returns to HEALTH's brand, but not without a brief moment of Reznor's vocals towards the very end, no longer distinctive, but almost agglomerated into the other band's energy.

To summarize, what's so spectacular about this collaboration is their capacity for blending and for leaving space for each band's originality.

If you've never heard HEALTH or Nine Inch Nails, this would be a perfect song to introduce you to both.

[nenasspot]

If you watch Boys Planet, do you think that g-group or k-group should've won the Danger stage? Because honestly, g-group did so much better and I still don't understand how k-group won

I do watch Boys Planet! Quite obsessively, actually (I'm also an active member of the fan discord lmao). So I have an opinion on practically anything you ask me about this show.

For the danger battle: I didn't particularly like either of them. I think danger is a wayyy too hard song for a battle like this (crazy chorus vocals and raps made and produced by some of the best), just like how hot sauce was a bad choice. Both the group's sub vocals were wayyyyy better than their mains, which took the wind out of the sails of BOTH performances. Aside from that, I preferred g group's vibe and overall feel, while k group's synergy in harmonizing felt nicer (probably, at least in part, because danger's synergy is pretty hard, but a lot easier for native speakers).

K group's whole vibe was off thanks to the montage we saw before it... So I do wonder if I would have liked it more if I had seen JUST the performances without that 'fight' (group cams, not focus ones). In the end, they were pretty much a tie for me, with some biased points to g group purely for the work they obviously had to put in.

Thank you for your question! Please feel free to absolutely milk me dry of my Boys Planet opinions, because it's pretty much all I think about these days.

[thedemostop]

What is EMO Music: Origins, Characteristics, and Evolution

Emo music is more than just a sound; it's a visceral world filled with unvarnished lyrics, eerie melodies, and a heartbeat that mirrors the highs and lows of life.

Imagine yourself plunging into a world of music where strong chords and sensitivity collide, where grief is harmonized and feelings are given a platform. This post will take you on a musical voyage to unravel the mystery of what is emo music, examining its inception, development, and enduring influence on various age groups while allowing you to experience the sound and comprehend its essence.

What is emo music?

Biblical singing that is lovely and transformational is called emu music. It's a genre defined by deep emotional resonance, reflective lyrics, and expressive, frequently intimate, subjects. Although it originated in the hardcore punk era, emu music has developed into a unique genre. It commonly has lyrical material with a strong guitar melody and poignant, intimate lyrics that frequently touch on topics of love, heartbreak, angst, and personal challenges. Now that you know the fundamentals of "what is emo music," let's explore its nuances in more detail. The genre blends elements of post-hardcore, indie rock, and punk rock, among other subgenres and influences. Emo music has evolved over time, giving rise to various waves and variants. There were raw, visceral sounds in the 1990s.

Characteristics of emo music

Understanding the distinct qualities that comprise this dynamic musical genre is essential to fully grasping what emo music is. Anxiety Emo music is frequently associated with feelings of inner conflict and emotional upheaval. The lyrics often convey a sense of disquiet or discontent with one's own reality by exploring sentiments of irritation, alienation, and inner conflict. Perceptiveness Emo music embraces sensitivity and contemplation while diving into unfiltered and sensitive emotions. In order to help listeners relate to the artist's emotional journey, it frequently aims to communicate genuine and intensely intimate experiences.

Contradiction Occasionally, discordant components or sounds are used into emo music, which can create an uncomfortable or stressful mood. The use of dissonance deepens the emotional landscape and amplifies the emotions expressed in the song. Sentimental lyrics Emo music features very emotional and reflective lyrics that center around themes like love, heartbreak, introspection, and personal hardships. The goal of these lyrics is to strike a deep emotional chord with listeners and elicit strong feelings. Damaged guitars The characteristic tones of emo music are distorted guitars. The use of highly overdriven or distorted guitars adds depth and urgency to the song, contributing to the strong and passionate tone of the genre.

Dynamic shifts

Emo music often incorporates dynamic shifts, ranging from quiet, subdued moments to loud, intense crescendos. These variations in volume and intensity help to convey the emotional peaks and valleys within a song, amplifying its impact.

Top emo bands

My Chemical Romance

As one of the most important bands in the emo music scene, My Chemical Romance (MCR) gained notoriety in the 2000s. It became well-known because to its dramatic performances, intense vocals by Gerard Way, and deeply felt lyrics. With albums like "Three Cheers for Sweet Revenge" and "The Black Parade," they cemented their status as emo superstars.

The Used

The Used, a band well-known for its raw, aggressive sound, blended emo and post-hardcore elements to produce music that was intensely emotive. Audiences were captivated by lead singer Bert McCracker's strong voice and the band's ability to put passion into their tunes. Albums like their debut self-titled album and "In Love and Death" demonstrated their powerful fusion of tenderness and ferocity.

Paramore

With the captivating Hayley William at the forefront, Paramore invigorated the emo-pop landscape with a lively and dynamic energy. Pop-punk and emo components were expertly combined in its music, which resulted in captivating melodies, insightful lyrics, and an amazing live presence. Their reputation as important personalities in the alternative and emo music scenes was cemented by hits like "Misery Business" and "Decode."

Good Charlotte

Good Charlotte's catchy and accessible tunes helped them become well-known in the early 2000s. The band tackled topics of teenage angst, societal difficulties, and personal struggles by fusing pop-punk with emo sensibilities. Songs like "Lifestyles of the Rich & Famous" and "The Anthem" spoke to a generation that was struggling with issues of identity and peer pressure.

New Found Glory

The late 1990s saw the emergence of New Found Glory, a pop-punk/emo hybrid band. The band rose to prominence in the genre because to its upbeat and memorable songs, which featured poignant lyrics and captivating hooks. With albums like "Stick and Stones" and "Catalyst," they cemented their status as important players in the emo-pop scene.

Yellowcard

Yellowcard used violin, emo, and pop-punk influences to create a unique sound in their songs. The band gained a devoted following among the pop-punk and emo communities because to songs like "Only One" and "Ocean Avenue," which demonstrated their ability to combine appealing tunes and meaningful lyrics.

