#( intro || poppy reed. )

[moonglowmagic]

Poppy Reed Chamberlain || 34 years old || Witch/The Supreme || Owner of The Starlight Bar || Downtown

Powers: Duplication, Telekinesis, Fire Manipulation, Immortality

Poppy is a twin, she’s five minutes older than her other half. She also has two younger sisters. 

Her father, Silas, is a dark coven leader in Boston who is currently in jail to avoid his magical crimes via The Council for exposing himself to humans. 

Her mother took her away from him as a child, gave them memory charms, and changed their last names as she brought them to Lunar Cove. 

She was always considered the rebel/bad child of the family since she constantly went against her mothers ruling. 

She spent most of her life growing up Downtown since her step father, Miles, was the advisor to the coven.

At 18 she leaped at the chance to leave town and drove off in her little red car, promising to only be gone a year, but that turned into ten. 

She eventually was attacked, returned to Lunar Cove four years ago. Which she was exiled by most of her family and the coven. Which she still rejoined despite how cold they were. 

She recently became supreme, it’s caused her tons more family drama. While she was everyone’s last choice to be supreme, she’s at least trying to be a decent supreme. 

She constantly is working the bar and will gladly listen to your problems, but she is very much a realist.  

She’s spent her whole life wanting to get out of this town and now finds herself stuck in it. 

Poppy refuses to have an actual relationship, instead choses to just have casual hook ups. If you catch feels for her then she’ll ghost you until you realize that she’s not your dream girl. 

She’s always down to have a good time, loves going anywhere but The Starlight Bar when she’s off.  

Which her apartment is above The Starlight Bar, she’s been renovating just as long as she’s had the bar. 

She will constantly duplicate herself so she can be in two places at once and never make anyone the wiser about it. 

Her closet is all black, it is rare to see her in any kind of color. The most adventurous she gets is a graphic on her t shirt or wearing grey. No matter what she is wearing she has her signature moon necklace on. Examples of her fashion can be found here and here.

She has 5 tattoos: 1 -3. A tiny moon and sun for her and her twin; with a star above it for Lia. Other two tba. 

Want to know more about Poppy Reed?

❀ Biography  ❀ Tag on my personal

Tagging System: 

❀ Threads Want to find a certain person? Search ( ft. name here. ) ❀ Musing ❀ Mirror ❀ Playlist

Wanted Connections: 

❀ ADVISOR TO THE COVEN ❀ TWIN ❀ DAD’S EMPLOYEE/PERSON WHO SAVED HER

More coming soon....

[evilradmedieval]

Gorillaz - ”Humanz” Review

I seems like it’s been forever since we’ve heard from 2-D and friends of the famed British virtual band Gorillaz, masterminded by Blur frontman Damon Albarn. We’ve been blessed by seminal albums Gorillaz and Demon Days, both of which were notorious for their cryptic songwriting, atypical instrumentals and completely unexpected collaborations. Gorillaz have been working with a myriad of musicians spanning a diverse spectrum of genres, including: underground rappers Del Tha Funkee Homosapien, Mos Def and De La Soul; singer-songwriter legends Bobby Womack, Mark E. Smith of The Fall fame and Lou Reed of Velvet Underground; and other random features such as Little Dragon and Snoop Dogg. Since the release of the poppy and electronic-sounding 2010 release in Plastic Beach, there were reports of another Gorillaz album being completely out of the question, as Albarn and Hewlett had a falling out. Albarn then proceeded to continue with other projects, releasing a solo debut album in Solo Robots and the 2015 Blur release in The Magic Whip. Yet, rumors again resurfaced around the release of The Magic Whip in which Albarn confirmed to reports of a new Gorillaz album in the works, which was confirmed with the long-awaited release of four new singles earlier this year in “Andromeda”, “Hallelujah Money”, “We Got the Power” and “Ascension”, in which the latter of the four was the only track I was actually enamored with, due to the upbeat, fiery and glitchy instrumental and Vince Staples’ standout performance. But once Humanz finally released, I tried as best as I can to eliminate those initial first impressions to allow for the full effect of hearing the full album in context. Before listen, it was also interesting to see that although we live in such a politically volatile time, there were reports of Albarn removing all direct references to president Donald Trump. In a way, although Gorillaz tend to be political at times in their discography, this can be equally beneficial and detrimental, as it may leave a sense of topical ambiguity and lack of direction, yet not sound like a complete “FDT-inspired” album. Additionally, there seems to be a more emphasis on features this time around, allowing Albarn to not completely hold the reins for the entirety of the sound of this album.

