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mrslittletall · 3 years ago

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Let's rate all Harvest Moon/Story of Seasons summer themes! Why? Because it's summer at my half of the globe! SNES - I never really liked this theme. Too busy, too energetic, too repetiteve. It is fine enough to listen too though, but it was never one of my favs. GB/GBC - It's the same melody as SNES, but with the Game Boy sound font. For some reason, it actually sounds BETTER like that. Yeah, I prefer the GBC one to the SNES one. 64 - Hmm... I am torn on that theme. Similar to the SNES theme, it feels too busy for me and the first few notes are a bit grating, but the melody is pretty catchy and entraps you to hum along. Also, the quieter part of the theme sounds pretty good. Yeah, it's pretty solid ^^ If only the loud entry wouldn't be. GBC2 - YIKES! That was my reaction when it started, but it gets gradually better and turns into a pretty enjoyable little melody, sounds very much like summer. BTN - Aaah, now we are talking! This song is just FUN! It lets you think about a fun summer day on the beach. The melody starts a bit frantic and then gets calmer for the second verse, and you just want to wave your body along the melody and eat ice cream. It's a bit short though... GBC3 - Like pretty much every entry for this game, the music is pretty yikes. It just... isn't very good. It isn't an ear grater, but also not very enjoyable to listen to. AWL - While AWL lacks a summer theme on its own, because you can only play disks in your house and on your farm, it uses a song from Save the Homeland and that one is remixed pretty well. FoMT - It's the same melody as BTN but in the GBA sound font. It sounds well enough, but it can't beat the PSX version of it! Yes, I am biased, I prefer BTN over FoMT, end me if you please. BTN was the better game and I wished SoS FoMT would have been more BTN and less FoMT. MM - My husband goes around and hums this theme when I play Magic Melody ^^ And I get why, it's an earworm! It has this absolute summer feel, similar to BtN, from a summer day at the beach you want to spend with ice cream. It has such a tropical feel and once the main melody sets in, you can't help but hum along the music. I especially love the key change at around 1.17 ^^

StH Farm Theme - Ah, it's the theme got used in AWL, but this version is SO MUCH BETTER. I love the charming little melody, the guitar melody in the background, how the melody slowly splashes along and then turns into a flute to just tell you that you are on the countryside and sit leaned against the fence on your farm while there are 30 C and you are completely fine with it. StH Town Theme - Ah, this theme is a lot more energetic and quick. While it kinda remixes the farm theme (every StH theme does that), it doesn't carry quite the same nostalgia as the farm theme. The part that starts at 0.43 is super rad though and I love this bit. DS - I never have been a fan of this summer theme. It just feels like it starts and never ends. It just goes on and on and on and ugh... it annoys me kind of. At least you can switch the music in HM DS. IoH - This game kinda manages to nail all its themes, it is such a charming little song that makes me think of a summer breeze, but it's sadly, like every IoH song far too short. HoLV - Aw, what a charming little song ^^ The bassline melody and the main melody really contemplate each other and unite into a song that sounds like you want to let your feet doused by the river on a hot summer day.

ToT Day Theme - ToT goes a very different route with it's summer theme. It's a downright relaxing song. It is a joy to listen to, for it gives you the feeling that you are allowed to slow down and do your chores in your own pace. I really like the key change in this one. Sadly, the song falls short. ToT Night Theme - It's the same melody as the day theme, but... it sounds a bit haunted in my opinion ^^' ToT's night themes all have this problem. The key change though is really good here, make it sound like a warm summer night under the stars. SI - Hmmm... it's ok to listen to, I guess, but I don't actually feel a lot when I listen to this theme. It doesn't have a very summery feel for me and actually feels a bit chaotic. AP Day Theme - I LOVE THIS THEME! Ok, I say it, that is downright my favourite summer theme in the whole series! It starts with such joyful piano notes and then the piano takes a back seat with the same three notes that goes up and down while the main melody kicks in and just tells you that this is a summer day and you will enjoy it and you will have fun doing your chores and then sit at the beach that is right in front of your farm or share a cold drink with your sweet heart. My husband also can't stop humming this theme whenever I play AP, that shows how much of an earworm it is ^^ AP Night Theme - The melody is the same one as the day theme, but played more slowly and more relaxing. While I prefer the day theme, this one is super solid as well and a joy to listen too, especially the bassline of this song. GB - Ah, a fun little theme ^^ It is very fitting for the world of the game which seems to be set in the netherlands. I like listening to it, it is a song that you want to sway to.

ToTT - I hear the first few notes of this and instantly know that is summer, that is how much this summer theme got ingrained into my mind. It is one of the more relaxing themes though and there isn't much indication that it is a summer theme actually, so while it works very well as song, it isn't the greatest summer theme. ANB - Is it the 3DS game with the best music in the series?! It is! And ANB doesn't disappoint, the summer theme SLAPS! It is a joyful little song which runs at a quick pace and lets you feel like it is summer and you want to go to the mountains and sweat while you climb out and then go for a swim in the river on your way back up. The key change at 0.53 is just GREAT and it gets me every little time I play the game. TLV Day Theme - Aw, I always liked this little theme, it is a very relaxing theme and it fits the valley that is your playground in this theme. I just liked to terraform while this relaxing music played. TLV Night Theme - Um, are we at a jazz bar? Because that legit sounds like a theme that would play at night in a jazz bar, where you sit with your drink and just chill while you look at the jazz band performing. SoS Day Theme - SoS is special, because in that game you actually CAN SWIM IN THE RIVER, so I really like that the summer theme is so enjoyable to listen to, because you can actually cool off in this game ^^ Go swim and dive while this little theme plays, mostly played with plucking instruments. SoS Night Theme - Oh, this one starts a bit slow, but gets really nice to listen to once it hits the first 30 seconds. A very relaxing song, another one that makes me want to douse my feet in water and look at the starts while I stay on the countryside. SV Day Theme - I kinda always liked this tune. It is a fun little tune that feels like summer and has a nice melody to it, but that is pretty much all I have to say about it. SV Night Theme - Ah, we are back at the jazz bar ^^ The quiet piano melody is very jazzy and yeah, that is all I can say about it. SoS 3oT - It's a nice melody and enjoyable listening to it, but I don't really feel summer with this theme, so I am a bit torn on it. I think I prefer the fall and winter themes in this game. It's really nice to listen to though like I said, so I don't mind that it plays for 31 ingame days straight. LoH Day Theme - A nice song that totally sounds like summer to me, but like the rest of LoH's music, it just kinda... splashes along and nothing really happens. LoH Night Theme - Hmmm... it really isn't anything happening in this theme. It is more a melody so that it isn't quiet. SoS FoMT Weekday Theme - It's the tune of BtN but remixed.. and... in a good way actually! This song SLAPS! I really like what they do to my summer time beach fun song. SoS FoMT Weekend Theme - God, I LOVE this song! For some reason, SoS FoMT added a remix of the seasonal songs for the weekends and festival days and this one is such a banger, I can't help but bop to it, it's so good! It just sounds so much like summer and you just want to run around and dance to it while you enjoy your day off at the beach. Doraemon SoS Day Theme - What a cute little song ^^ It is on the more relaxing side, but it clearly has a summery feel to me. The video shows Nobita napping on the beach and well, isn't that a mood for this song ^^ Doraemon SoS Night Theme - Nobita still naps in the video and well, the music turned into his lullaby I guess ^^ It is mainly a guitar solo that is played slowly and very quietly, very very relaxing. I think I am falling asleep as well... OW - Sadly no one uploaded this music... which is a shame, because it is really good and the song gets remixed depending in which country you are. I really dislike how much hate this game got, because it is actually a solid entry and has some of the best music in the franchise. PoOT Weekday theme - I HATE THIS THEME! It isn't because the melody is bad, it's that DAMN TRUMPET! Why is the trumpet player playing it so... crazy? Why are so many notes sounding off key? The song would slap if the

trumpet wouldn't be there! I love every part of it, but then the trumpet ruins my day. Ugh! UGH! I legit had to switch the music off at first while playing until I got used to this horrible horrible trumpet. PoOT Weekend theme - Oh thank GOD! This theme is without the horrible trumpet. I prefer the holidays in PoOT summer a LOT because the song is actually enjoyable to listen to and it sounds very much like summer as well.

#harvest moon #story of seasons #summer themes #rating harvest moon music

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kazewhara · 3 years ago

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// bassist!xiao who sits on top of the amp and plucks out improvised basslines. his eyes are closed as he leans his head back against the wall, eyebrows drawn together in concentration. you're on his bed trying to power through homework, but you cant help but flick your eyes to his relaxed frame and the practiced yet natural movement of his fingers. your pencil rolls out of your grasp and clatters on the floor. he opens a single eye and stares you down, the corner of his lips quirking up slightly. "done yet, zuzu?"

// bassist!xiao who can't bring himself to ask you to come to his band's shows, but has a small smile nonetheless when you tell him you'll be there. rest assured, he's looking out for you in the crowd, amber eyes roving the faces until they land on yours. once he's found you, he keeps coming back. his eyes flick to yours often throughout the set, and you swear you see him wink at you after a particularly tricky solo. he seems so different, so confident, so self-assured when his fingers dance across the strings and the bass is reverberating in his ears. you're not complaining, of course, a grin painting your face as you watch him command the audience with ease.

//bassist!xiao who turns pink when you present him with a rose after his set is over. you tease him about it playfully and he scoffs, swearing that it was just the stage lights playing tricks on your eyes. gently, he plucks the rose from your hand, pulling you towards him with an arm around your shoulder. your arms circle his waist as he places a little kiss on the side of your head, thanking you for coming to watch him. you tell him that you wouldn't miss it for the world and you swear he turns a few shades darker.

//bassist!xiao who lets you sit between his legs and guides you through a bassline. your left fingers are on top of his and his chin is on your shoulder as you do your best to memorise the rhythm of the line and the placement of the chords. "now try it yourself," he says as he removes his hands from the bass. they circle loosely around your waist and he nuzzles deeper into your neck. you do your best to imitate the line he just played, attempting to ignore the soft flutter of xiao's eyelashes against your skin. once you're done, he lets out a satisfied hum as he leaves a lazy kiss on your neck. "you're a fast learner," he says, his voice softening in adoration. "good job, zee."

-juice :) who knows almost nothing about the bass my apologies

sorry for spamming your inbox these past few days! i hope this makes up for it :>

$(#&@&@&&×¥!÷&÷&&;#×&₩÷&×÷€€@&×&×&#^;÷^@@:×^÷:×&@€×@^+&#:÷:#;÷÷;*$^×&#^@&#^@&#

YOIUUU??????$??$?$ YOU. YOU JUST . ?$&×#,#,

I CANT IC ANTN THANK YOU

#z box #z anon #🧃 anon #I SAT HERE AND CRIED FOR LIKE TWO MINUTES KRHWDJAHSBSD #WHY WOULD YOU PUT MY NAME IN THERE KMFNSHSJSHDJAAHUANJWSHAUSHAHHAABSUAHSBSSSVSHEB #DONT YOU KNOW IM CRAZY???#OH BASSIST XIAO MAKES ME A MUSHY PUDDLE YOU CANT DO THIS TO MEEEEKDBAJSB #THANK YOU THANKNYOU??? THANK YOU #I LOVE YOU

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todorokiaimee · 4 years ago

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Dopamine (Bakugou x Black OC)

CHAPTER 1 (Note: This chapter is very spicy! Cover art by @mexi-doodler)

“I can’t believe you talked me into this…” Bakugou groaned as he sauntered down the sidewalk beside his friends and former classmates, his hands shoved deep into his pockets.

“You can’t say no to me Bakubabe, especially on my birthday!” The pink-haired hero Ashido Mina giggled as she gave the blonde grump a tight hug from behind.