Emo music today

The origins of emo music date back many decades, but what does it mean now? Modern alternative and indie music scenes have been influenced by the evolution and diversification of emo music. Even while it might not be as popular as it was in the early 2000s, its effect on contemporary artists and other subgenres ensure that its legacy lives on.

These days, emo music combines elements from other genres, like hip-hop, pop-punk, and indie rock, to create a wider variety of sounds and styles. Musicians are still utilizing their lyrics to tackle deep and emotional themes, such as mental health, relationships, and personal challenges.

[musicarenagh]

"everyone is from somewhere and also nowhere" By And Y Et In the labyrinth of modern music, where genres often blur at the edges and mutate into forms as elusive as morning fog, "everyone is from somewhere and also nowhere" by And Y Et carves out a unique auditory experience that tantalizes and challenges in equal measure. At the helm of this intrepid voyage are Nic Jenkins and Kelsey Mines, whose synergy oscillates between haunting beauty and deliberate cacophony, scripting an album replete with multifarious narratives. https://open.spotify.com/album/05uKU60AAmZqagQ3fIKdWn?si=WcmwTR8DRIGzA2A1T8pY0w The album unfurls like an intricate tapestry threaded with themes both urgent and introspective: mutual-aid sings a harmony to meditation while climate change's discordant undertone questions over commitment. It’s a reflection not merely on our external crises but also on our innermost caverns of solitude juxtaposed against the warmth of friendship—a poignant reminder perhaps best encapsulated in these pandemic times. Musically, "everyone is from somewhere and also nowhere" refuses to be pigeonholed. The experimental pop foundation provides fertile ground for lo-fi textures to intertwine seamlessly with electro-acoustic embellishments. Herein lies its charm; it's collage-form composition bearing witness to genre-defying audacity which mirrors the chaotic yet harmonious existence we navigate daily. [caption id="attachment_53958" align="alignnone" width="768"] "everyone is from somewhere and also nowhere" By And Y Et[/caption] Jenkins' male vocals interweave gracefully with Mines’ female timbres across ten tracks that feel less like songs and more like movements within a grander symphony—one penned remotely in isolation yet profoundly intimate. Their voices act not just as narrators but as instruments themselves, blending improvisation with structured part-writing that cultivates an atmospheric spaciousness brimming with possibility. Listeners will find echoes of Brian Eno’s ambient innovations beside Björk’s avant-pop spirit in this project. Yet it resists straightforward comparisons; akin to staring at clouds or interpreting dreams—each moment holds myriad shapes dependent solely upon one’s perspective at any given time. [caption id="attachment_53957" align="alignnone" width="1151"] "everyone is from somewhere and also nowhere" By And Y Et[/caption] Drawing deeper into their sonic landscape exposes listeners to unconventional song forms animated by a harmonic language intent on exploration rather than resolution—akin to navigating bewilderingly beautiful terrain without a map or compass but led instead by sheer curiosity. Despite—or perhaps because of—the isolation-fuelled birthing process bolstered by remote collaboration during unprecedented global conditions, there emerges from "everyone is from somewhere and also nowhere" an essential truth about creation itself: art thrives amidst constraints. With every note played or sung, Jenkins and Mines articulate not just soundscapes but sanctuaries built from adversity wherein reflection meets connection. And Y Et crafts something both comforting in its familiarity yet joltingly fresh—a timely testament framed against somber realities yet imbued throughout with hopeful strands awaiting discovery amid its layers. Follow And Y Et on Website, YouTube and Instagram.

[dustedmagazine]

Joseph Shabason — Welcome to Hell (Western Vinyl)

Sartre said that Hell is other people. Dante imagined his enemies being punished in Hell. The title of this recording  refers to a 1996 video made by Toy Machine Skateboard, in which police officers and fast food workers are continually serenaded by the “Stars and Stripes Forever.” Despite its inspiration, Joseph Shabason seems to characterize Hell as a place where there are so many fascinating types of music being played that you might enjoy the trip.

Shabason has spent the last 15 or so years making amalgams of indie rock, jazz and electronica. His own instrument is the saxophone, and he is an adroit performer. But unlike most releases from, say, Thirsty Ear’s Blue Series, where the jazz was front and center and the electronica an adornment, Welcome to Hell puts jazz instruments and electronic music on an equal footing. In fact, the latter are sometimes more forward in the mix, with a sultry saxophone section, muted trumpets, singing, electric guitar and bass in the accompanying cohort. “Brian Anderson/Satva Leung” is a signature example, with funky electronic stabs overriding fusion brass melodies.

“Ed Templeton” is a particularly satisfying use of analog electronica bleeps in a discordant ostinato, with sampled engine noise being disruptive and cymbals backing up the beat. “Jamie Thomas” features skittering percussion with a limpid bassline alongside slabs of chordal keyboards. The glissando wheel is copiously used, and a wayward tune on synthesizer is abetted by vibraphone and Fender Rhodes. The piece gets progressively busier, with swooping downward bends, the “alien landing” effect,  at its close.  “Zero/Donny Barley” is a suave R&B ballad with a combination of electric and analog percussion and a propulsive bass riff. The main tune is doubled by keyboard and wordless vocals. The horns return to provide atmosphere, only to have the electronics take over the proceedings. They move to a fever pitch, only to have things go through a wormhole back to the opening material, with the vocals put further forward in the mix.

The album closes with the title track, a slow-paced song with blurry synths and vocals in octaves, this time singing words. The vocal melody repeats over and over, until its tune is briefly taken over by guitar. Synths provide harmonic grounding, while a second instrument whorls insistently. The ambling tempo never changes, nor does the repeating melody, although there is an unwinding spoken sample at the very end that brings things to a close. A chill ending to a frequently provocative recording.

Christian Carey

[savagewildnerness]

OK, let's GO!