Again, with the intro track being “Ascension”, Vince Staples completely goes off. He gives us a very passionate performance, giving us imagery of the end of the world. The instrumental is very punchy and hit hards, yet is a change of pace from the generic trap-flavored synths we’re used to since it has these pattering drums and choppy choir samples looped throughout the catchiest hook on the entire album. 2-D’s appearance actually goes great with Vince Staples’ as well. 

The next track gives me similar vibes to tracks off of Plastic Beach: poppy, synthy yet colorful tracks, which isn’t necessarily a bad thing, as I was actually a fan of the stylistic change. “Strobelite” features singer-singwriter and musician Peven Everett, who gives a pretty soulful set of vocals, especially with the hook. His vocals are backed well with these female choir vocals, and I especially love those synth breakdowns towards the middle section of the track as well. The song is probably one of the most well-produced tracks, and has a pretty dance-y vibe to it, despite its subject matter of the end of the world and other apocalyptic themes.

Popcaan appears on the next track “Saturn Barz”, which actually doesn’t feature a dancehall-inspired track to my surprise. Instead, we get this incredibly grimey, bass-heavy track. Play this track in a car with a decent sound system and you’ll be blown away at how ridiculous the sub-bass is. On paper, this isn’t a track that I should like, however I thought that Popcaan delivered a pretty charismatic performance, and his rap verse was actually not bad. Somewhere online, I read about how Popcaan was supposed to depict this villain-type role somewhere on this track, yet didn’t really get that from this feature. Despite this, I though his contribution was great, and again we get an appearance from 2-D, yet in a more subdued role commentating about the overuse of technology in society and harmonizing in sync with Popcaan towards the tail end of the track. This one definitely had to grow on me though, yet is still one of my favorites.

The next track was such a letdown, however. The more and more I listen to it, the more I can’t stand it. De La Soul makes an appearance on “Momentz”, an incredibly off-kilter track with a super upbeat instrumental that borders Dutch house and hip house, which I thought wasn’t necessarily a good choice for hip-hop legends Posdnous and friends. Unfortunately, I really enjoy the lyrics and theme of the song, but wasn’t a fan of how silly De La Soul sounded on this track. Their delivery and vocal inflection with Autotune at times sounded eerily similar to Black Eyed Peas’ will.i.am. And this is why I can’t unsee this track as a will.i.am-esque production from the “I Got a Feeling” era of the BEP. Definitely a must skip for me.

Eccentric rapper Danny Brown and PBR&B singer Kelela appear on the next cut in “Submission”, in which the latter delivers a decent set of vocals, which goes well over this punchy, synthy instrumental. Towards the middle half the track, however, there’s this really awkward, off-key set of poorly tuned guitars, which kind of foreshadows the really minimal and underwhelming Danny Brown feature. For some reason, I felt like he was either heavily underutilized or simply completely out of place on this track. This is a pretty upbeat and catchy song, however a Danny Brown feature simply didn’t work as well as I imagined.

We finally get some electric guitar samples with the track “Charger” featuring supermodel and singer Grace Jones. With this track, however, the instrumental can get quite redundant with the repetitive guitar riffs and Jones’ annoying chanting of “charger”. She seems to spend more time refraining the hook throughout the majority of the song, and doesn’t really start singing until the tail end of the track, which then suddenly ends and falls into the next interlude.

I really enjoy the subsequent track, however, with “Andromeda” being one of the lead singles. Unfortunately, I wish they utilized the D.R.A.M. feature more prominently, as here he seems like a musical footnote drowned out in the song. At times it even seems difficult to distinguish between 2-D’s harmonizing and D.R.A.M.’s crooning. The instrumental is pretty vibey and upbeat, however, and I love how it slowly transitions into “Busted and Blue”, a cut that features 2-D and 2-D only. The track is the only instance where he grabs full reins without any additional outside vocal contribution. The instrumental is atmospheric, ethereal and really backs his vocals well. This is also one of the few moments on the tracklisting where the overall vibe is more laidback and not as poppy.