He grunted as he peeled the girl off him. “It’s the only reason I blessed you with my presence.”

“Awww you care!” The electric hero Kaminari Denki cooed as he wrapped an arm over Bakugou’s shoulder, only for him to shove him away.

“Shut it, you fucking extra!”

The tight-knit group of friends known as the Bakusquad were all out for a night on the town to celebrate Mina’s 27th birthday. The crew were dressed in their best clubwear as they walked up to the bouncer of one of Tokyo’s most exclusive dance clubs, flashing their IDs.

“Cool it, man. Let’s not make a scene on Pinky’s big day.” Kirishima chuckled as they walked inside.

Their ears were met with the driving rhythm of hip hop music, the bassline vibrations rattling in their chests. The club was filled with people dancing and drinking into the night. Pushing their way past herds of partiers, the group of friends made their way up to the bar, all ordering various drinks.

“To our Alien Queen!” Sero announced as he raised his glass, the others following suit. “The only woman who could keep us all in line all these years. Happy birthday!” The boys cheered as Ashido cheekily took a bow before guzzling down her drink.

“Thanks, boys!” she grinned before busting out her best twerking moves. “Now let's get out on that dance floor!” The pink hero laughed as she quickly made her way to the dance floor.

Everyone except Bakugou hurriedly finished up their drinks before setting their empty glasses on the bar. They all then took to the dance floor following behind the birthday girl except for Kirishima. Turning over his shoulder, he saw his prickly best friend still leaning against the bar, drink in hand. “You coming, bro?”

The blonde shook his head with a click of his tongue, “You got me here but I ain’t dancing.”

“Suit yourself!”

The explosive hero waved his friend off, watching him retreat to the dance floor. With a shake of his head, he sipped his manhattan as he watched his friends dance until a woman walked up to the bar next to him.

She was tall, easily eye level with him, with long black goddess locs. Her dark chocolate skin almost seemed to glow as he looked up her long toned legs, her round backside, over her small waist, to her generous breasts. Damn. He watched her as she easily caught the bartender’s attention.

“A double shot of whiskey, please.” Her voice was velvety smooth as he unconsciously leaned in further to hear more.

The bartender nodded as he poured her drink. The blonde watched silently as the mystery woman reached into her purse, pulling out a wad of singles. After paying, the woman quickly took the shot like it was water, Bakugou letting out a grunt in surprise.

She turned her head towards him, arching a dark brow, “What?”

Oh. She was beautiful. The hero took a moment to study her features. She had alluring emerald green eyes, full rosy lips, and he was especially fond of the small nose ring.

“Nothing,” he smirked, eying the woman. “I’m impressed.”

The woman hummed, shifting her weight to lean against the bar, her breasts pushed up and on display. “Well, it takes twice as many of those fruity drinks to get the same buzz and costs twice as much.” The ravenette paused a moment as she looked the hero up and down. “You dance?”

“No,” he scoffed, taking another sip of his manhattan.

“Aww,” the mystery woman cooed, a pout on her lips. “Two left feet huh? Don’t worry lots of macho men can’t dance.”

“I never said I can’t.” Bakugou huffed, his face bunching into a scowl.

“Prove it.” She smirked as she leaned into him, tapping the side of his glass with her finger. “Or do you still need to babysit that drink?”

The blonde stood dumbstruck for a moment as he watched the mystery woman saunter off onto the dance floor. He mulled over her invitation, his eyes falling to the drink in his hand. He swirled the ice in the glass before a small smirk pulled at his lips. He’s not one to back down from a challenge. Taking a few big gulps, the hero finished his drink, leaving it at the bar before following her out onto the floor.

It was easy to find her in the crowd. Her soft curves were dressed in a deep red mini dress and her long goddess locs swayed as she effortlessly moved her body to the pulsating music. The hero made his way behind her, his large hands resting on her hips.

“So you decided to join me after all?” She hummed as she rolled her hips, slowly grinding her backside into him.

The hero only grunted in response as he listened intently to the loud music, moving his hips to the beat to match hers. The woman melted into him, the buzz of the alcohol finally taking hold. The pair swayed and grinded together as they lost themselves in the song, the heat of the room causing beads of sweat to form against their skin.

The ravenette sighed contently as she tilted her head back to rest on the blonde’s shoulder, her eyes closed as she hummed along to the song. Bakugou watched her face carefully as he unconsciously leaned into her. He could smell the warm scent of amber and jasmine on her neck as his nose lightly ghosted across her jaw. A small smirk pulled at her lips, loving the feeling of his stubble scratch against her cheek. As she lifted her arm back to rub at the hair of his undercut at the nape of his neck, she sang along softly to the sultry song. Bakugou couldn’t help the strained breath that fell from his lips as his pants began to grow tighter.

And then, she opened her eyes.

He stared into her half-lidded emerald irises and the world seemed to stop. His body moved before he could realize, and his lips were on hers. The mystery woman returned the kiss, her lips molding to his with ease.

The hero then spun her around to face him as their lips connected again, his large hands roaming over her curves. His tongue swiped across her bottom lip, asking for entry, which she gave without hesitation. The two continued to explore each other’s mouths until she pulled away, both panting.

“You wanna get out of here?”

The blonde smirked as he took out his phone, quickly calling an Uber.

________________________________________________________________

Bakugou pushed open the door to his bedroom as he led the dark-skinned woman inside, their lips still connected. He swiftly unbuttoned his shirt, as he made his way to the bed, taking a seat on the edge. “What are you waiting for, Sexy? Don’t tell me you’re getting shy on me?”

The woman shamelessly took in the sight of his body, his rock hard abs looking especially yummy. She also noted the many red scars peppered all over his strong frame. “I’m many things but shy isn't one.” The woman chuckled as she slowly walked over to him before turning around. She pulled her long locs over her shoulder to present her back. “I just need a zip.”

His thick fingers grasped the zipper, pulling it down to reveal the smooth skin of her bare back. No bra. Gently, he pushed the mini dress off her shoulders, letting it all off her body and pool at her feet. Bakugou hummed as he took in her Coke bottle silhouette. His eyes skated down her body until they fell just above her black lace thong, making a discovery. “What’s this?” He chortled, pulling her hips closer to him. Just above her round bottom were two deep dimples at the base of her spine. He smirked as he gripped her hips, placing both of his thumbs into their indentions. “Built-in place holders.”

“Don’t get ahead of yourself, Baby. ” The woman said softly as she turned around to face him.

Bakugou got an eyeful, her full breasts on display. He quickly took note of the stainless steel bars decorating both her nipples. “Nice hardware,” he smirked, brushing the pad of his thumb over her bud. The woman breathed a quiet moan under his touch, igniting his fire even more.

Grabbing the back of her neck, the hero hungrily claimed her lips once again, his tongue exploring her mouth without mercy. He quickly rid himself of his pants and underwear as she did the same with hers. With a huff, he tossed the woman on the bed with ease, a surprised squeal escaping her throat.

“You liked that?” he chuckled as he walked over to his bedside table, stroking his hard member. He was little over average in length but with plenty of girth to make up for it. “Fuck, I’m going to enjoy making a mess of you.” The hero opened the drawer and pulled out a condom, ripping the wrapper with his teeth.

“Don’t threaten me with a good time.” The woman purred.

Turning his head, Bakugou laid his eyes on the mystery woman presented beautifully on his bed. Her long legs were spread wide, her fingers deep within her core.

“Fuck…” His dick throbbed and twitched in his hand at the sight. “You little Minx. You just couldn’t wait for my cock would you?” He licked his lips as he put the latex on, loving the little moans that left her mouth. “That pussy nice and ready for me?” Bakugou crawled over top of the woman, caging her in between his muscular arms.

“Why don’t you find out?”

With a smug look, he leaned down kissing her roughly, leaving little nips at her bottom lip. He ground into her core, teasing her entrance with his length as his lips moved down her jaw to her long neck. He left hot messy kisses to her skin until he moved to mark his territory.

In one swift motion, the ravenette had pushed the hero off of her body, turning the tables. She pressed him down against the mattress, her hands resting against his famous pecs, straddling him at his hips. “No marks,” she smiled down at him with a wink.

He blinked up at the woman in surprise before quickly recovering. No marks, huh? “Fine.” He grinned, impressed at how easily she could throw her weight around. “While you’re up there why don’t you show me what you can do?” He breathed while grabbing her ass harshly.

“I thought you’d never ask.” The woman lifted her body and took his length in her hands giving it a few pumps. Bakugou watched her carefully, loving the sight of her long olive green stiletto nails wrapped around him. She then aligned him with her entrance before slowly sinking onto him with a mewl. “Oo, shit...” He was much more of a sweet stretch than she had anticipated.

“Fuck you’re tight.” he cursed with a hiss, feeling her clench around him.

It was then that she began to roll her hips. Slow. Torturously slow. The hero couldn’t take his eyes off her, her body was absolutely amazing. A thin layer of sweat made her chocolate skin seem to glow. His ruby red eyes locked onto her belly button piercing, watching it roll and move with as if her skin was a deep ocean. As his eyes continued to travel south, he also noticed a small delicate tattoo on her hip. He recognized the geometric shape as a molecule structure map but couldn’t recall which one.

The thought quickly left his mind as she picked up the pace, opting to bounce on his dick without a care. Bakugou groaned at the incredible feeling, his fingers digging deeper into her hips. Moans began to pour from her lips, pushing his lust even further. With a grunt he began to snap his hips up into her, plunging himself even deeper.

“Oh fuck!” she mewled, as she sensually held her breasts, nibbling on her bottom lip.

“Are you gonna give me what I want, Dimples?” He almost growled underneath her. The woman nodded feverishly as she continued to bounce his cock, her hand traveling down her body to her heat, her fingers rubbing circles over her clit. It didn’t take long for her gut to begin to coil, eager for release. Bakugou was not far off either, his breath now labored as he guided her body with his grip. “Come on, Dimples… Give me what I fucking want.”

With that, the coils snapped and the woman came hard around his length. A plethora of moans and mewls spewed from her lips as she trembled in his grasp, her eyes shut tight in pleasure. Bakugou finished right behind her, a deep raspy growl erupting from his throat followed by a cocky grin. “Fuckkkk. Goddamn, Dimples you really did make a mess.”

“Shh.” The woman whispered, her eyes still closed as she continued to ride out her orgasm. “Stop talking. You’ll ruin it.”

I’ll ruin it? The hero looked up at her, taken aback at her comment for a moment until she gracefully rolled off of him and off the bed. He watched her in disbelief as she began to pick her clothes off of the floor and redress. As she gathered her purse, Bakugou realized that she was actually about to leave without a word. “Oi!” He barked as he quickly took off the used condom, tossing it in his bedside trash can. “The fuck are you going?!”

The mystery woman turned over her shoulder as she zipped up her dress effortlessly, answering him matter of factly, “Home.”

“Oh.” Once again he was at a loss for words as he covered his manhood with his sheets. “It’s the middle of the night. You need me to call you an Uber?” he continued in a much softer voice.

“Already taken care of,” she said while typing into her phone, barely giving him the time of day. Bakugou could only stare at her as if she had three heads. Once she was satisfied with her selections she finally looked back up at the hero, a small smirk on her lips as she gave him a weak salute, “Thanks for the O. I’m out.”

“Hey! You’re just gonna walk out?!”

“Yeah?” She nodded slowly, her piercing green eyes looking him over. “You got a problem with that?”

The blonde couldn’t believe what was happening. He just rocked her world and she’s just gonna ditch? He did rock her world… right?

“No…” He huffed, a light blush beginning to form across his cheeks. He turned his body away from the woman as he nervously rubbed the back of his neck. “You just surprised me, is all. Most chicks are begging to stay the night or least exchange numbers.”