So - I MADE A SCORE and there is is!!

But in words... first of all, I’ll answer the question that was asked!

Here’s the bit the OP asked about:

As you see from this image, there’s no getting around it… this analysis is going to be musical.  To me, it is daft and basic and I don’t know what I’m talking about, but I can imagine if you don’t read music it’s a bit like I’m talking to you in a random language, so I’m going to try to explain what I can in non-notation ways too & if I lose you, I do apologise.  Before I get into notes and keys and chords and the like, let’s start with an unusual thing about Long Face that the OP might have noticed that isn’t to do with key…. It’s the tempo.  As you can see, I transcribed it in 12 8, but it could easily be transcribed in 4, and it’s easier to talk about as being in 4… (Without getting into the technicalities, 12 8 is also in 4..!  And 18 8 is in 6!  You can see by the number of notes in each bar in the bass guitar line.) 

So, if we consider it as being in 4, every time the vocals stop and you get a NER NER NER NER NER NER bit (the bit the OP is talking about), the song goes into 6 in a bar instead of 4… only ever for one bar.  But that’s going to throw you because it’s like 1 2 3 4 - 1 2 3 4 - 1 2 3 4 - 1 2 3 4 - 1 2 3 4 - 1 2 3 4 5 6 - 1 2 3 4 etc. so you’re expecting another 1 2 3 4 and instead you are thrown by the tempo alteration!  There’s the first reason these bits sound weird/unusual.  You can see it in the image by looking at the notes in the bass guitar part image here - 6 and then back to 4.

Next, the bass note is E and the E (a continuous note that carries on and on in music can be called a pedal, so we can call it a pedal E) continues through almost the entire song… BUT in the bars in 6, the note moves to D.  In the keys of E major and E harmonic minor (the keys you’d most expect to have E as the root note), you’d have a D sharp, not a D - so it’s a flattened seventh note, which again to our ears, used to Western scales, will sound potentially unusual (or, I would say - fantastic!  YUM!)  It’s so interesting that the OP heard it as discordant in terms of chords, because a lot of the song only has bass and there are only really chords (as far as I can hear!) In the “Fuuuuuun fuuuuuuuuuuun” bits in the chorus.  However, the OP is 100% correct, it will still sound discordant, because the D natural instead of a D sharp is an unexpected note to our brains so your mind might be trying to pull towards either the D sharp or towards the tonic, E which is why you’ll feel that “Ooooh, it’s crunchy and discordant and weird!” in your insides!

So I think that’s the answer to the OP’s question as to why those bits sound discordant!  I hope that makes kind of sense?

BUT, did I stop there?  OH NO I DID NOT!

Now, I just want to caveat that I do not consider myself a musician and neither do I have a useable piano at home!  So please take all this with a salt mine worth of salt. But once I have begun, I am all in!  Also, I do use music in my work (predominantly via means of singing “CRASH!” When folk bash cymbals and three-year-olds using my hand as an extension of their own to play glissandi on the piano until I begin to wonder if said 3-year-old might crack my bones, my fingers have glissandi-ed so much is the truth of it, hahaha…. You think I exaggerate… but I do not!  Sometimes a violin gets thrown to the other side of the room too.  It’s all fun and games! Hehe!) but I absolutely do not use music as a performer or in any way using or analysing or thinking about written music!!  Or in being personally creative in any way.  I didn’t do a music degree or anything.  So… that said… this is only what I can ascertain, as a non-musician who plays to a basic level and did music in school!

I *think* (and it is very much THINK!  I am not sure!) Long Face is pretty much in (or at least based around) an E Dorian mode scale: 

Notes:

E Dorian scale: E F# G A B C# D

You can compare this to 

E major: E F# G# A B C# D#

&

E harmonic minor: E F# G A B C D#

E blues: E F# G G# B C#

As you can see, E major and minor both have D# in and Long Face does not (well, it does occasionally - it’s a rock song and it has jazzy/rocky/bluesy notes, especially in the guitar part… but it doesn’t most of the time.)

You can read about the Dorian Mode and some other songs and pieces that use it here: https://en.wikipedia.org/wiki/Dorian_mode

Here’s a wee quote about the Dorian mode and rock music - “Because of its melancholic-yet-somehow-upbeat mood, the Dorian scale is most often spotted in its natural habitat: jazz and blues music. However, it’s certainly not limited to these genres, and is often featured in pop, rock, and metal music to add interest.” - Source - https://www.musical-u.com/learn/get-familiar-with-the-dorian-mode/ (I bet it isn’t even in the Dorian mode now… I cry!!  But I’m going to continue as if it is!)

So, it has the key equivalent to D major/B minor, but the tonic is clearly E because basically, as stated before, there is an E pedal bass note through nearly the entire song, apart from when it switches to that flattened 7th D and it ends in E… and the chorus resolves (when it resolves) to E major too.

Chords in E Dorian:

I    E   G B - E minor

II  F# A C# - F# minor

III G  B  D - G major

IV A  C# E - A major

V  B  D   F# - B minor

VI C  E    G - C major

VII D F# A - D major

I say pretty much in the Dorian Mode, because while it keeps its flattened 7th, it sometimes has a G sharp, not *always* its flattened third…. And sometimes it has C naturals (a flattened 6th, like E minor) and basically it’s a bit blues and a bit jazz and the fuuuunnnnnnn bit (the main bit with chords!) is a lot more E major, whereas the effect of the dorian scale mainly is a minor vibe because the root (I) and fifth chord (V) (and chord II too) are minor and I & V are the anchoring chords in a key, sooooooooo……. HOWEVER, in Long Face, when it resolves to an actual chord for the root during the chorus, it does resolve to the major chord instead of the minor, with a G sharp!  He’s having fun, folks!  It’s not gonna be a minor chord, is it!!?!