“Carnival” follows up with a Anthony Hamilton feature, who delivers very impassioned vocals. The beat is also a lightweight banger, however although the vocals and instrumental were great, they simply just don’t fit well together. Hamilton's voice seems more fitting on a slower, lower tempo track to really give more punch to his voice. The heavy beat sort of takes away from that in my opinion, as an aggressive rap verse appears more fitting here. Despite this, I still enjoyed the track, but at the minimum could be improved with a rap verse.

The next track is an absolute banger. “Let Me Out” was one of the later singles released right before the album’s initial drop, which features awesome vocals from Mavis Staples and a grimey verse from G.O.O.D. Music president Pusha-T. There is definitely some political undertones all over this thing, especially with that hook. 2-D makes for a great performance as well. Definitely one of the better tracks on the tracklisting.

“Sex Murder Party” is one of those tracks that you play in the background of a party because it has an upbeat and vibey feel, but doesn’t really stand out. Rapper Zebra Katz and singer Jamie Principle’s performances are snooze-worthy at best, and the instrumental is pretty repetitive and has little to no variation throughout. 

Kali Uchis is also one of the several musical guests that contributes little to no impact to the album, as her voice is nothing special or distinct on the subsequent track “She’s My Collar”. 2-D initially comes in with a pretty monotone performance, and Uchis doesn’t come into the track until the last 30 seconds with a boring vocal delivery. The beat is pretty poppy and upbeat, but again has little to no variation and isn’t that hard-hitting or interesting enough to make both performers sound good.

“Hallelujah Money” is an existential, politcal track featuring poet, singer and multi-instrumentalist Benjamin Clementine. Clementine comes through with an interesting comment on the political landscape of America, without being too overtly straightforward. His performance sounds great here, backed with some choir-esque vocals. 2-D isn’t bad here either, however the instrumental can be meandering at times. 

We then end with a throwback 80′s synthpop ode to the human spirit. It features Savages’ own Jehnny Beth, who gives a decent performance. However, although the sentiment is there, the actual sound is god-awful. This song sounds like one of those tracks you’d hear on a Tae-Bo workout tape. probably one the worst ways to end a Gorillaz track, but still I commend the intention.

Not necessarily a Gorillaz fan per se, but I pride myself in being a fan of their earlier work in their self-titled debut and their sophomore effort in Demon Dayz. Plastic Beach wasn’t too far away from being a great record as well. However with their comeback LP Humanz, their excessively long tracklisting of filler and uninteresting tracks fell short. Although they are more reliant on features as you go more recently down their discography, this makes room for error than actual quality. Artists like Danny Brown and Anthony Hamilton sound great with their features, but sound so out of place on their respective tracks. Legendary rap collective De La Soul was the biggest letdown, however. Additionally, 2-D doesn’t fully have the reins on this LP as well, as he makes minimal contribution to the album and when he does, it’s hit or miss with that same monotone singing and rapping. The overall theme is pretty incoherent as well, despite there being a slight nod to the current political landscape of the country and also alludes to the end of the world here and there. Despite this, there are some great dance-y tracks and some bangers as well. I understood what Albarn and friends were trying to do here on Humanz, but it just didn’t work out as well as I would have envisioned.

RATING: 5/10

[katybudgetbooks]