He had said it in his signature proud tone as if he were annoyed by the actions of previous partners, but the mystery woman saw straight through his facade. She leaned against the doorway as she looked over the contours of his muscular back and bulging biceps. She knew exactly who he was and was planning on this being a one-time thing. A Pro Hero would never stick around with a girl like her. However… Coming back here wouldn’t exactly be the worst thing ever. With a heavy sigh, she tossed her cell phone onto the bed, fighting a smile, “Put your info in.”

Bakugou turned back toward the woman, picking up the phone. A look of relief flashed across his face, which was quickly replaced with his signature smug smirk. “What if I don’t want to?”

“Then give it back!” She scoffed, crossing her arms, shifting her weight to one hip.

The blonde chuckled as he keyed in his information before tossing it back to the woman. “Don’t let the door hit you on the way out.” As the ravenette put her phone back in her purse and turned to leave, he spoke up once more. “Hey, Dimples. Lock the door behind you.”

The woman turned to him, flipping her long locs over her shoulder “My name’s not Dimples. It’s Jada.” She smirked, her green eyes holding a playful look. “Miss Jackson if you're nasty.”

With that, she walked out of the room leaving Bakugou in a stunned silence, listening intently as he heard her leave the house. “Jada Jackson, huh?” he hummed as he properly got into bed. “Forget it, Bakugou,” he mumbled to himself as he turned out the light, resting his head on his pillow. “She’s probably more trouble than she’s worth.”

Chapter 2 | Masterlist

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luke-patterson-owns-my-soul · 4 years ago

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Positive

Luke x Julie

Title: Positive

Words: 2106

Summary: AU. Luke and Julie have been a couple since High School and Julie gets sick. Luke panics it’s more serious than it is, but it’s still life changing.

Requested: by @5sosmukefan TW: None (unless you don’t like mentions of someone being sick) Author’s notes: I hope I fit the request well enough for you! Song featured is Lauv’s Like Me Better.

Source: sabonhomeblog

Letting himself into the apartment to hear Julie throwing up in the bathroom wasn’t the best end to Luke’s workday. He’d been insanely busy at the music store he managed. It was the lead up to Christmas, and every parent in the state was buying their kid a musical instrument.

“Babe, you okay?” he called out, dropping his keys in the bowl on the side as he moved through the hallway to the bathroom where he found Julie on her knees, her head over the bowl.

“I think my breakfast burrito’s trying to kill me.” She groaned, sounding pretty pathetic. Luke grabbed a wash cloth, ran it under some cold water, rung it out, and placing it on the back of his girlfriend’s neck. “That feels amazing.” She moaned before retching again.

“How long have you been like this?”

“About an hour. All of a sudden, I felt really nauseous and light-headed.”

“Why didn’t you call me? I could have got someone to finish up at work.

“Luke, it’s only a bit of food poisoning, I’ll be fine tomorrow,”

Getting her to her feet, Luke led Julie into their bedroom and helped her undress and get into bed.

“I think I’ve got some of mom’s soup in the freezer. I’ll get it heated up for you, see if it settles your stomach. Then I’m cancelling practice with the guys.”

“Yes to the soup, but go to practice. I’ll be alright on my own for a while.” Luke looked down at her. “Honestly, I’ll probably just sleep it off.”

“Let me get the soup, then we’ll see how you are.” Julie waved at him in acknowledgment of his words as she began to doze, looking like a cocooned caterpillar in their bed.

As Luke moved around the kitchen, he hummed a melody that had been plaguing him all day. It had been so busy, he’d been unable to get five minutes to get it down on paper. While he defrosted the leftover chicken soup his mom had given them when she’d last made a batch, he thought about what Julie had said about him going to rehearsal, leaving her alone. Realistically, he knew she would be fine, but he still worried. In all the years he’d known and loved Julie Molina, he’d never known her to get sick like this.

As a compromise with himself, he sent a text to Flynn who promised to head over and sit with Julie. Just in case which relieved him. He decided to cut rehearsal short so he could get back home to make sure Julie was okay.

Pulling a breakfast tray off the top of the refrigerator, he poured the soup into a bowl, filled a jug with some ice water, and carried everything into the bedroom.

“Julie?” He spoke quietly, the bundle in the middle of the bed didn’t move. “Jules… I got your soup.”

With a groan, Julie poked her head out from under the comforter and sat up so Luke could place the tray over legs.

“I’m going to cut rehearsal short and Flynn’s on her way. If you need anything, call me and I’ll be straight home.” He placed a soft kiss against her forehead before leaving her to eat. He grabbed his guitar and keys and left the apartment, passing Flynn on the way down to the parking garage.

:: ::

For years, while at High School and college, Luke and his band, Sunset Curve, had used Bobby’s old garage to rehearse in, but after their rhythm guitarist had left the state on a music scholarship, they’d had to make other arrangements. Luckily, the music store Luke worked at has a space in the back that he had constant access to.

“Boys, I can’t stay too long tonight. Julie’s sick and although Flynn’s with her I don’t want to leave her too long.”

“We can always reschedule.” Reggie looked worried about the girl he considered a sister. Alex nodded from behind his drums.

“She told me to come, so let’s at least get something done before I go back.”

Luke ran through the new melody that had been running through his head all day. By the time Reggie had added his bassline to it and Alex the drums, it was almost complete. All it needed were lyrics, but Luke couldn’t concentrate, his mind constantly wandering to the woman he’d loved since junior year.

“Go on, go home. We’ll lock up here.” Alex patted him on the shoulder. With a smile and a round of hugs, he left his friends and returned home.

“She’s sleeping.” Flynn called out softly from the lounge where she was working on her laptop.

“Did she eat?” He asked, sinking into the chair opposite Julie’s best friend.

“Yeah, and she kept the soup down.”

Relief flooded through Luke. He’d had visions of coming home to find Julie throwing up again, unable to keep anything down.

“Thanks for staying with her.” He loved Flynn like the sister she may as well have been.

“It’s cool. I’m not worried about her. She’ll bounce back within a couple of days.” She closed her laptop and shoved it in her bag. “I gotta go. Let me know when she’s better.” She bent over and gave Luke a kiss on the cheek.

“Yeah, will do.”

Hearing the door click closed behind her, Luke stood up and made his way into the bedroom to check on Julie. She was fast asleep, looking better than she had when he’d left. Flynn had taken care of the bowl and tray, so he returned into the lounge, grabbed his acoustic and his journal. The melody was still playing on a loop in his head, and he sat down to try and put some lyrics to it.

To be young and in love in New York City (in New York City)

To not know who I am but still know that I'm good long as you're here with me

To be drunk and in love in New York City (in New York City)

Midnight into morning coffee

Burning through the hours talking

“That sounds great.” Julie’s voice behind him made him jump. Putting his guitar and pen down, removing the pick from his mouth he turned to face her. She was bundled up in her pajamas.

“Hey, c’mere.” He held out a hand and pulled her onto his lap when she took hold of it. “How you feeling now?” He asked, wrapping his arms around her and placing a kiss on her hair as she curled herself into his embrace.

“Better. I should be good to go tomorrow.” She looked up at him, knowing he would have a smirk on his face, hearing a double entendre where there wasn’t one planned. Giving him a soft punch on the arm, she snuggled back into his hard chest. “Dork.”

It had amazed her how much more he’d filled out since High School, and she constantly felt safe in his arms. For the past six years, she’d felt protected and loved more than she’d ever expected.

“You make it too easy Molina. Now, let’s get you back into bed.” With a practiced ease, he stood up with her in his arms and carried her into the bedroom. As she made herself comfortable in their bed, he stripped down to his boxers and climbed in next to her. In an instant, she’s back in his arms, and Luke knows how lucky he is.

:: ::

It’s been three days, and Julie is still throwing up. Luke’s worried as hell, so he makes her book an appointment with her doctor. Naturally, because she hates feeling like a burden, Julie tries to refuse, but he’s adamant.

“Babe, this is more than food poisoning. Just let the doctor check you over,” he turns on the puppy dog eyes she’s never been able to resist, “for me?”

“You’re lucky you’re cute.” Julie grumbles as she picks up her phone and calls her doctor’s office.

“Cute? Is that all?” He pouted as she ended the call. “I was cute in High School. Now I’m so much more.”

“And totally modest too.” She gave him a quick kiss before running into the bathroom to throw up the lunch she’d eaten.

“When’s your appointment?” he asked when she returned into the lounge.

“Tomorrow at four.”

“I’ll get the time off, come with you.”

“Luke, it’ll be okay. I’ll come down to the store after seeing Dr. Harrison.”

“Are you sure?”

“Positive.”

He wasn’t happy, but he knew how stubborn she was, and she wasn’t going to let him go with her. They spent the rest of their Sunday curled up on the couch watching old Friends reruns.

:: ::

Watching the clock as it got closer until four p.m. was driving Luke insane. The store had been fairly quiet, and the hours were dragging. All he could think about was Julie’s doctor’s appointment. He was close to ducking out of work when Reggie and Alex entered.

“Hey, Buddy. You look pretty wound up.” Alex commented as he and Reggie join Luke behind the counter.

“Julie’s at the doctor’s office. I’m just on edge.”

“I’m sure it’s all okay. Probably a virus or something. A course of antibiotics and she’ll be better than ever.” Reggie’s mom was a doctor’s receptionist, so naturally, the bassist thought he was an expert.

“I hope so.” Luke muttered as his friends shared a look.

Eventually, time seemed to move and Julie was soon entering the store. Leaving his friends behind the counter, Luke rushed over to her.

“What did Dr. Harrison say? Is everything okay? Did she give you anything?”

“Slow down Luke and let the woman breathe.” Alex chuckled.

“Can we go and talk in the office?” Julie’s voice sounded so small to Luke and his heart shattered. Something was seriously wrong and this was the moment he was going to lose her. He just knew it. Taking hold of her hand, he led her through to the back and into the office. “You better sit down.”

“Jules, please. You’re scaring me. Whatever you’ve been told, I’ll be there with you, every step of the way.” He held onto her hands, panic filling his entire body as she stood in front of him in silence.

“Well, I never doubted that. It’s one of the main reasons I love you so much.” Julie let go of his hand and rummaged around in her bag. Before she withdrew anything, she told him to close his eyes. When he did as he was told, she finally allowed a smile to split her face and place an envelope into his hands.

“What’s this?” He looked down at it, a worried look on his face.

“Open it.”

In silence, Luke flipped the envelope over and slowly opened the flap. Before he withdrew the piece of paper, he looked up at Julie who nodded at him to continue. He sucked in a deep breath and withdrew the slip of paper and stared at it.

“What is it?” he knew what it was, having seen them on TV and in the movies, but somehow his brain had short circuited.

“It’s the first photo of Baby Patterson.” Julie laughed as his features expressed every emotion he was thinking in the few seconds it took for her words to register.

“So… you’re not sick?”

“Nope.”

“We’re gonna be…”

“Yep.”

Julie squealed as Luke gathered up in his arms and peppered her face with kisses. Within seconds, Reggie and Alex ran into the office, clear looks of fear on their faces.

“Is everything okay?” Reggie asked, his cheeks flushed pink.

“Everything’s great, boys.” Luke looked at Julie.

“Tell them, you won’t settle until you do.”

“We’re having a baby.”

:: ::

Throughout Julie’s pregnancy, Luke was beside her for everything. Morning sickness – which he suffered sympathy symptoms of - OBGYN appointments, Lamaze classes, and finally the birth.

Seeing the woman he adored more than he ever imagined possible in so much pain killed him, but as his daughter was brought into the world, he was struck dumb. Tears flowed down his face as the tiny, screaming bundle was handed to him.