Anyway… let’s look at the bits with chords first:

Oh MY… I’m out of my depth…. Let’s have another picture! Here’s a bit of the second chorus: 

I think the chorus chord progression on “Fuuuuun, fuuuuuuun” is:

VI-III-V-IV-(I) - it resolves on the first funs and not on the second funs…

I found online… ““Sad” progression: vi-iii-V-IV”…. but that’s because in a major key, chord III and chord VI are minor chords.  However, in the dorian mode, they’re both major chords, and thus the progression is mainly happy.  It’s all major apart from chord V.

Chords of the "Fuuuuun, Fuuuuunnnnn" bit:

VI (C E G - C major)

III (G B D - G major - actually this is mainly just G & B so in that sense it could be chord III or chord I… one time it has a D in there too and it just doesn’t feel like chord I to me, probably because the chorus actually resolves to a major chord I, not a minor chord I….?)

V (B D F# - B minor)

IV (A C# E - A major)

I (E G# B - E major)

Each chorus has two “Now we’re having fun, fun” phrases in it and the first time it resolves to chord I at the end, but the second time it stays on chord IV and doesn’t resolve till the BASS enters on the root E.

Right!  Why else can I say?  So I have kind of transcribed the song as best I can… which isn’t very well - partly as, as I say I have no piano so if I can’t just hear what the note I am hearing is I have to literally try to sing it like a crazy person (like a crazy child, with my stupid childish voice)…. And I do not have the vocal range of either Sam Reid or a bass guitar, hahaha (actually the bass is easy as it’s just E’s!!!) And Sam does a lot of kind of sing-speaking too so it isn’t all obviously pitched.  Considering how classical the vocal style in Come to Me, I have to say I am so impressed with how Sam sings Long Face!  How do you learn to sing in that rock style when that’s not what you *do*?!  It’s amazing to me! So, to say the vocal line isn’t super-accurate…. Then, I have no idea what drum I’m listening to in a drum kit and I’ve basically just tried to give a general impression of the drum part…. And then what made me laugh most of all was trying to transcribe the guitar part - this dirty, delicious guitar and I’m trying to transcribe the thing on twinkly midi and it was hilarious.

Anyway, it isn’t entirely accurate as it’s actually way harder to transcribe than a classical piece, where notes are clearer as long as you can hear them.  But it’s something *along the lines*…. I also am not sure if I’ve even invented some wee phantom ghost-bass part near the end that isn’t even there?!

There are backing vocals just in the “Fuuuuun, fuuuuun” part.

What else can I say?  I can only really analyse it musically as obviously it doesn’t have any S3 to relate it to yet.  And other people have had a lot of fun already, thinking about the words!  But anyway, I’ll also share the wee score I did, which I have annotated!

I thank you!  I bet you didn’t think it was possible to be quite this geeky about Long Face… but BEWARE - all you have to do is ask one random little question to The Ether - not even to me and I will go all in with my daft, likely all wrong THESIS.  But the nice thing is… now I REALLY know Long Face….. Oh YEAH! (Oh!)

(No copyright infringement intended in my probably all incorrect transcription, with deepest apologies to Daniel Hart!!!)

And again... if this is impenetrable... sorry...! Maybe there's something interesting in it???

And obviously if there’s any musical or music-related thing you want to ask about Long Face now… I have the score (to some extent at least!) & I listened lots of times to make it, so ask away & if I can answer, I will! Or I’ll try my best at least!

Anyone know the chord progression of Long Face?

Or at least what chord is played repeatedly between stanzas. (such as between the lines "That doesn't phase me" and "I'm an actor").

I dunno the whole thing (but especially that chord) feels more discordant than you usually get in rock songs? Like, more consistently discordant. Like it doesn't resolve into a major chord as quickly as usual?

I don't know tho. I'm not a musician here so I'm not sure.

Anyone know?

[horsemusicherald]

[P@D] SP1TF1R3, BlackIceMusic & L-Train - Time to Play (feat. 4EverfreeBrony) | Electro Swing / Bounce

For a track about Discord, this one does a great job harmonizing two normally-separate genres! “Time to Play” combines the talents of two of the fandom’s best electro-swing producers as well as two of the fandom’s best bounce producers. Listen for the smooth, alluring vocals of 4EverfreeBrony as Discord gives you a personal tour showcasing the true glory of chaos, turning your imagination into…

[nashvillehq]

SID THORNE is looking for his BAND MEMBERS (0/4).

CONNECTION TYPE: Band Members (0/4) WC NAME: UTP WC AGE RANGE: 28-38 POTENTIAL FCS: bex taylor-klaus, taylor momsen, joseph quinn, riz ahmed, rob raco, maxence danet-fauvel, tyler posey, samuel larson, robert sheehan, avan jogia, dacre montgomery, luka sabbat, hero finnes tiffin, timothee chalamet, barry keoghan, richard harmon, owen teague, josh heuston, jamie campbell-bower, or anyone who looks like they would be in a goth/metal/punk band. CONNECTION DETAILS: (tw: drugs, addiction) Sid started the concept of the band long before he met any of the members. When he got to Memphis at sixteen he met the first person, together they moved to Nashville and found the other three. Together they grinded through the music scene and at one point they caught a break with a new song which got them signed to a major record label. From there they started touring, still not the most beloved by fans but they had their own dedicated following. Together they were strong, and all of them were like family (including their significant others). Sid has an addiction problem that started early and got progressively worse through the years - you can read more in depth about it in his bio but the band and his wife are what pulled him through that. Now they are on a new label (which Sid is co-owner of), Sid is 3 years sober, and they are doing decent for themselves, though Sid did some damage they’ve had to repair the last few years. Sid primarily writes the lyrics (with some input at times) and sings, then works with the rest of the band to come up with the music to fit them. The positions in the band are: Drummer, Main Guitarist (also the person who heads a lot of the music composition), Guitarist (also is able to bring in other instruments if needed to change up the sound for a song), and Bass. One or two of these people also help with back up vocals. ANYTHING EXTRA: Nothing specifically, I would love to plot with whoever is interested just so we are on the same page you can find me @lottieramirez or kitmeowza on discord.