Intro to Speculative Fiction by People of Color adapted from The Fantasy Inn

Classics

Beloved by Toni Morrison

Mythic Fantasy

The Epic Crush of Genie Lo by F.C. Yee

Fire Boy by Sami Shah

Urban Fantasy

The House of Shattered Wings by Aliette de Bodard

Cast in Shadow by Michelle Sagara

Bad Blood by L.A. Banks

Shadowshaper by Daniel José Older

Jade City by Fonda Lee

Zero Sum Game by SL Huang

Last Call at the Nightshade Lounge by Paul Kreuger

Paranormal Romance

Bearly a Lady by Cassandra Khaw

Slave to Sensation by Nalini Singh

Better off Red by Rebekah Weatherspoon

Erotic Science Fiction

The Stars Change by Mary Anne Mohanraj

Space Opera

Ascension by Jacqueline Koyanagi

An Unkindness of Ghosts by Rivers Solomon

Ragamuffin by Tobias S. Buckell

Science Fiction

Mirage by Somaiya Daud

Never Let Me Go by Kazuo Ishiguro

Want by Cindy Pon

Dhalgren by Samuel R. Delany

Science Fantasy

Ninefox Gambit by Yoon Ha Lee

Star Wars: Finn’s Story by Jesse J. Holland

Gemsigns by Stephanie Saulter

Dystopian

Ink by Sabrina Vourvoulias

The Marrow Thieves by Cherie Dimaline

An Excess Male by Maggie Shen King

Future Home of the Living God by Louise Erdrich

Legend by Marie Lu

Who Fears Death by Nnedi Okorafor

Apocalyptic

The Fifth Season by N.K. Jemisin

Robopocalypse by Daniel H. Wilson

Orleans by Sherri L. Smith

Killer of Enemies by Joseph Bruchac

Brown Girl in the Ring by Nalo Hopkinson

Steampunk

The Sea is Ours edited by Jaymee Goh & Joyce Chng

The Dream of Perpetual Motion by Dexter Palmer

Everfair by Nisi Shawl

Buffalo Soldier by Maurice Broaddus

Zombie Fiction

Zone One by Colson Whitehead

Dread Nation by Justina Ireland

Alternate History

Lion’s Blood by Steven Barnes

Wild Seed by Octavia Butler

Historical Fantasy

The Ghost Bride by Yangsze Choo

Redwood and Wildfire by Andrea Hairston

Midnight’s Children by Salman Rushdie

Witchmark by C.L. Polk

Mother of the Sea by Zetta Elliot

Fantasy of Manners

Sorcerer to the Crown by Zen Cho

Time Travel

Time Salvager by Wesley Chu

An Ocean of Minutes by Thea Lim

Here and Now and Then by Mike Chen

Comedic Science Fiction

High Aztech by Ernest Hogan

The Brothers Jetstream: Leviathan by Zig Zag Claybourne

Young Adult

The Interrogation of Ashala Wolf by Ambelin Kwaymulina

An Ember in the Ashes by Sabaa Tahir

Children of Blood and Bone by Tomi Adeyemi

The Wrath and the Dawn by Renée Ahdieh

Middle Grade

Spirit Hunters by Ellen Oh

The Gauntlet by Karuna Riazi

Love Sugar Magic: A Dash of Trouble by Anna Meriano

Fairy Tale Fantasy

Boy, Snow, Bird by Helen Oyeyemi

Huntress by Malinda Lo

Forest of a Thousand Lanterns by Julie C. Dao

Dark Fantasy

Certain Dark Things by Silvia Moreno-Garcia

The Gilda Stories by Jewelle Gomez

My Soul to Keep by Tananarive Due

Mythology

The Palace of Illusions by Chitra Banerjee Divakaruni

Sword & Sorcery

Imaro by Charles R. Saunders

Throne of the Crescent Moon by Saladin Ahmed

Romantic Fantasy

Song of Blood and Stone by L. Penelope

The Star-Touched Queen by Roshani Chokshi

The Island of Eternal Love by Daína Chaviano

Literary

The Winged Histories by Sofia Samatar

Black Leopard, Red Wolf by Marlon James

Almanac of the Dead by Leslie Marmon Silko

The Temple of My Familiar by Alice Walker

Magical Realism

Mumbo Jumbo by Ishmael Reed

The House of the Spirits by Isabel Allende

When Fox is a Thousand by Larissa Lai

Wild Beauty by Anna-Marie McLemore

So Far From God by Ana Castillo

Fifteen Dogs by André Alexis

LitRPG

Changing Faces by Sarah Lin

Epic Fantasy

Empire of Sand by Tasha Suri

The Grace of Kings by Ken Liu

The Sword of Kaigen by M.L. Wang

The Poppy War by R.F. Kuang

The Tiger’s Daughter by K. Arsenault Rivera

The Dragon Songs Saga by JC Kang

The Rage of Dragons by Evan Winter

The Wolf of Oren-yaro by K.S. Villoso

Graphic Novels

Storm: Make it Rain by Greg Pak, Victor Ibanez, Scott Hepburn, & Matteo Buffagni

Monstress by Marjorie Liu and Sana Takeda

Black by Kwanza Osajyefo, Jamal Igle, Robin Riggs, Tim Smith III, & Sarah Stern

Legend of the Mantamaji by Eric Dean Seaton, David Ellis Dickerson, & Brandon Palas