“She’s got a musician’s lungs.” Julie spoke from the bed, exhaustion lacing her voice, but a look of love and wonder on her face. Luke nodded like a marionette, unable for the first time in his life to formulate a sentence. Instead, he walked to the side of the bed and passed the baby to Julie and kissed her.

“I fucking love you, Julie Molina.” He kissed the baby’s head. “And you Emily Rose Patterson.”

Tagging:

@ lovesanimals @morganayennefertyrell @dream-a-little-bigger-x @xplrreylo @wayward-leigh

If you’d like to be added to my tag list, please let me know. A message is preferable as I sometimes miss comments

#jatp fic #au Juke #Luke patterson fic #Julie Molina fic #fic request #Mich writes fic

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mercatorantique · 4 years ago

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aesthetic tag!

tagged by @seungchris

tagging: yall dont have to do it but ! @banghans @kimatas @djxiao @chrrysoda @utunes @itzmidzy n if anybody else wants to feel free to say i tagged u!

rules: bold the aesthetics you relate to and add twenty of your own aesthetic qualities for others to bold

soft

dark academia

edgy

seventies

preppy casual

cinanamon - steph

gold jewelry, slowdancing in the kitchen with a lover, sun on skin, red-tinted lip balm, lazy mornings, getting lost in foreign cities, scent of bakeries, high-waisted jeans, kissing someone’s neck, writing reminders on your wrist, sleeping in braids to have waves in the morning, growing an herb garden, gentle touches, sketches tucked between pages, flushed cheeks, tandem bikes, floating in a pool, vintage gold hand-mirror, deer grazing, softly singing while doing chores

jaesmintea - dia

naptimetea - helena

jeonginks

scxrlettwxtches

listening to a song and remembering the times you used to listen to it on repeat | imagining yourself living in any other life than the one you have now | crop tops and high waisted jeans | forgetting to smile but not actually being upset | nuzzling your face in the crook of their neck | back hugs when you’re stressed | turning in assignments 1 minute before they’re due | wanting a relationship but getting scared the moment you’re in one | pretending that you don’t care when inside you’re burning with doubts and fears | the sound of the evening waves as you lie on the sand | lying in your bed listening to your sad playlist | exhaustion but you can’t sleep | singing loudly when you’re the only one home | feeling safe and comfortable with that person in your life | knee high suede black boots with your black winter coat | comfort over appearance | writing essays at 2 am | creative peak from 1 am to 4 am | the one that always ends up walking in the back of a friend group

hyunsracha - sav!

lveletters

dnceracha - sydni

seungchris - tessa

gutenyang - luca

a game over screen playing its melancholy music in the darkness | being so full of love you start choking on it even though it has nowhere to go | being so drained of love that everything runs together | hazy memories as if they’re no longer your own | wet ink staining the palms of your hands | teeth glinting in the dim light, are those really so sharp? | getting lost in a campfire, the voices of your friends laughter and singing fading out as you stare | home-grown roses and lavender and lilies | the burn in your lungs after a good long scream | the ringing in your ears after seeing your favorite artist in concert, live, feeling the vibrations in your very soul | a smile shared between two...not lovers, but impossibly intertwined regardless | the fascination with catholic imagery and disgust with everything else | a ballroom in the modern era | lips against skin, a kiss and a secret whispered | a leather jacket so loaded with pins and patches that it says more about the owner than any words can describe | a bassline so melodic it catches you off guard, sweeps you off your feet | laughter for laughter’s sake | reading between the lines and only praying someone reads between yours as well | that one knife that says ‘jopping’

#i think i did more than 20 but like im a writer it's what i DO #about tag #bullshit.txt #thank u so muc !!!!

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adevotedappraisal · 6 years ago

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DNA. By Kendrick Lamar from DAMN.

What is that there, lying in the heart of man? What is there composing the shifting totality of a person? Is it that rushing ambition to conquer? To eliminate? Is the heart of man to assimilate this environment around it in order to live with it? Or is it to be a library of emotions, compiling sights, sounds and snippets of experiences that make up the whole of a person? Or is it yet the limitations, the things outside of one’s reach that define the person? You see I think this Compton, California rapper ruminated on questions similar to this and, like the great poet Walt Whitman, concluded that the soul can never be greater than the body and that the body cannot be greater than the soul, and he tried to coincide this with the pursuit of making an album that reaches out to try to be everything to everyone, and I think this approach reveals Kendrick Lamar letting go parts of himself to the hearth of the past in order to become the great American rap artist he needs to be.

What if your life doesn’t flash before your eyes when you die? What if your life plays before your ears, in uncompressed audio? Hey what if, like, you died and instead of Saint Peter there was Kid Capri rocking your book of life? Wouldn’t that be unexpected yet ill? And what if you replayed this book-of-life album in the reverse order and it flowed well and you could still tease out some meaning, or imagined meaning from the whole thing? Well some of this is what is going with Kendrick Lamar’s latest album DAMN., an album more open-ended and undefined than his previous releases, even as the songs explore his issues in this bold, concise and direct way.

And what is this talk about this album being ‘everything to everyone’? And what is this ‘direct way’ I speak of? What are these euphemisms in service of? Well, a buncha shiny, well-produced sellout songs to be curt. But hold on now, we gotta unpack that a bit because this is Kendrick we’re talking about, not some genre artist tossing up a hail mary of Pop fluff to prevent being dropped from their label. This is Kendrick Lamar, who achieved his breakthrough year behind his most experimental and dense album, 2015s To Pimp a Butterfly.(review) It’s like if Stevie Wonder gained a strong following on Songs in the Key of Life but blew up internationally after releasing his obscure, mostly instrumental album Journey into the Secret Life of Plants. The point being that any foray into contemporary sounds here is not an act of gasping desperation, but a considered and meaningful exploration, because let’s be honest here, after the positive reception from his leftovers EP untitled unmastered, ( he could have launched into his Miles Davis-esque electric period for a couple years and no one would’ve batted an eye.

So these songs that take a nod to the radio (there go the euphemisms again, look make no mistake, these radio songs condescend heavily to modern sounds, in a near cynical display) must be judged on the ultimate efficacy of the end result. At the end of the day, does Kung Fu Kenny sound good doing this shuffle? For the most part, yes he does. It comes off more like the Nile Rodgers produced Let’s Dance album by David Bowie, as opposed to, say, any Mick Jagger solo album, or Hammer’s 2 Legit 2 Quit or something. In fact, you know how every now and then Fat Joe sometimes gets on some modern production of the moment and turns it into a Bronx anthem? Kendrick is like that at times here, like with “ELEMENT.,” a sparse head-nodder with Lamar rhyming, not too complex and rapid fire, but in a nonchalant and playful style, reminiscent of If You’re Reading This It’s Too Late-era Drake, warning “we ain’t going back to broke families selling dope” at one moment and doing a spot on Juvenile “Ha” impression the next, or with “GOD.,” a splendid slice of rap-pop of braggadocio with reverberating shimmering synths, synth bass and understated drums, Kendrick stretching out lines in the ear candy chorus with joyful relish. He sounds comfortable here, experimenting with his words, slowing the cadence, singing a line here, doing a Quavo-esque ad lib there, making his presence in the radio and streaming playlists of people the way the Rakims and Daddy Kanes had to do in decades of yore.

You see the great MCs, I mean the ones in peoples top ten, weren’t aloof, reclusive emperors tossing down sprawling, screeds without choruses from the castle tower. Nah, they were politicians, trying their best to get on the dancefloor of the club, shaking hands, kissing babies, prodding you to sing the chorus for them on the count of four. His grip on this enterprise though becomes shaky on first single “HUMBLE.,” where he’s lumbering in an awkward gait on a Mike Will Made It beat which kinda sounds like a drunk, spastic Thelonious Monk banging keys in a strip club, and he’s the same on “LOYALTY.” with Rhianna. Over a clean, cosmopolitan groove, with waxy, reversed voices floating by, the two remind us that loyalty and trust are central to any relationship, a prerequisite for love in fact. Rhianna is fine here, intriguing even with her cool realisations and raps, but Kendrick is near anonymous on the song, reduced to a wallflower mumble on the summer cookout-ready banger.

While some songs are set up to accompany a cool, night at a trendy scene or as perfect driving music, some other songs have a density to them, made ornate and true with the person inside them. “DNA.” is like this, with Kendrick in full command on a pair of Mike Will Made It beats, telling us all about this things wrought and proud within him. As confident as he is on the sitar slinking around the cool stroll of the 808 drums, by the second beat he’s barely contained, belittling and dismissing unnamed rivals over a booming beat frenzied with a hectic vocal sample. The song captures your attention and doesn’t let go. It’s easily the best opener of any album of his.

“XXX.” with U2 is one of the emotional centers of the album, with the first verse –over some Ice Cube Bomb Squad era beat– showing an incensed Kendrick telling a man seeking advice for a dead relative that he would seek revenge by gun violence if it were him, offering no solace to the inquisitor, only blunt street invective. The second verse, with Bono crooning about America with a knowing reflection that recalls the slower songs on the Side B of his Joshua Tree album, show Kendrick proposing that the violence in him and around this country are one and the same, existing in him with the same barely constrained ferocity that exists in U.S. domestic and foreign policy sometimes. I always like this conceptual side to Lamar, and we see it again with “FEAR.,” although its middle verse features a too-subdued Kendrick talking about all the things he thought he could die by when he was a late teen. It’s too elementary, not only in comparison to the fiery and self-reflective first and third verses but to the nature of this beat. This Alchemist beat would be the darling heart to any number of East Coast MCs winter albums. With its ruminating bassline, flints of funk guitar, snatches of organ fills and samples of soul vocal lines, runs and hums, the beat was made for blunt wrappers, freestyle sessions and those thick studio monitor headphones that so often look like halos. Black Thought would’ve kicked the teeth in this beat. Royce could murder this for four, five verses easy. It’s in this context that Kendrick falters, the sober nature of his fears blunted by the warm fog of this beat.

He fares better with “DUCKWORTH,” yet another soul voice and harmony sample chop, this time by 9th Wonder adroitly stitching three different beats together to match temporal and mood changes. Over this now Kendrick is commanding, telling a story of an up and coming gangster who meets with a wily fast food drive-thru worker, shading in the two characters with tales of hood agility and cross country wanderlust. The ending of the song talks about a choice not taken, and the choice that could’ve been taken and the resultant death that would’ve occurred to our not-so-faithful narrator.

I mean this album is obsessed with violence, is moody and is suspicious of people when it’s not celebrating the trappings of being the most talked about rapper around. It’s all over the place thematically but self-assured musically in the way that a lot of self-titled albums were made once upon a time. You know I think that’s what this is in a sense, Kendrick Lamar’s Kendrick Lamar album, a self-portrait of the artist as young man, all dressed up in a life-flashes-before-your-eyes concept album framework, but there it is, a glimpse of the changing man and his vulpine ambitions, what he gained and what he’s let go of, a launching pad from which he could go in any direction next go around, no doubt engendering questions again. Because he, like us, as the Brooklyn poet Whitman reminds, contradicts himself, for he is large, and he does contain multitudes.

#music #rap #hiphop #Kendrick Lamar #damn #DNA #music review

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grimelords · 7 years ago

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My October playlist is finished, please enjoy it. From 14 minute 70s acoustic guitar instrumentals, Armand Van Helden bangers and Christian music I’ve had a lot of feelings about this playlist has it all in four hours.