[yuuana]

Music May 2023 #20: XG - LEFT RIGHT release: February 2023 genre: Jpop/Kpop, dance pop

I've gone back and forth on this group at least five times - I was indifferent to their debut single, genuinely loathed their sophomore release, and almost gave up on them right then. Guess third time's the charm, because their third single was finally something I found worth profiling here. ;)

Genre is a whole thing here - they're marketed as both Kpop and Jpop ... and then all their songs are entirely in English as some sort of "global pop" nod, which is ... I could write an entire dissertation on that, but let's not, yeah? This is a little bit of a slower dance pop beat, though not slowed down enough to shift down to ballad. If I didn't know it was a seven member group, I'd be hard pressed to guess that number from the vocals ... which is not uncommon in Kpop girl groups, who put more of a premium on the girls being able to blend their voices into a single sound with close harmonics.

After Mascara, I had such low expectations, the sci-fi concept was an unexpected treat. It's not really connected to the message of the song and would arguably have been better matched to the other track, Shooting Star (which also has an MV), but it's fine. Now that the girls are growing into actual talent, let's hope this small company's financial bets aren't going to go bust - the company has spent a lot on a group with only seven songs to their name since their debut just last March.

Left Right is the b-title to XG's latest single, "Shooting Star," which is available wherever you prefer to do your Kpop/Jpop streaming.

Want to sponsor a song selection? You sweet angel! For the low, low price of one (1) KoFi, I'll write up the song of your choice. ANY song of your choice. Yes, even that one that's been played to death. Yes, your obscure faves too. Sponsor a current CB for the next open Music Monday slot or sponsor a throwback for a Thursday feature! DW | Twitter | Mastodon | Ko-fi | Patreon | Discord | Twitch

[dirhami]

Asus Rog Delta S Wired Gaming Headset With USB-C | Ai Powered Noise-Canceling Microphone | Over-Ear Headphones

From the manufacturer Republic of Gamers (ROG), part of the ASUS family, is dedicated to creating innovative hardcore gaming hardware for gamers. ROG is committed to providing the absolute best performance and quality from its complete line of products. ROG is for those keen on the finest gaming hardware and software, it enables the ultimate computing experience for gamers and enthusiasts worldwide. All the while incorporating a stylish gamer-focused design merging the excitement of gaming with a unique premium style ROG Delta S Lightweight USB-C gaming headset with Ai noise-canceling mic, MQA rendering technology, Hi-Res ESS 9281 QUAD DAC, RGB lighting , compatible with PC, Nintendo Switch and Sony PlayStation 5 - Features high-resolution ESS 9281 with QUAD DAC technology, plus MQA technology support to deliver impeccably detailed, true-to-life audio - ASUS Ai Noise-Canceling Microphone offers crystal-clear in-game voice communication - Customizable, multi-color RGB lighting and unique Soundwave Light mode let you shine in style - Exclusive ASUS Essence drivers, airtight chamber design and audio signal diversion technology work in unison to produce immersive audio - Lightweight 300-gram design provides maximum comfort - Ergonomic and fast-cooling D-shaped ear cushions ensure a perfect fit - USB-C connector ensures compatibility with PCs, Max, mobile devices and game consoles such as Nintendo Switch and Sony Playstation High-Resolution ESS 9281 Quad-DAC The ESS 9281 digital-to-analog converter (DAC) features QUAD DAC technology to provide lossless audio processing. Each of its four DACs devotes processing power to a subset of the audible frequency range, from lows, mids, highs to ultra-highs. The four signals are then combined, which produces clearer sound with an impressive 130 dB signal-to-noise ratio that's much higher than any other comparable device in the market. Hear every detail and enjoy crisp, clear sound for a true-to-life audio experience with ROG Delta S. Built in MQA Renderer Master Quality Authenticated (MQA) is a advanced audio technology that delivers studio quality sound and reveals every detail of the original recording. MQA Renderer technology in the ROG Delta S headset can connect to an MQA core signal – in global streaming service apps such as TIDAL – to complete the final "unfold" of an MQA music file and provide incredible audio quality. Instant Control at Your Fingertips Intuitive control buttons on the ear cup let you instantly control volume, mute the microphone or adjust RGB lighting during gameplay. - Top : Soundwave light mode on Middle : Aura RGB on Bottom : Aura RGB off - Scroll up or down to increase or decrease volume - Push to mute or unmute microphone Crystal-clear Highs and Punchy Bass The exclusive ASUS Essence drivers in ROG Delta S have been outfitted with Audio Signal Diversion technology for clearer audio. Additionally, the drivers feature a wide frequency response of 20-40 kHz to provide incredibly strong bass and optimized gaming audio, so you'll hear every detail while enjoying an all-around immersive acoustic experience. Exclusive Hyper-Grounding Technology Exclusive ROG Hyper-Grounding technology leverages a multi-layer PCB and a special layout to prevent electromagnetic interference ensuring that all you hear is pure, noise-free audio. Ai Noise-Canceling Microphone The ASUS Ai noise-canceling microphone (Ai Mic) has a dedicated processor that's designed to reduce over 50 million types of background noise while preserving vocal harmonics for crystal-clear in-game voice communication. Common background noises such as chatter, keyboard clatter and mouse clicks are reduced by up to 95%. The Ai Mic is unidirectional, detachable, and selected by both Discord and TeamSpeak. An indicator light on the tip of the boom flashes red when microphone is muted so you can easily determine its status. Soundwave Light Effects An exclusive Soundwave light effect makes lights flash in sync with the sound of your voice. ASUS Aura Sync RGB Lighting Customizable Aura Sync RGB lighting offers over 16.8 million color combinations plus preset lighting effects. - Static - Color Cycle - Strobing - Rainbow - Music - Breathing Armoury Crate Armoury Crate software offers extensive controls and an intuitive UI, so you can take full control of your audio experience. It makes it easy to create and apply audio profiles for a wide range of games and scenarios. Read the full article

[mfs-research-institute]

Is there a coordination between specific seed sounds and vocal tones, pitches and keys that you folks have noticed?