Webcomic

The Meek by Der-shing Helmer

Audio Drama

The Glass Appeal by Elijah Gabriel | Website

Here Be Dragons by Jordan Cobb | Website

Redwing by JV Hampton-VanSant | Website

Flyest Fables by Morgan Givens | Website

Kalila Stormfire’s Economical Magick Services by Lisette Alvarez | Website

Standalone Novel

Under the Pendulum Sun by Jeannette Ng

Severance by Ling Ma

She Weeps Each Time You’re Born by Quan Barry

Smoketown by Tenea D. Johnson

The Lost Girl by Sangu Mandanna

Novella

The Ballad of Black Tom by Victor Lavalle

The Sorcerer of Wildeeps by Kai Ashante Wilson

Novelette

Hell is the Absence of God by Ted Chiang

Short Story 

Seasons of Glass and Iron by Amal El-Mohtar | Read for Free Now

A Fist of Permutations in Lightning and Wildflowers by Alyssa Wong | Read for Free Now

The Water That Falls On You From Nowhere by John Chu | Read for Free Now

Anthology

Futureland by Walter Mosley

Dark Matter by Sheree R. Thomas

[ashleighxcx]

my top songs of 2017

james joint- rihanna

bipp- sophie

broken flowers- danny l harle

high demand- future

vyzee- sophie

yoshi city- yung lean

30 hours- kanye west

in my dreams- danny l harle

you don’t know me- jax jones

hard- sophie

clean- the japanese house

the right song- tiesto

blow away- kate bush

 ooouuu- young m.a

the fox in the snow- belle and sebastian

fashion killa- a$ap rocky

just like we never said goodbye- sophie

fade away- hannah diamond

gingseng strip 2000- yung lean

passing out pieces- mac demarco 

west coast- lana del rey

drugs (ft abra)- charli xcx

hi- hannah diamond

there is a light that never goes out- the smiths

same ol’ mistakes- rihanna

beautiful- ag cook

nothing more to say (vox)- sophie

art deco- lana del rey

tunnel vision- kodak black

satellite of love- lou reed

every night- hannah diamond

these days- nico

lipgloss ft cupcakke- charli xcx

kinky afro- happy mondays

wuthering heights- kate bush

silver soul- beach house

the less i know the better- tame impala

father stretch my hands part 1- kanye west

a new family- felicita

poppin’ tags- future

helicopter- deerhunter

nothing more to say (dub)- sophie

everyday is like sunday- morrissey

highlights- kanye west

ps & qs- lil uzi vert

you want me- tom zanetti

without you- danny l harle

femme fatale- the velvet underground

intro- the xx

feds did a sweep- future

i think ur a contra- vampire weekend

steer clear- slaves

hoe train- currenc$y

ice princess- azealia banks

heavy flows- mr traumatic

money trees- kendrick lamar

hurt- yung lean

angry johnny- poe

blame game- kanye west

white roses- charli xcx

no heart- 21 savage

poplar street- glass animals

lightsaber // saviour- yung lean

bad and boujee- migos

queen’s speech 4- lady leshurr

forever- danny l harle

lemonade- sophie

pools to bathe in- the japanese house

hey nineteen- steely dan

another one- mac demarco

itchycoo park- small faces

calm before the storm- macky gee

super natural- danny l harle

gyalchester- drake

eehhh- sophie

bette davis eyes- kim carnes

cut it-  o. t. genasis

the passenger- siouxsie and the bansees

friday i’m in love- the cure

never ending- rihanna

alice practice- crystal castles

water- ugly god

altar- poppy

monopoly- easyfun

brother- mac demarco

salt- crim3s

low life- future

sad girl- lana del rey

pretty girls make graves- the smiths

you don’t- gfoty

l.o.v.e- sophie

trough the skyline i heard ur voice- stiletti-ana

pork soda- glass animals

gotta get thru this- daniel bedingfield

nitevision- yung lean

coachella- woodstock in my mind- lana del rey

starman- david bowie

so cal- dom peluso and the ram

brown eyes- lady gaga

[nofomoartworld]