Love Love Love - The Mountain Goats: Posting on the web about Mountain Goats songs you've had a moment with is about as universal as it gets, so here's mine for this month. I woke up one morning with the line about Sonny Liston in my head one day after not listening to this song in years. John Darnielle is perhaps the only person on earth I'd trust to write a song about Kurt Cobain's suicide and he does a very simple and beautiful job of it here. Ben's My Friend - Sun Kil Moon: I discovered Sun Kil Moon way after I probably should have via that guy who was doing parody songs of him last year. This song is fantastic because it takes so long to make its point, and like so much good art is just some middle aged guy recounting his every thought and movement for four minutes. You Were Meant For Me - Jewel: I was trying to remember how Dreams by Fleetwood Mac went and all I could think of was this song, and settled on singing it to myself instead. Sober - Lorde: Sorry to be a normie but listening to Lorde break down this song on an episode of Song Exploder was incredibly good and it definitely made me appreciate the way the brass sounds a lot more. Melodrama really does get better and better as a cohesive whole the more I listen to it. Night Moves - Bob Seger: We as a society need to bring back Power Voice I think. I've been obsessed with this song for months now and as far as I can tell Bob Seger has precisely zero other good songs, which is unfortunate because this one is so good. This also is another song about getting the Lamenting Night Hornies because you heard a thunderstorm that reminded you of the times in your youth that you Fucked and it's, in my opinion, very beautiful. Cairo - San Fermin: This is on the list not only because it's a good song but also unfortunately because of Podasts. San Fermin guested on an episode of Improv4humans and got absolutely roasted about this song so I highly recommend the ep. UFO - Sneaky Sound System: It's unfortunate that Sneaky Sound System's highest played song according to Spotify is the Nicolas Jaar remix of Big (an all time top ten piece of music) because it's really overshadowed the rest of their incredibly good singles. Do you remember 2006? What a time to be alive. UFO (Van She Tech Remix) - Sneaky Sound System: This is my absolute pick of the month and I have been raving to everyone who'll listen but nobody cares, I cannot get enough of it. Do you remember when Justice came from France to bless us all with the secret of bass and we betrayed them by inventing Skrillex not three years later? Van She remember. Charlie Chazz & Rappin Ralph - Duck Sauce: I believe there is a real argument to be made that any song that doesn't refer to the listeners collectively as Party People is absolutely worthless. Duck Sauce's album is a completely underrated classic in my opinion, it's a go-to mood elevator from beginning to end and for some reason has a subplot thoughout about aliens transmitting coded messages to influence human evolution, which is a big thumbs up from me. I Took Your Picture - Cults: Guess what Cults are still really really good. I haven't given this album enough time yet but this bassline has invaded my dreams so that's a good sign. Pavement - City Calm Down: The way this layers and builds into and through the chorus is so satisfying. I love this sort of thick synth production and the contrast between the different registers of his voice is so satisfying as the chorus comes back again. Pogo - Digitalism: Australian electronic music had a real moment around 2007 between Digitalism, Van She, The Presets, Midnight Juggernauts, Cut Copy and all them and I'm realising retrospectively that it was very, very good. Semicircle Song - The Go! Team: The world's best band are back and their new album isn't out until fucking January! This song features big horns and a bridge that's just a montage of children telling you their star sign so that's how you know it's good. The Garden's All Nighters - The Number Twelve Looks Like You: It's a real shame that #12 broke up after this album because it feels like they were really on the edge of something. Over 4 albums they morphed from a straight ahead grind band into some sort of math-prog thing approaching it from a whole different direction to everyone else. I love the idea of writing such an expansive, complex song seemingly just about living in New Jersey. The way it transitions into the groovy latin part is so nice and the solo is just beautiful; and unlike other bands in the same sort of sector they never make a joke of genre switches either, they just keep moving forward with a smile. Paris/Orly - Deux: I forget how I first came across this album but it’s easily the wankiest thing I absolutely love. An 80s French synthpop duo that only ever released a cassette and some singles that got reissued by a label called Minimal Wave a few years ago. It is absolutely the best. New wave mixed with Kraftwerk and synthpop except incredibly french and cool as well. I constantly have their song Game And Performance in my head but this one was my obsession this month. Walking Into Sunshine (Larry Levan 12" Mix) - Central Line: There’s something very authentic about disco songs that are lyrically all about working all week all day every day, and desperately needing a break to perhaps, dance your worries away in a new york discotheque. Cradle In The Crater - The Number Twelve Looks Like You: This is maybe my favourite #12 song because it appears to be about some kind of super child who came from space and perhaps wrought havoc on the citizens of earth, but told in a very real and emotional way like it’s a story about someone they really knew. It reminds me of Mother 3 and the good times I had as a teen playing that game with my best friend, so that’s an added bonus. Under The Ice (Extended Version) - Topo & Roby: Italo disco forever. This song is a duet between a woman and a robot where they relay the story of him coming from a distant planet in a spaceship and crashing on the north pole then getting trapped under the titular ice where he waits to I think murder me. Now that I think of it it’s world similar to Cradle In The Crater. It sounds so good, far better than a novelty song like this has any right to. There’s also a video with someone’s 80s mum dancing with an incredibly shit robot on youtube if you’re interested. Outta The Woodwork - Kurt Vile and Courtney Barnett: I really love the covers they chose for this album because they both really make it their own. Outta The Woodwork really sounds like a Kurt song now and I love the strong piano giving the song the harder edge the lyrics deserve and Kurt just lazily soloing to hell any chance he gets Peepin' Tom - Kurt Vile and Courtney Barnett: I think I almost like this version more than the original, making it just an acoustic thing but still keeping all the dynamics of the original is so nice. I love specifically the deep bass voice of ‘peepin’ to the high ‘tom’. It satisfies something weird in my brain. Mercury (12" Version) - Bloc Party: I can’t believe i’ve lived this long without ever knowing that there was a 12” version of Mercury out there. The song I always felt was way too short to contain the amount of energy it has has a 7 minute version that well and truly lays it out into a slow intense burn instead. Electric Feel (Justice Remix) - MGMT: Just to get my 2007 opinions straight Electric Feel is not a good song. Kids is a good song but Electric Feel isn’t. That said: this remix comes damn close to making it good. Justice figured out the secret sound and we’re all the better for it. Comin' Apart - Gary Wright: There’s no greater joy than tracking down a sample and finding out that the original song is also a banger. This pairs extremely well with My My My as a sort of extended intro. My My My - Armand Van Helden: I posted that playlist a couple weeks ago of songs mid-2000s bangers with extremely horny videos and this is a highlight from that. I'm always amazed with how much mileage great producers can get out of a relatively straightforward sample because this hums along for almost 7 minutes and only gets better. Laser Life - The Blood Brothers: The Blood Brothers are one of the few bands that scratch the brain itch I have for totally bonkers Mars Volta markov chain lyrics phrases like 'Oh dream machine I'm a pound of flesh inside a drum machine dream'. They're also the only band I think that can get away with having this sort of cabaret swing feel in a song with a lot of screaming and not have it be absolutely unbearable. Camouflage, Camouflage - The Blood Brothers: Where a lot of The Blood Brothers early songs were just chaotic bursts, they have a few songs that spread out into a long multi movement ideas culminating in very good final lines like 'I couldn't see the love and affection it was camouflaged as a jungle of erections, and I couldn't see the skeletal lightning it was camouflaged as a young machete' 16 Tons - Tennessee Ernie Ford: The mistake people make in covering this song is trying to match the extremely grim lyrics to the music, but this version succeeds exactly because it's on some upbeat Frank Sinatra shit with the clarinet refrain sounding like a children's song while still being very much about dying face down in the dirt from arsenic poisoning. Take This Hammer - Leadbelly: On the other hand you have a song like Take This Hammer from a guy who really worked on a chain gang complete with involuntary WAH sounds to time your hammer strikes to, and it's still so much more upbeat and positive musically than it has any right to be looking at the lyrics. San Francisco - Foxygen: There's something about the chorus of this song, and they way the phrases of the two voices line up where if it gets stuck in your head it just goes around and around and around forever and it is absolutely maddening so I thought I'd share that with you all. El Manana (Metronomy Remix) - Gorillaz: This remix reminds me of Studio to a degree with the way it just moves forward with no regard for regular structure. It's gutsy to remix a song and somehow restructure it so the chorus doesn't even sound like it's the chorus anymore but just another small part in a slowly winding up machine. Monkey Gone To Heaven - The Pixies: The way he's screaming that GOD IS SEVEN in this song I feel like if Black Francis hadn't made it in music he'd be running a very successful incomprehensible conspiracy website. This is a song I can get very lyrically involved in when I'm in certain moods, nodding my head like the creature in the sky DID get sucked in a hole and now there's a hole in the sky, and we're all in trouble because of it. Cannonball - The Breeders: I like this song because it feels like everyone in the band is working on their own unique structure. The clean guitar especially just comes and goes at will through the whole song, the lyrics start whenever, the rhythm guitar just keeps strumming along. It all comes together for the chorus and then they just go their own separate ways until it's chorus time again. S.A.D. - Kirin J Callinan: The production on this song just amazes me, especially as it moves into the later choruses the sheer weight of the chords is just crazy. The barest suggestion of guitars chugging in the background but blending into the huge synths chords. Combined with the vocals it's the most threatening pop song I've ever heard. Wrapped up in plastic thrown down the stairs feeling fantastic. Water Coast Blues - Honeyboy Edwards: I feel like Honeyboy Edwards has gotten a raw deal from history. When he died most of his obitaries made a big point of how he was one of the last living people to know Robert Johnson personally. Which is an important detail but it overshadows Edwards contributions in his own right as a guitarist and songwriter who had a 70 year career. The album this recording's from is a really good compilation that gives an overview of his whole career, mixed with interviews with Edwards and Alan Lomax that are just amazing. Anyway just listen to the playing on this song because it is incredible. The bass figure he switches into when he says 'when I had money'? Phenomenal. Another Leather Lung - The Sound Of Animals Fighting: The Sound Of Animals Fighting was a supergroup of a bunch of guys from RX Bandits/Chiodos/Circa Survive and bands like that coming together in animal masks to make the most pretentious band possible at the time. There's a lyrics on one of their other songs where he sings 'the artist! the true manifestation of struggle!' which is quite good. But outside of that they did make some very good music and the second half of this song where it takesoff is really something. Bone Machine - The Pixies: It's amazing Black Francis hasn't been linked to a string of murders in the mid 80s honestly. This whole song feels like evidence. Also the way he says 'I was talking to peachy peach about kissy kiss.. [incredibly long, awkward silence] ... he bought me a soda. he bought me a soda and he tried to molest me in the parking lot hep hep hep hep' is perhaps the most amazing verse ever. Stomping Tonight On The Pennsylvania/Alabama Border - John Fahey: This is John Fahey's best song and I've listened to it probably 4 times a week for the last 4 years. It is quite honestly an eternal mood. Ares - Bloc Party: War! War! War! War! I love the guitar in this, because it's just textural noisemaking more than anything else and mixed with the vocal manipulations in the chorus it's just absolute chaos. It's such a shame that everyone in Bloc Party either left the band or had their brain removed after this album because between this, Mercury and Talons it was truly an incredible moment. Special Rider Blues - John Fahey: I can't believe I only found out this month about John Fahey covering Skip James, and even that it took me this long for me to listen to the full version of his America album. Mark 1:15 - John Fahey: I also learned that on account of cds only holding 80 minutes of music, this 14 minute reissue version of Mark 1:15 is 2 minutes shorter than the original vinyl version and I'm completely riled up about it and demanding a second, definitive reissue to restore them. Regardless, this song is an absolute masterpiece and when it switches into the portion of When The Springtime Comes again about three quarters of the way through it's just amazing. Swim - Nicolas Jaar: Here's another quite long and involved piece of music from the other side of the spectrum. It has a very similar feeling to Mark 1:15 really, so if you liked that persevere through this. It's taken me such a long time to get around to listening to Nymphs for some reason but I'm glad I finally gave it a shot because this song especially is a real masterwork. Crimes - The Blood Brothers: A third Blood Brothers song for you, If you didn't like the other two there's a chance you'll like this one because it's much more sedate. This song is also a good first Blood Brothers song because the way the second vocalist sounds when he finally turns up is really funny if you're not expecting it. This is another on the long list of songs I seem to just always have in my head and sing to myself when I'm walking around. NRG - Duck Sauce: Are you ready for the most powerful 12 minutes of your life? It's the entirety of the NRG single by Duck Sauce. I like to think of it as a purposeful multi-movement work rather than a song and two remixes because that's what it feels like. Starting out we have the original, incredible instant power of NRG. NRG (Skrillex, Kill The Noise, Milo & Otis Remix) - Duck Sauce: and next we have the absolute peak of the work, the fever pitch. See if you can guess which part Skrillex was responsible for. I love the addition of miscellaneous woos and yeahs among the already busy main riff, I absolutely love the bass which sounds like some kind of steel drum pulled down four octaves. I love the distortion on the vocals in the second half as it slowly gives you time to catch your breath. NRG (Hudson Mohawk Remix) - Duck Sauce: The we move into the comedown, the HudMo contribution where the drums somehow sound like they're coming from next door like the party has passed you by and moved on to enliven your neighbours. I love the snare building and then splitting into triplets like it's going to drop before the peace of the synth gives way to the rolling thunder drums hafway in. On The Other Hand Baby - Etta Baker: I don't know what to say about Etta Baker. She's incredible and it's an absolute shame that she didn't really get recorded until she was about 70. This album was recorded when she was about 92 and her playing is still amazing. Crucible - Sleigh Bells: You have to give Sleigh Bells credit for still going strong four albums in if nothing else. Somewhere along the line they adopted this sort of corny rock chick thing that wasn't really there in their first album and I think it works against them but I really can't get enough of the instrumental of this song. The distorted brass and string amongst everything else especially. I feel like there's a much better song buried in here somewhere but I'll take what I can get. Pirate Blues - As Cities Burn: As Cites Burn are another good example of a metalcore band absolutely mellowing out into a indie rock band over the course of three albums, and the result Hell Or High Water has turned out to be one if my favourites of all time. This song especially is an obsession, and I love a band having the sense to no longer make metalcore, but learning enough from it to take a song to a a huge crescendo when they need to like this one does. Timothy - As Cities Burn: Between As Cities Burn, mewithoutYou and a couple of other christian bands I was very nearly converted in highschool and it still informs a lot of my uh theistic thought in a strangely unembarrassing way. This song, from their second album where they were sort of caught between their metalcore origins and the full fleshed indie rock of Hell Or High Water is one of their best. Yelling at god about your dead friend is a massive thing to write a song about but it's done so well and it builds and builds before dissolving into a sparse, thoughtful solo for a good six minutes into a beautiful ending.