A great question! Forwarded this to our Discord and we have an answer crafted by our musical mastermind, @thezenanna:

--

"In terms of pitch/keys: pitch is how high or how low the position of a sound is on a scale and keys are a group of pitches. In a song, there will be a group of pitches used and this forms into scale, and the way we name scales is by using keys. Not a lot of the seed sounds are pitch-specific, as in they must hit this note or that note correct. Therefore, they're not key-specific either. So, they'll be singing the same song but it could totally be lower or higher.

Exhibit A: that Deathcap song that Scylla sang in the graveyard, the note/pitch she sang was an F4 throughout (and a little tiny bit of F#4, which is a half-step higher than F4). However, when Raelle sang it again, she did sing it in F4 at the beginning, but then she took a breath and sang it again in D4 (which 1.5 step lower than F4) and then later she changed to G4 (higher) and she kept changing every time. THEREFORE, pitch and keys don't really matter

On a couple of occasions, they do practice in a pitch/note-specific manner. Like when Anacostia taught [the unit] windsheer, she told them to sing seed 41, the seed of haste and accumulation, which is above audible range, but the purpose was to emphasize that this sound is above human hearing. So if pitch and keys don't really matter, what does? What makes a seed sound/song is HARMONICS (or more broadly, tone)! (this is gonna get a bit crazy but bear with me).

Some musings from thezenanna's notebook

So, harmonics, in the shortest nutshell, are the 'texture' of a sound. A guitar string and a violin string sound different is because of harmonics. The same goes for seed sound/song.

Taking that Deathcap song as an example again: Scylla was just singing the same F4 note all throughout the song. But what distinguished it was the vowel she was making. She was singing 'eeeeee' then switch to 'uuuuuu' about mid song, it's also accompanied with subtle vibrato (when your vocal chord literally shakes). All of these are called harmonics. So when Raelle sings it again, she replicates the exact harmonics (the vowel, the vibrato), and it doesn't matter if she sings it in a different note, as long as she creates the same harmonics, that's all that matter. The same goes to every other song/seed sound.

Jem's journal as seen in season 2, episode 3

Another exhibit is Jem Bellweather's song. You can see the little graph details the harmonics, and in this song, the harmonics are a lot of triangle waves in a specific timing. Go search for "triangle wave, sine wave, saw wave sound" on youtube, they could all be the same note but you'll hear how different they sound. And then based on Abigail's singing later, I assume that the song also requires a lot of vibrato and tremolo (a trembling effect, it's like vibrato but rapidly switching between different notes in a short time)."

--

In summary, it seems as though there is a coordination between tone and seed sounds/vocal work but not necessarily pitch and key. Thanks for the ask!

[avinaccia]

A Completely Objective and Logical Ranking of Every Hetalia Character Song

New character songs are dropping,  I have too much time on my hands, let’s go. 

Also here’s a Youtube playlist for the ~✨nostalgia✨~

Bring it on in the tags 

71. Ah Legendary Class⭐The Awesome Me Highway [Prussia]: Absolutely tearing it up on the drums and on the vocal cords alike (I pray for Atsushi Kousaka). Great for the memes. 

70.  Happy Thoughts Museum [???]: This is listed as an official song but I had literally never heard of the title. Then I listened to it and BAM! Smack back to 2013 watching the teasers for the show on Funimation. Not sure I’d count it as a character song though...

69. (Nice)  My Song that is written by me for me [Prussia]: Deafened me but I can appreciate the industrial grind.

68.  My House is...Quiet. ~With the Trolls~ [Norway]: I have never heard this song, nor can I find any version of it online. By default it goes here and I am so sorry Norge.

67.  Make a Wish to Santa♪ [Sealand]: The discordant notes and childish exuberance only serve to make this sound like a demonic plea to Santa to eliminate the singer’s enemies.

66.  Heaven and Hell on Earth [Rome]: Rome sounds like he’s been in the corner of a restroom. Extra points for the metal version, minus points for the fact that the beach scene was replayed like 1764 times.

65. Canada Complete Introduction [Canada]: Quiet af until Kumacheerio shows up and blows out your speakers. they did you dirty my darling 😔

64.  It’s Easy!!! [America]: I don't think any video of this has ever stayed up for more than 20 seconds. Sounds cool, but like I was listening to 20 different genres at once, someone make him calm down.

63.  Bù Zàiyì the Small Stuff ☆ [China]: I cannot for the life of me find the complete song anywhere, clips have a cool beat though

62.  Let's Boil Hot Water♪ [Italy]: Exactly what it says on the tin..though a bit too close to elevator music for my tastes.

61.  The Fragrance of Early Summer [Japan]: Very ‘from the books’ Japan-esque song

60.  Peace Sounds Nice…[Baltic Trio]: All well and good until the radio demon shows up

59.  W●D●C ~World Dancing~ [America]: How a song can sound like it’s from 4 different decades at once is beyond me

58.  Overflowing Passion [BFT]: This is just drunken karaoke and I have 0 clue what’s going on #iconicforallthewrongreasons

57. Ren●Ren●Renaissance♪ [Rome+Chibitalia]: Wholesome Grandpa with Grandson content - barring the fact that Italy sounds on the verge of a nervous breakdown and Rome has had too much wine.

56.  Roma Antiqua [Rome]: Similar energy to any one of China’s songs - there’s a part of the song where it sounds like he’s singing in the shower, and I will never not laugh at [CENSORED]

55.  Country From Where the Sun Rises, Zipangu [Japan]: Very chill, very Japan, but just meh for me.

54.  Moon Over Emei Shan [China]: Good message, okay song.

53.  My Friend [England]: What a mind palace you must have Mr. Kirkland

52.  With Love, from Iceland [Iceland]: Three words: Heavy. Metal. Puffin.

51.  Having Friends is Nice...♫ [Russia]: Russia is the cutest thing ever

50.  Mm. [Sweden]: Smooth transition from WWE Smackdown to shopping at IKEA.

49.  Why don’t you come over? ~Beyond the Northern Lights~ [Iceland]: I don’t want to be mean but...this does sound like the second closing theme to an anime whose first closing was much more popular (à la Soul Eater)

48. Gakuen☆Festa [Germany, Italy, Japan]: Sounds like a 60s song of the summer but oh dear their voices do not go together. Hella cute though.