[Premiere] Glowing LED Lights Dance to Birdsong in This Dreamlike Music Video

A chorus of birdsong at dawn underlies each track on the new album Dawn Chorus from producer and multi-instrumentalist Hidden Orchestra (aka Joe Acheson along with his live band Poppy Ackroyd on piano and violin, with Tim Lane and Jamie Graham on drums). Acheson has been collecting his recordings both in the UK and abroad since 2009. Some, he says, captured in the moment out of hotel windows while on tour, others carefully planned involving heading to local woodlands in the midst of night.

These have been combined with field recordings from "anywhere and everywhere," Acheson tells Creators. "I always carry a microphone around in case I stumble across an interesting sound." These sounds feed into the atmosphere of the songs on the album and also work as material for sampling to create loops and percussion.

His latest single "Still" features a dawn chorus captured near his hometown of Brighton, UK recorded, appropriately, on International Dawn Chorus Day 2016.

Screenshot via YouTube

"[It was] recorded in a natural amphitheatre of sloping hills covered in woodland," notes Acheson. "In the intro to the full-length track (not included in the video edit) you can hear the dawn chorus start with just a few croaking ravens and crows, and gradually the shimmering and twittering of birds starts spreading around the hillside from tree to tree as the light gradually hits the landscape. It also features a loop made from a Cornish fisherman weaving a traditional lobster pot out of reeds."

For the music video, Acheson has collaborated with Bristol based Limbic, who specialize in digital light-based visuals and projection mapping. "Digital technology is the next tool in the box for manipulating light," they tell Creators.

Screenshot via YouTube

One member of the collective, Lumen, has been working with Hidden Orchestra on live AV shows for the past few years, so working with Limbic on a music video seemed like the perfect fit.

The music video is filmed in an apt setting too: the natural world. It's the type of rolling hills and woodlands that you imagine Acheson spends a lot of time in, standing deathly still, microphone and recording equipment in hand. But this organic environment is augmented by abstract circles, flickers, portals, and textures of light, the camera chasing the light forms, which are themselves chasing an unknown prey across the landscape. "A bird of prey dreams of a chase in a world that is absent of civilization," Limbic says, regarding the video concept.

Screenshot via YouTube

To create the visuals, Limbic combined filmed footage with VFX in post production. The almost lifelike way the light travels across the land, like a surreal animal, was managed using LED tape.

"[It's] something we've used in much less organic settings before now," Limbic notes. "We'd previously noticed that when the tape wiggled or went around a corner, it created movement which brought it to life and made it look like a living organism. There is a physical LED hoop on a stand in every location apart from the last one. The LED hoop adds a little light to the scene, which adds to the surreality of the dreamscapes."

Along with the song and its debt to nature, the video was also inspired by artist and filmmaker Daniel Crooks, whose eye-teasing videos trick and distort reality by splicing footage into refracted compositions and juxtapositions. They were particularly taken with Crooks' 2015 film An Embroidery of Voids.

"We decided the consistency in camera motion combined with the varying landscapes was a perfect way of representing the displacement of time and space that occurs in a dream. Recollecting a dream always throws up inconsistencies; time is warped and your environment morphs seamlessly while you try to keep a hold of what's going on."

Check out the video for "Still" below:

Check out more from Hidden Orchestra on their website. Pre-order the album Dawn Chorus here, which is out on Tru Thoughts Recordings. See more of Limbic's light work and projection visuals here.

Related

Antique Light Art Brings the Northern Lights Indoors

Blood Pours from Facial-Mapped Projections of Venetian Noh Masks

Long-Exposure Photos Capture Light Art with Drones in New Mexico

from creators http://ift.tt/2q0r5Ed via IFTTT

[moonglowmagic]

★ Dilan Selvi: Introduction & Wanted Connections  ★ Poppy Reed: Introduction & Wanted Connections