listen here

#playlists

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5-star-songs · 7 years ago

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“Under Pressure” – QUEEN AND DAVID BOWIE

I can’t name a collaboration that does as good a job as this one of combining the two artists’ strengths. The pre-chorus and the bridge both feature classic Bowie melodies; almost everything else is a showcase for Freddie Mercury to scat or soar as the situation demands.

As idiosyncratic as Queen could be, their best moments stemmed from giving voice to universal aspirations, and making them sound so epic that even when just humming them to yourself it’s hard not to imagine stadiums-full of people cheering you on (“We Are The Champions” made this latent talent literal). While Bowie certainly had a knack for striking universal chords with his music, he mostly did so by being an individualistic weirdo channeling feelings of alienation and isolation.

Mixing those approaches provides a heft a lot of Queen songs lack (an absence they habitually tried to obscure by inserting some guitar or vocal histrionics to make things feel weightier). Here, you still get all the crystal-shattering grandeur you want from Freddie Mercury, but you also get a lyric and an arrangement that forces him to justify himself -- a typical Queen song would let his repeated wails of, “Why can’t we give love one more chance?” be rhetorical; this one actually has Bowie answer (“Cause love’s such an old fashioned word,” among other reasons).

Also, the bassline is such a glorious, decades-spanning hook, even Vanilla Ice couldn’t dampen its pleasures.

#classic rock #david bowie

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hesarudie · 5 years ago

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❛ What an unexpected surprise. You've return. ❜

❝ - AW SOUNDS LIKE SOMEONE BEEN MISS little ol’ me huh, Cube ? come ya’ know you do besides its been veeery boring without ya~ ❞

#mistyfear #[ ☊▐ ►IC. HUMMING THAT BASSLINE. ]#[ ANSWERED. ]#yeah he misses her alot too

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phantomrubies · 7 years ago

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Dancing for Infidget prompts? Infinite would have to stand on his toes and Gadget might start bending down to meet him half-way. Also, while waltzing, Infinite would always looks floaty and graceful, but Gadget would keep slipping into a polka waltz. They'd keep standing on one-another's toes, but Infinite can't help but smile a little when seeing Gadget look so energetic and happy. (THIS WAS GONNA BE THE ONE SENTENCE AND I GOT CARRIED AWAY SORRY)

AYEEE THIS IS A RLY CUTE PROMPT THANK Ui think i didnt entirely nail this bc im v rusty w my writing rn, but hopefully what ended up tumbling out suffices sdfghjgf i’ll dump it under a read more!! didnt have much of a proper direction so what happened just kinda happened lmao

There’s flour everywhere. Absolutely everywhere. Coating the wooden countertops, clinging to their fur, the substance spreads from area to area with seemingly no end amidst all the other kitchen chaos. Pots and pans also clutter the sink in disorderly piles, sugar spills from a packet left open and slumped over on its side, used utensils are strewn around, there’s a small puddle of milk on the tiled floor… the list could go on.But Infinite and Gadget are having the time of their lives. Caring not for the disarray, the two banter back and forth as they finish putting their cookies into the toasty oven at long last. While not the most professional looking lumps of dough, the wolf insists it’s perfectly fine; they’re made with love.“Well, so long as neither of us get food poisoning. Love won’t save us from that.”The teasing comment prompts said wolf to playfully swat at his arm with a checkered print tea-towel in protest. “Hey, I may be a sloppy baker, but I’m not that careless!”“…I guess I’ll take your word for it.”Due to the heat in the room gradually rising what with the cooking, the long-haired mobian reaches over to unlatch and open the window. The light summer breeze that flows in is instantly gratifying, fluttering the curtains and ruffling said hair somewhat, and it carries the scent of flowers. He can now hear faint, distant sounds of small children frolicking in the park nearby to their flat, almost drowned out entirely by the soft, mildly static hum of their old radio. Despite being past its prime, Gadget had insisted on keeping it, claiming the slightly warbled sound gave it an odd kind of charm. Naturally, Infinite had tuned the aged thing into a rock station.He soaks in all the elements of the homely atmosphere as, speak of the devil, Gadget slides up behind him and buries his snout into the crook of Infinite’s neck. Long white locks are delicately brushed aside. As the wolf speaks, his warm breath tickles against obsidian fur, and there’s that distinct, little hint of giddiness in his tone that weaves its way in whenever he’s close to his partner. They only made things official just recently, so it’s understandable, really.“You hungry..?”“Hm?”“Aw, c'mon, don’t say you still don’t have an appetite after all this work. They won’t take long!”“Oh, don’t worry, I’m definitely not letting these go to waste.” Infinite can practically feel his boyfriend’s familiar, beaming grin, and chuckles.For a moment they merely stand there enjoying one another’s company, until Gadget abruptly shifts, taking hold of one of Infinite’s hands. He then leans over with the other to turn the volume dial of the radio propped on the windowsill, cranking it up higher with a gleeful sparkle in his amber eyes. The words that follow the gesture are spoken more akin to an affectionate demand than a means of invitation.“Dance with me.”“..Dance?” Infinite blinks, cocking his head with one comically raised brow. A slight smirk graces his features. “You’re… not kidding, are you?”Feeling the wolf interlock their fingers together more securely, he supposes he has his answer, but if that wasn’t enough of a giveaway, Gadget nods enthusiastically. As what he can vaguely identify as the intro to some early 2000’s hit starts up, he finds himself dragged into……a waltz?“What makes you think I’d joke with you like that?”Infinite is clearly struggling to hold back his amusement, trying to ease into the unsteady flow - if their awkward shuffling could even be considered as such - of movements.“You know, Gadget, this choice of dance and the music don’t exactly match. In fact, they clash horribly.”“Who cares?! Having fun is what’s important. We may be terrible,” the statement is unintentionally emphasised as Gadget steps on his foot, “but we’re terrible together.”…He can’t argue with that. A grin graces his muzzle, and Infinite laughs, admiring his energetic companion with a gentle and humoured gaze. The two allow themselves to get lost in the music, and quite frankly, most certainly each other as well. They sometimes slip into completely different styles of dance, swaying back and forth and always entirely off-beat to the rhythm of the song, but lack a care in the world. Infinite swears his heart is drumming far harder than bassline of this track, and as it draws to a close, in an attempt to end with a flourish, Gadget for once makes a rather bold move and dips the other mobian. This would have worked out…If it wasn’t for the milk on the floor.Infinite’s bare foot slips on the spillage and he falls down without even time to register it, pulling his poor boyfriend with him until they’re left in an unceremonious, tangled heap on the chill tiles. Gadget is on top of him gaping down in surprise and embarrassment, the radio continues to blare obnoxiously, their prides are down the drain……and then they break into laughter harder than they have in weeks. Who could possibly keep a straight face? The sheer hilarity of the situation hits and both can barely just wheeze out words of apology to one another after the tumble they took. It requires a solid few minutes to calm down enough for them to meet gazes again without it inducing another chuckle fit, but once they do, Infinite is left breathless not simply because of the amount of giggles they’ve shared by this point or having the wind knocked out of him, but by the sheer happiness in Gadget’s eyes. The wolf is absolutely radiating joy, and to know that he had a part in bringing him that joy? It makes his heart soar to indescribable heights. He lacks a cheesy enough metaphor to truly express the way his love’s presence makes him feel, in fact.Gadget tilts his head with a curious smile as though silently questioning the unwavering, awestruck stare, and that’s when Infinite kisses him. Hands find themselves running through unkempt, but wonderfully soft auburn fur.He’s too adorable, damn it. It’s spontaneous and brief, but lingering; the two are reluctant to withdraw. Infinite finds he tastes of all things sweet and sugary, like strawberries and cream, or his favourite candy, and Gadget’s smooth lips ghost over his admittedly more chapped own, feather-light but with a deeply resonating fondness. It remains like this for… well, he isn’t sure how long. What, you expect a guy to be able to focus enough to count the seconds at a time like this?“As much as I love kissing you,” Gadget finally mumbles between each tiny peck, his cheeks heavily flushed, “The floor isn’t exactly comfy, Infi. Plus, the cookies are gonna burn…”Infinite smiles and rolls his eyes. He laughs in deep huffs, and strays to pepper a few final smooches over the other’s freckled muzzle, before ceasing in his affections entirely. “It hasn’t been that long. I do agree with you about the floor, though…”That being said, Gadget manoeuvres off of him and within a moment, they’re both back on their feet and rummaging around for a pair of misplaced oven-gloves. Suffice to say, while Infinite’s rear might be a bit sore the next day, he deems the fall worth it. Entirely.…“Have you been eating the icing, by the way?”…“How’d you know?”

#∞#ask #my content #infinite #gadget the wolf #infidget #its 4am rn and this is fun

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afrosandknives · 4 years ago

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Summertime Magic

After careful assessment, I’m declaring summer as the season of Black Joy. Peak celebration. The attire: Shades of our melanin which shimmer like organza from a thin layer of shea and cocoa butter, our varied hues anointed in gilded undertones—the crimson beads of a cold cherry popsicle color the long, hot days. The soundtrack is the bassline from a boombox in a window, the steady hum of a box fan, and the laughter of children making the most of the hours before the streetlights start to glow up to amber with life.