47.  Wa! Wa!! World Ondo [Main Cast]: One time I travelled 10 hours in a coach bus with a bunch of teenagers to a city of note in my country, and the only souvenir I bought was the fucking PAINT IT WHITE DVD. Perfectly chaotic, UN ĐĕùX~~

46.  In the Bluebell Woods [England]: In the album cover for this song he’s holding a guitar but this is not a rock song. Still has ‘running through the hills’ levels of dramatism though.

45.  Poi Poi Poi♪ [Taiwan]: You’re telling me that Taiwan, someone whose has *ONE LINE* in Beautiful World (which is criminal tbh what kind of representation-) managed to get an eNTIRE CHARACTER SONG???????

44.  White Flame [Russia]: There’s something to be said for a song that is 3x the length of any Hetalia episode

43.  Ich liebe… [Germany]: Baking cakes for your friends has never been so wholesome.

42.  We Wish you a Merry Christmas [America, China, England, France, Russia]: Nice to see they’ve gotten their shit together since United Nations Sta-hmm.

41.  Ah, Worldwide à la mode [France]: Sounds like a Disney Princess song, hard not to picture France frolicking in a field of flowers.

40.  Che Bello! ~My House is the Greatest!⭐~ [Italy]: Would not be out of place in an advertisement for Sea World.

39.  May You Smile Today [Japan]: THE feel good song of the summer

38.  Let’s Look Behind the Rainbow [Italy]: I will protect you.

37.  I'm your HERO☆ [America]: “Anyone who’s sad or sullen will be arrested” did NOT age well.

36.  Mein Gott! [Prussia]: Alternating headphone effect at the beginning is cool, so is the confidence...the actual singing on the other hand...

35. Nihao⭐China [China]: Listen, all of China’s character songs are great, I just can’t vibe with this one like some of the others.

34.  Pechka ~Light My Heart~ [Russia]: I’m still having difficulty wrapping my head around the fact that this and Winter were released at the same time.

33.  Pukapuka⭐Vacation [Germany, Italy, Japan]: Seems just a bit too much like they’re running on a treadmill that’s picking up speed and trying to sing at the same time. Peppy.

32.  Santa Claus is Coming to Town [Germany, Italy, Japan]: This is unironically the best song sung by this trio; can only vibe with for two months out of the year though.

31.  Excuse Me, I Am Sorry [Japan]: Japan’s character traits speedrun. Gives me barbershop quartet vibes for some reason but is catchy as hell.

30.  The Story of Snow and Dreams [Russia]: A superhero anime opening in the making

29. England’s Evil Demon Summoning Song [England]: Sir that is not how you roast a marshmallow, don’t cut yourself on that edge.

28.  Moi Moi Sauna♪ [Finland]: Exactly the type of song you’d expect and it’s wonderful

27.  United Nations Star⭐ [America, China, England, France, Russia]: This isn’t as much of a song as it is a four minute struggle for everyone to sing without America yelling every 5 seconds...Like a particularly musical episode of Hetalia.

26.  Paris is Indeed Splendid [France]: Paris-pa-pa-pa-paris

25.  Absolutely Invincible British Gentleman [England]: Poppy, rocky, polka-dotty

24.  Vorwärts Marsch! [Germany]: To quote the comment section: “This sounds like a German version of I’ll Make a Man out of you.” There’s some truth to that.

23.  Hamburger Street [America]: The product of America’s rapper phase. 8/10 because he’s trying so hard and because I can unironically sing along to all of this.

22.  Hoi Sam☆Nice Guy [Hong Kong]: A song that would absolutely destroy the ankles of anyone in DDR.

21.  I Am German-Made [Germany]: There was once a version that had Germany and Prussia singing at the same time and it sounded positively demonic and Broadway could never

20.  La pasión no se detiene ~Unstoppable Passion~ [Spain]: Talented, brilliant, incredible, amazing, show-stopping...

19.  Fall in Love, Mademoiselle [France]: Sounds like it should be in Mozart Opera Rock, I have kiss kiss falled in love.

18. Embrace the Très Bien Moi [France]: This is the definition of SELF LOVE PEOPLE. 

17. Carrot and Stick [Belarus&Ukraine]: Absolutely DRIPPING in 2000s power ballad energy. The type of song that plays on repeat in the mind of the widow whose millionaire husband ‘mysteriously disappeared’ (and the only legit character song ever acknowledged by the anime)

16. C.B.C (Cowboyz Boot Camp) Vol. 1 [America]: AH MAH GAWWDDD

15. Winter [Russia]: Heavy metal fever dream and the perfect song for an angst-ridden teenager

14.  Seychelles Here ⭐ Vacation Island [Seychelles]: UN👏DER👏RA👏TED SONG👏OF 👏THE 👏SUM👏MER👏

13.  Nah, it will settle itself somehow [Romano]: One day I aspire to reach this level of chill

12.  Let’s Enjoy Today [England]: I will never not feel happy when listening to this.

11.  Einsamkeit [Germany]: Ludwig manages to air every single one of his worries about not being good enough compared to his friends and always being perceived as mean or uptight when he’s actually just a softie and now my heart hurts. 💔

10.  Aiyaa Four Thousand Years [China]: A very poignant and beautiful song about the passage of time and the inevitability of its passing; comparable to an ancient ballad complete with explosive crescendos and meaningful lyrics.

9.  Bon Bon Bon❤️C’est Bon C’est Bon! [France]: Peppy, cheerful, adorable, groundbreaking; has been my alarm tone for six years and I’ve yet to tire of it. 9/10 The moaning interspersed throughout has been an interesting wake-up call.

8.  Let’s Enjoy! Let’s Get Excited! Cheers! [Denmark]: This is on par with Everytime we Touch by Cascada in terms of rage potential unlocked (the good kind)

7.  Dream Journey [Japan]: Whoever’s playing the shakuhachi is absolutely KILLING IT. Dramatic, wonderful, great metaphors.

6.  Gourmet’s Heart Beginner Level [China]: Absolute banger, I’m a vegetarian but this would inspire me to eat shumai.

5.  Always with you...Nordic Five! [Nordic FIVVVVVEEEE]: Everyone harmonizes beautifully except for Denmark. Extremely catchy, number placement seemed appropriate. 

4.  Pub and GO! [England]: I love this trash man

3. Maji Kandou⭐Hong Kong Night [Hong Kong]: If you thought Denmark’s song was a banger JUST YOU WAIT. I WILL BLOW OUT MY SPEAKERS LISTENING TO LO-HA-SU.

2. Steady Rhythmus [Germany]: THIS SONG IS METAL AF. Seriously, if it can be classified as ‘hardcore’ by my father and his group of 50-somethings who have decided to single-handedly gatekeep the metal and hardrock genres, it can do anything.

1.  The Delicious Tomato Song 🍅 [Romano]: Beautiful, absolutely awe-inspiring, poignant, catchy lyrics with an extremely deep meaning that only years of meticulous research and analysis can unlock, Romano I love you.

BONUS: Closing Songs

5. Hatafutte Parade (World Series) 

4. Hetalian⭐Jet (The World Twinkle): The song is good, the dancing is cursed 

3. Chikyuu Marugoto Hug Shitainda (World⭐Stars)

2. Marukaite Chikyuu (Hetalia: Axis Powers): nE NE PaPA

1. Mawaru Chikyuu Rondo (The Beautiful World)

[golden-mediocrity]

Channel

***Warning for self harm, violence, blood.***

The plush chair seemed to hug his form, something he had not been very accustomed to lately, the emptiness that had been consuming him from the inside was trying to fill it's own void.  Try as he might, the every-present pounding of his heart could be felt in his head and he attempted to isolate the sound's vibration in his horns, but it was no use. He channeled all he could of himself, his feelings, his emotions, his very soul into that point, desperately needing to silence the yelling of ten thousand voidsent screaming in discordant operatic melodies, giving a feeling of flesh rent from bone and tendon, but instead, applied to the inside of his mind unraveling his brain.

His blood boiled and he could feel the emptiness of the void overtaking every aspect of his senses. Mizuhiro struck out with clawed hands, and slashed at his own flesh along his chest and arms, causing rivulets of blood to follow in their destructive wake.  He could feel each and every ilm as they ripped through, he dug deep enough down to part muscle from vein, expose arteries that were normally hidden.  Even with as much pain and horror as it manifested in his mind, he still felt more in that moment, more than in recent memory.  The blinding white hot pain that pulsed in his vision, momentarily caused the screaming of the void to get washed out, the tinnitus in his horns rang out with every sawing cut and tear.  The hot drip-drip of blood tapping on the stone floor sounded like the second hand of the clock as the time of his life continued to tick on by.

There was no music, only the screams, but even with so many of them calling him home, he felt the thumping of a drum beat, the raising of another scream began to resonate separately and purposefully.  The wailing began to overtake the chorus of the rest, and it's familiarity haunted him, stabbed at his heart.  It was as if his entirety was spinning, round and round and over and over, causing his dizziness to increase.  He needed to know where it was coming from, this low guttural growl, harmonizing on it's own with itself, with a scraping blood-curdling shriek that echoed like a bat locating it's prey in the darkest of caverns, he could feel the hard pangs of hunger welling, driving him to feed, nothing was clear, his vision all a blur... He took one step, then another, and another, and on and on...

It didn't matter where he looked, walking along the nearly empty streets of the Goblet, but there were beacons out here, signalling for him, coaxing and calling him home, like the sirens of old, demanding sacrifice of ship and sanity, to crush them both on their rocky shores.  Mizu could feel the smashing of his will and rationality against the sharpest of objects, a slivered, shattered anvil, wrapped in barbed wire, ripping apart his lucidity and all reason... The rise of the chorus had matched his screaming now, pulling the ten thousand cacophonous voices into one, coordinated, identical song... The burst of white light had sprung forth in front of him, the beacon lit and answered, he bolted quick and dexterously to capture it in his arms, claws digging deep into it's flesh, along with his horns and teeth goring the entity of light, cutting it open and allowing him to feed freely on the pure fount of aether he had seized for himself.  

But in few, short moments later, the song ceased, the beacon fell dim and dull, along with everything that he had been conducting, the orchestra stopped, instruments clanged to the ground.  He crouched over the poor man, body now shriveled and desiccated, his aether fully removed so much that only a blood covered shell of what he had been remained.  There was another scream, a mortal one this time, one that shredded vocal chords and throat-flesh in a horrific display of regret and sorrow.  The Himaa dropped the corpse and stood above, tears streaming down his face along with the blood that trailed down his extremities, "No... no.... no......... no............," he continued to repeat over and over, his black-lit eyes glowed as they sought a way to escape.  He was flooded with self doubt and mortification at his actions, he had been past all of this, hadn't he? He had fallen asleep, something he had been doing more and more lately, and woke up as if from a nightmare that just didn't stop when his eyes opened, and revealed the fact that he had done this, he had let himself go, allowed his weaker nature to prevail...

He could not hold back the floodgates of pain and regret, but knew he needed to run, there was no explanation for what had happened other than the obvious, and he needed to distance himself from it as soon as humanly possible.  He picked up his feet, one after the other, faster and faster and finally until he found the end, he vaulted over the railing and down into the chasm, sliding with the rocks, and he prayed desperately he would not stop until he hit the abyss.