The Cookout is at the center of Black life when the days are hot. It is a celebration of our love affair. Black folks love a cold-weather holiday, but make no mistake, summer is in our DNA. The perfume of the rising smoke from fat igniting on glowing charcoal briquettes is like incense from the altar. Cookouts begin as the sun abdicates its place in the sky, its last beams washing the world in waves of liquid gold.

Every Cookout has a distinct cast of players.

Cousins, both in play and blood, greet each other like soldiers after a long deployment. The outspoken auntie with her summer boyfriend smelling like Egyptian Musk. The uncle with the iconic nickname helming the grill with a spatula and a glass of brown liquor. The woke cousin who doesn't eat pork, misquotes Malcolm X, can never find the right job, then ends up with a week's worth of leftovers. The beloved grandmoms, nanas, Big Mamas, and grannies hand you a mountain of food precariously swaying atop a stack of fluted paper plates. They direct you to choose a soda from the ice chest or pour you a mason jar full of sweet tea and then to ”go sit down somewhere." You find a spot next to your favorite cousin and

begin to feast on chicken, ribs sticky with sauce hot link with those crispy, charred edges, potato salad prepared by the trusted aunt, plus, macaroni salad, a slice of watermelon, and baked beans.

The evening air is filled with a playlist from across the generations, a catalog of our prophets, our poets and divas —Marvin Gaye, The Isley Brothers, Run DMC, LL Cool J, The Pointer Sisters, Prince, Maze featuring Frankie Beverly, New Edition, a catalog of our prophets, divas, and poets. The elders slow dance into the late hours and reminisce on summer romance and indiscretions; the big cousins disappear into the night to continue those traditions. Summer nights are otherworldly.

If you get still, I swear you can sense the ancestors, seated among us basking in our collective #blackjoy

#summer #summertime #harlem #black life

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13610152128364555 · 6 years ago

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Top 10 Albums of 2018

It’s that time again. What a year. Thank gods we had great music for a little reflecting, some much-needed re-energizing, and of course, a lot of rabblerousing.

Here are my picks for the year’s 10 best albums. What turned your tables in 2018? Let me know at [email protected].

Happy 2019!

Rey

10) Sleep — The Sciences [Third Man Records]

San Jose psych-doom power trio Sleep have emerged from the purple haze to release “The Sciences,” their fourth studio record — their first in nearly two decades — giving stoner rock fans everywhere 53 glorious minutes of dark, dank, primordial heaviness that few if any bands can deliver. Anchored by Jason Roeder’s surgical-strike stickwork and vocalist Al Cisneros’ syrupy, sludgy, downtuned bass, master axe-smith Matt Pike plows through the kind of menacing riffs one can imagine flying off Hephaestus’ anvil as he’s forging Poseidon’s new trident — just as the god of the sea is packing his bags (and bowl) for a journey into the deep.

Listen on Spotify.

9) Mojo Juju — Native Tongue [ABC]

Born in Australia of mixed heritage — Aboriginal (Wiradjuri) and Filipino — Mojo “Juju” Ruiz de Luzuriaga, in her third full-length LP, digs deep into race, family, immigration, colonialism, identity politics and Indigenous heritage across 16 soulful, sultry, deeply personal and exquisitely original tracks that stretch across styles, genres, vibes and even languages. In a troubling era where xenophobia is on the rise, “Native Tongue” deftly explores what it means to be “the other.” “Just because you own the airtime, you think you own the sky,” she proclaims on “Think Twice,” lassoing a global Zeitgeist that is impossible to ignore — and making it far groovier than anyone thought it could be.

Listen on Spotify.

8) JPEGMAFIA — Veteran [Deathbomb Arc]

For his third studio album “Veteran” (a reference, at least, to his four-year stint in the U.S. Air Force), the 28-year-old mad-scientist glitchcore rapper/producer JPEGMAFIA (aka Barrington DeVaughn Hendricks) pulls out all the stops and then some to deliver one of the most distinctive hip-hop albums in years — if his wild and wooly aural experiments can even be considered hip-hop at this point. Vulcanic bass lines slither over shattered post-industrial beats as the New York native, now based in Baltimore, stretches his restless, inquisitive mind (he has a master’s degree in journalism), riffing on such far-ranging matters as Defense Department discharge forms and the fashionista handbags made famous by singer Jane Birkin (the one-time collaborator/lover of Serge Gainsbourg). The production is totally frikkin’ insane; the samples alone set him apart, from the bizarre epiglottal workout (a looped ODB vocal) that snakes through “Real Nega” to the brilliant rapid-fire Bic pen-clicking in “Thug Tears,” which triggered, at least in one fan, an ASMR (“autonomous sensory meridian response”), the unique auditory-tactile synaesthetic feeling of euphoria that has been used to describe a “spine-tingling” event. In fact, the whole 47-minute affair is fairly spine-tingling — and a bit bone-rattling, too. (h/t: JF)

Listen on Spotify.

7) Art Brut — Wham! Bang! Pow! Let’s Rock Out! [Alcopop!]

The Berlin- and London-based art-punk quintet comes crashing back after seven years of silence with their exuberant, hook-laden fifth studio LP, a tightly-wound 35 minutes jam-packed with gorgeously odd, party-ready, rock-steady mini-anthems with more horns, harmonies, group ah-ahs and sing-alongs than your drunken final campfire jam at band camp. Cheeky speak-singer Eddie Argos keeps things humming along with blisteringly droll deliveries of super-catchy, instant-classic lines. “I hope you’re very happy together, and if you’re not, that’s even better,“ he sniggers to an ex-lover in what could be the most gleeful break-up song ever written. In “Too Clever,” Argos distills the waggish self-reflexivity that has been his touchstone since the band emerged 14 years ago: “Sometimes the smartest man in the room would rather be outside — howling at the moon … Ah-woo!” Press play and let the bad/good times roll...

Listen on Spotify.

6) Young Jesus — The Whole Thing Is Just There [Saddle Creek]

For their third studio album, art rockers Young Jesus have crafted fresh, expansive highways and byways across the musical map. Ranging like the plains of boozy philosopher-poet bandleader John Rossiter’s Midwestern roots — and shot through with the jazz-inflected post-rock his Chicago hometown made famous — “The Whole Thing Is Just There” shows the now Los Angeles-based four-piece at their edgy-yet-dreamy, exquisitely exploratory best. Enveloped by a spacious production, Rossiter muses nimbly, often ironically, over complex arrangements interspersed by instrumental improvisations, with angular shards of guitar peppering lush soundscapes. “If saints aren’t given voice to teach of burns, we’re led to blood periphery,” he warns on the brooding, labyrinthine opener “Deterritory,” before the band opens the throttle and doesn't let up for the rest of this multifaceted 49-minute masterwork.

Listen on Spotify.

5) Daughters - You Won’t Get What You Want [Ipecac]

The hyper-intense post-grindcore noise mavens from Providence come out swinging on their fourth studio full-length (their first after an eight-year hiatus), showing that age hasn’t mellowed them out one bit. Above droning swirls of machine-edged walls of guitar, monomaniacal tank-tread basslines and call-to-battle drums, lead caterwauler Alexis S.F. Marshall lords over a gathering storm, slinging scorching, misanthropic observations of humanity’s dark side. “It may please your heart to see some shackled, wrists and throat, naked as the day they were born,” he howls on “Long Road, No Turns.” For 48 grinding, often terrifying minutes, Daughters exercise a powerful, all-consuming yet controlled cacophony — the kind of music killer hornets must listen to when they swarm. Still, there are intermittent flashes of beauty amidst the menacing Sturm und Drang of this post-apocalyptic wasteland, like one of those hornets pausing on a lonely flower, drawing a touch of sweet nectar before buzzing off for the kill.

Listen on Spotify.

4) Unknown Mortal Orchestra - IC-01 Hanoi [Jagjaguwar]

While recording their fourth full-length “Sex and Food” (also released this year) in such far-flung locales as Mexico City, Seoul, Reykjavik, Auckland and Portland, Unknown Mortal Orchestra’s Ruban Nielson (guitar, bass), his brother Kody (drums) and their father Chris (keyboards, flugelhorn, saxophone — the latter two often patched through effects) found themselves hunkered down one night in Hanoi. There the wandering New Zealand minstrels met up with Vietnamese musician Minh Nguyen (on sáo trúc, a traditional Vietnamese flute) for a casual jam at Phu Sa Studio. What emerged from that session are seven inspired tracks of sexy, smoky, brooding, propulsive Miles Davis-inspired exploratory improvisation. “IC-O1 Hanoi” may only clock in at 28 minutes, but it unfurls otherworldly mood for miles.

Listen on Spotify.

3) Jeremy Dutcher — Wolastoqiyik Lintuwakonawa [Independent]

Toronto-based operatic tenor, pianist, composer, ethnomusicologist and Indigenous activist Jeremy Dutcher mines his First Nations roots for his striking, inspirational debut, a labor of love that is the culmination of five years researching and transcribing the traditional music of the Maliseet, an Algonquian people of New Brunswick, Quebec. “When I first got to hear these voices, that work for me was a profoundly transformational moment in my life,” he said in a CBC interview. “It was a process of deep listening — to sit there with these headphones and really hear what these voices had to tell me.” Featuring the grainy, century-old recordings of his ancestors’ songs (which he uncovered on wax cylinders at the Canadian Museum of Civilization), the endangered Wolastoqey language (spoken by around 100 people), modern sounds and rhythms, and his own penetrating, emotive voice winding through sprawling post-classical rearrangements of traditional First Nations music, “Wolastoqiyik Lintuwakonawa” (“Our Maliseet Songs”) is an ambitious, fascinating and important work — a richly deserving winner of the Polaris Prize, one of Canada’s most prestigious music awards. Dutcher says his art is rooted in “Indigenous futurism,” one aspect of which is recovering traditional languages and viewpoints to counteract the Western narrative that seeks to erase them. Celebrating ancestral voices while looking to the future in a fight for today, this is one for the ages.

Listen on Spotify.

2) King Tuff — The Other [Sub Pop]

On his dark-themed yet fun-filled fourth studio album, Vermont’s reigning king of psychedelic garage rock roams new territory, plumbing the worrisome depths of our current technology-driven, environmentally-destructive reality. Backed the impressive drumming of longtime collaborator Ty Seagall and aided by blasts of brass and sinewy synths, King Tuff (aka Kyle Thomas) rolls through crunchy, bluesy riffs, peeling back the layers of our iPhone-addled brains to reveal the poetry, nature and wilderness that we’ve lost along the way to our self-inflicted digitized annihilation. “So take me to your telescope and point me to the void, save me from the ones and zeros before it all gets destroyed,” he beseeches on “Circuits in the Sand.” If The Doors would’ve been the perfect final act to take the global stage as Armageddon rains down on Earth (“The End,” of course, being the last song we’d ever hear), King Tuff, with “The Other,” stakes a fairly convincing claim to the rabblerousing penultimate slot.

Listen on Spotify.

1) Caroline Rose — LONER [New West]

Somehow, Caroline Rose has managed to explore tough themes like sexism, misogyny, loneliness, self-doubt, infidelity and death, while delivering some of the most instant-party gems of 2018. Arch yet artful, Rose’s satire-spitting, synth-heavy third studio LP slips into seductively murky corners that burst open into dazzling technicolor skies on a dime. “I go to a friend of a friend’s party,” she deadpans on the opener. “Everyone’s well dressed with a perfect body. And they all have alternative haircuts and straight white teeth, but all I see is just more of the same thing,” The album, however, is anything but. With razor-edged turns of phrase, in-your-face punk attitude and catchy, curvilinear melodies, “LONER” certifies the Long Island songstress as a genuine pop maestro whose super-sly winks belie her 28 (!) years.

Listen on Spotify.

Honorable mentions:

Cassper Nyovest — Sweet and Short [UMG/Family Tree]

South African rapper Cassper Nyovest’s club-ready fourth studio album signals a return to his roots in kwaito (Afrikaans for “angry”), a heady mix of hip-hop and house music that originated in Johannesburg in the 1990s featuring slow tempos and African sounds, samples and slang that has grown into a potent youth culture.

Listen on Spotify.

Peter Brötzmann and Heather Leigh — Sparrow Nights [Trost]

For their first studio album, Scotland-based improv pedal steel master Heather Leigh (whose excellent solo album “Throne” was also released this year) and German free jazz sax legend Peter Brötzmann show off the intimate, minimalist intensity they’ve developed over three years of collaboration. Probing and melancholic, “Sparrow Nights” is often rapturous, at times profound.

Listen on Spotify.

Tomáš Kačo — My Home [Independent]

On “For Chopin,” the opening track on his long-awaited debut album, 31-year-old virtuoso pianist and composer Tomáš Kačo takes the master’s lead, playing the famous Nocturne Op. 9 No. 2 (first published in 1832). But soon, the song diverges into his own expressive, jazzy strands to create not only an homage but an audacious musical conversation that stretches across the centuries. History plays a central role in “My Home,” which features some of the vibrant traditional gypsy music that Kačo’s father played for him when he was a just a young Romany pianist studying at the Academy of Performing Arts in Prague. A special treat: legendary bassist John Patitucci joins in for the duet “Marov.”

Listen on Spotify.

Scud + Nomex — Maschinebau EP (re-release) [Praxis]

In 1997, London techno-scuzz impresarios DJ Scud (founder of Ambush! Records) and Nomex (founder of Adverse Records) joined forces to launch the Maschinenbau label, releasing just two 7”s. Praxis had to good sense to re-release these deliriously filthy and abusive breakcore/industrial noise tracks just in time for the 21st-century robot invasion.

Listen on Bandcamp.

Ÿuma — Poussière d’ètoiles (“Stardust”) [Innacor]

In Poussière d’ètoiles (“Stardust”), Tunisian duo Ÿuma (singer Sabrine Jenhani and guitarist-singer Ramy Zoghlami) offer an intimate, minimalist blues-folk gem, sung in Arabic, that isn’t afraid to tangle with the difficult cultural politics of their homeland. In “Mestenni Ellil” (“I wait for the night”), they explore the desperation of two young lovers who can never be together due to the girl’s arranged marriage — a practice that is sadly legal and common in Tunisia.

Listen on Spotify.

#2018 #topten #music #albums

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thesunlounge · 5 years ago

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Reviews 322: Aporia

I discovered the music of Aporia and Mitchell James O’Sullivan by way of Dub Disco, a beloved label who released Dub Disco Presents Aporia + Remixes back in 2018. One side of the 12” highlighted tracks from Aporia’s debut release Almost Tropical alongside an exclusive new track featuring Fazerdaze, while the other saw Dub Disco head Aussteiger and associated artists such as LITS801, Cosmic Palms, and S&W applying their balearic remix skills to to O’Sullivan’s tropically-tinged psych pop fantasies. The whole thing was a revelation and in the time since, both Almost Tropical and Dub Disco Presents Aporia + Remixes have worked themselves deep into my heart and now comprise some of my favorite music ever. So as you can imagine, there was considerable anticipation for an Aporia follow-up, which finally came during fall of 2019 in the form of Hotel Aporia, released by Cosmic Compositions and Fantasy Fiction Records. The LP sees O’Sullivan expanding the band’s line-up to include Nick Petricevic and Alia Seror-O'Neill, while also featuring a host of guest musicians providing additional guitar, synth, and woodwind treatments. And conceptually speaking, Hotel Aporia seeks to transport the listener to the titular hotel…an imagined beachfront resort existing in a sort of Lynch-ian dreamspace, one used by the band as a means to “navigate their South Pacific identities” and that is seemingly only accessible via exotic amalgams of library psychedelia, 50’s pop, Hollywood noir, sci-fi surf rock, and Hawaiian tropicalia.

Aporia - Hotel Aporia (Fantasy Fiction & Cosmic Compositions, 2019) After an introduction of mysterious orchestrations, operatic hazes, and chirping birds and insects, “Psychic Driving” sees a psychedelic surf beat riding alone before being joined by swinging bass thumps, tambourine jangles, piano chord splashes, horror film Moog leads, and spaceage theremin choirs. As the noir atmospherics recede, multi-tracked narcotica whispers flow above a sparse groove...as if O’Sullivan is scatting forbidden secrets while glowing synth hazes hover just out reach, with his voice sometimes backed by wordless feminine magic. During mesmeric choruses, cinematic strings and ghostly synth leads flow beneath Seror-O’Neil’s fantasy hooks and at some point, the whole thing gives over to a delirium jam out…like a trippy 60s happening taking place in the Red Room from Twin Peaks, with strobe lights flashing and enigmatic masked figures executing the batusi and the swim amidst melting layers of orchestral exotica. “South Seas Beijing” follows with seagulls and crashing waves surrounding liquid chord slides that recall nothing so much as “Breathe in the Air”. A lazed beat snaps amidst maraca rattles and chime strands as a Roger Waters style bassline drops, giving the whole thing the distinct feel of Pink Floyd scoring a South Pacific sunrise. And after an outro of moonlit wave motions, echoing loon modulations, and galactic synth flourishes from Lawree Goodwin, we flash into “Moon Taxi” and another solar surf rhythm glide. Seaside guitars glimmer in the sunlight and basslines sing beneath equatorial electronics as a vocal duet emerges, with O’Sullivan’s and Seror-O’Neil’s voices blurring together into heavy-lidded splendor. Cooing wordless refrains alternate with a fantasy chant of “the moon is watching” as flower power breakbeats are guided by bouncing bass guitar warmth, with lines occasionally sliding through lyrical romanticisms. There are moments where the mix reduces to an ambient blur, with aquamarine guitar vapors flowing through underwater vibrato fx, and towards the end, we flow into instrumental psych pop perfection as yearning voices suffuse the background…like sirens singing out from a hidden island paradise.

Amongst my favorite cuts here is “Helium,” which lets dense layers of fantasy synthesis guide a futuristic 50s pop epic. Slow motion drum beats glide beneath birdsong, with snares splattering through dub echoes. The classical ice cream chord progression rushes over the mix via lush pad orchestrations, angel choirs, and sparkling chimes while subsonic body grooves are generated by buzzing waves of analog warmth. Eventually, everything recedes save basslines, beats, and O’Sullivan’s and Seror-O'Neill’s vocal lullabies, which surround the heart with narcotizing threads of Roadhouse style synth-pop that strongly recall Angelo Badalamenti's and David Lynch's collaborations with Julee Cruise, as well as Chromatics. Gemstone piano mirages swim through the mix and during feverish choruses, the soul rushes towards a cinematic paradise aglow in tropical warmth. As the track progresses, multi-tracked string machines and droning polysynths subsume the singing…though hushed vocal incantations are still heard deep in the ether. Galactic lasers wiggle and cosmic tracers squiggle while fuzz guitars (or synths?) climb towards a molten summer sky, and during a moment of psychosonic mystery, the mix devolves into tremolo chordscapes and filtering trap kit rhythms, only to explode back into a stunning climax of “Heart and Soul” romance. A-side closer “Hawaiin Noir” continues exploring realms of 50s pop ethereality, though the vibe is pushed ever further towards South Pacific fantasy. Seed shakers keep a sparse rhythm while surf-stye guitars play doo wop progressions. A gorgeous voice calls out over the crashing waves with ecstatic abandon…like a goddess of the sunrise beckoning the spirit towards a paradise yet undiscovered…the effect so powerful as to literally take your breath away. Another guitar glides into the picture with soft motion solos, starshine electronics twinkle amidst a universal string synth hum, and nearing the end, everything fades into a mirage of meditative metal resonance, wherein Tibetan bowls sing over cricket chirps and crashing waves.

“Cloud Lodge” opens with insects and bongo rhythms surrounded by bubbling liquids. Bell trees flutter and stoner basslines pulse through ethereal shadows as O’Sullivan’s doped out lyricisms ride on sci-fi synths and spaghetti western guitars. New age melodies swim through the cosmos and further six-string accents melt into golden shimmer…all while dub chords delay towards the horizon. Next comes “Moog in Cairo” and its atmospheres of classical jazz meeting otherworldly exotica. There are touches of Omar Khorshid, Diminished Men, and Hosono’s, Suzuki’s, and Yamashita’s Pacific in the surfadelic guitar leads and as Fabien de Menou’s clarinets intertwine with mystical choral cloudforms, hand drums guide the body towards a hidden oasis. Twanging baritones decay towards a blood red sunset and child-like choirs sing songs of forbidden ecstasy amidst guiro scrapes and starshine chime descents....the whole thing like The Ventures tripping acid through a dramatic Hollywood rendering of an Arabian desert landscape. Rainforest percussions filter and pan over kick drums and ethereal gas clouds in “News from Nowhere” before we drop into the main groove, which sees basslines dancing and Peter Magnum’s sci-fi funk riffs crawling across the fretboard while drum machines sketch out robotic exotica patterns. Interstellar hazes blow across the spectrum, carrying with them outer-dimensional orchestrations that again evoke Arabian sunrises as well as the sensual dances of tango, and O’Sullivan’s double tracked vocalisms marry sonorous sensuality and falsetto radiance. Synthesizers gleam like diamonds and noir guitars melt down as ecstatic children sing in support of the increasingly desperate lyricisms…their voices only adding to the sense of haunted disorientation. Elsewhere, the mix reduces to hand drums and static oscillations while vibraphones sparkle like oceanic crystal. And at the end, wave sounds and prayer bowl drones return us to the fourth world environments of “Hawaiian Noir.”

In “Isles in Motion / Shipwreck Bay,” chime strands flow over seaside field recordings while vibraphones and islander hand drums establish a loose exotica groove. Synthetic harps are plucked, morphing fourth world crystals decay into the mix, electronic zithers execute zany runs across a virtual fretboard, and basslines thump through tropical jungle growth while tambourines shake out golden glitter. Eventually, the stereo field washes away as an abstracted voice lectures above the sounds of the sea, presumably signaling entrance into “Shipwreck Bay.” Guitars smear into paradise mesmerism, with touches of Hawaiian psychedelia intermingling with oceanic new age, and ambient angels sing through bodies of cosmic-aquatic light. And as rainbow colorations surround the body in amniotic warmth, tribal drum rolls flow forth from bubbling pools of neon. Helicopter oscillations and mirage guitar shimmer introduce the climactic drum beats of “Secret Fields”…a sort of slow pounding ritualism accented by e-piano chordscapes. Rolling tom fills introduce dirgey basslines while synthesizers howl into the night, bringing touches of progressive rock, only as if slowed to the speed of heroin mesmerism. Vocals flow through lush vocoder fx and evoke a sort of balearic leaning Black Sabbath, though that band’s funereal doom energies are here subverted by Callum Fairely’s dreamscape guitar ascents and these ethereal orchestrations that radiate hues of a Hollywood sunset. Shakers and ride cymbals splash through tide pools while e-pianos sparkle and during a moment where the rhythms fade away, aqueous dolphin songs and mermaid pan-pipe melodies swim across the sky. As the drums return, they stomp unencumbered, although barely-there guitars trace out haunting themes of paradise majesty. Then, after returning to the Sabbath-ian psych rock dirge, the vocals eventually fade away, leaving space for increasingly hallucinogenic tapestries of synthesized symphonic wonderment.

(images from my personal copy)

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