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jamiepaige · 7 days ago

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Constant Companions Closeup #11: MACHINE LOVE

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(also on bandcamp and spotify!)

Welcome back to the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was the title track, My Darling, My Companion, which means today is the final track on the album - a song about the truths that lay in hiding within artifice, and a computer falling in love - Machine Love!

Before we get started on this particularly long closeup - I'll be doing a follow-up post after this one, answering various miscellaneous questions I've gotten over the course of writing these! If you've got anything you wanna hear more from me about, album-related or otherwise, feel free to reply to this post or send me an ask! It may very well end up part of the bonus closeup :~)

---

Let's circle back to the very first track, Dyad.

In that track's closeup, I mentioned the main sonic touchstones of this release relative to my previous ones being guitars and vocal synths. The whole guitar rock thing I think I've gone into detail enough about, what with all the inspirations I've rattled off in other posts, but there likely is still a burning question for some long-time listeners.

Why vocal synths? Why am I not singing on like half of this album? I thought you were a singer, Jamie Paige, so what is this Hatsune Miku robot Vocaloid crap?

Truth be told, the Vocaloid scene and community has always been a massive source of inspiration for me. So much of my favorite music ever, music that inspires me or touches my heart or makes me go apeshit, has been sung by synthesized vocalists in a language I don't even speak. I grew up with it, and it's grown up with me - music just as intricate, mind-boggling, twisted, fun, and ridiculously creative is being put out every single day by vocal synth producers, and nowadays it's coming from English speaking musicians in droves!

Before this year began, I'd made at least one major contribution to the culture, but in spite of my genuine adoration of everything vocal synth related, I felt like I was just looking in from the other side. Caught between worlds, existing outside of any communities, simply gesturing vaguely towards what I wanted to do.

But I wanted more! I wanted to make the same kinds of things that stirred my heart and made me want to write! I wanted to sing with those same voices! I wanted it to be true - to be like you!

---

I won't lie to you and tell you Kasane Teto has always been my favorite vocal synth. That title used to go to GUMI, and in general, I wasn't particularly attached to any UTAU voicebanks as a younger vocal synth fan. (Nowadays, I genuinely open up OpenUTAU just as much as SynthV because I've fallen deeply in love with Adachi Rei, but that's a story for my next album.) Obviously, I knew of Teto, and found her presence in things like Triple Baka delightful, but for the most part, she was mostly something of an oddity, a wayward piece of vocal synth history that had her Fans like any other.

However, there was one Teto song I've been inexplicably attached to since the moment I first heard it - Song of the Eared Robot, by nwp8861. I was introduced via this particular cover, which I love, but I quickly gravitated to the original. Something about the warbly, childish nature of her very first voicebank, the ambitiously orchestrated and unabashedly digital instrumental, the lyrics referencing fundamental frequencies and Markov chains and compiling code all just spoke to me!

That song stuck with me, laying in a part of my heart that had been collecting dust, all the way to April of 2023.

Now, yes, Teto wasn't always my favorite, and I had other vocal synths I was attached to, but I don't live under a rock, and I still understood how monumental the announcement of Kasane Teto's Synth V voicebank was - to the point that I interrupted a call full of FFXIV-playing friends who knew barely anything about vocal synths and gave them an impromptu TED talk because I was so excited.

(An excerpt of a summary of that night's events, written the morning after. i was up my own ass a little bit but in my defense Kasane Teto had just been announced for Synthesizer V)

I was watching, in real time, a dream made manifest. It's literally one of the Bits with Teto! That she'd be a Vocaloid one day too! And here she was, on the fan favorite engine, sounding genuinely fucking incredible. Especially in hindsight, it's such a beautiful and perfect twist of fate for her.

I saw myself in her. A weird little outcast, explosively reborn and thrust straight into a community's open arms with love. I wanted it to be true - To be like that, too.

It didn't fully hit until later, hearing another cover of a song I'd almost forgotten.

Machine Love, my love letter to the entire world of unbridled creativity and artistry surrounding vocal synths filtered through one sentimental little song, was fully written by the start of May, maybe 4 days after I had gotten my hands on Teto SV and long before a certain compilation album was even a glint in my eye.

If you haven't heard DAEMON/DOLL yet, you really, really, really should go listen to it - yes, I mastered this album, many of my friends and collaborators are featured, and I have two entire songs on it, but I genuinely mean it when I say I believe it's some of the best fucking music that's come out this year in general. In many respects, it also feels like a companion (hah) to Constant Companions.

I had finished writing Machine Love by this point, but it was working on this album in its entirety - discovering artists like Anh Duy, Eggtan, and beat_shobon through it, and hearing everyone in top form making this twin-drilled chimera fucker sing her heart out - that not only made me confident in my decision to go down this artistic path, but that made me fall completely in love with Kasane Teto. And honestly, how could I not? She feels like a microcosm of everything that makes vocal synths so special, this community of creatives all leaving their marks and touchstones along the trail of a great big shared folk mythos. Yeah, maybe the folk hero we're all collectively mythologizing is an anime girl, but yknow maybe Odysseus could take some branding cues from hatsune miku idfk

Basically, even if he says he wants to kill me, I owe fucking everything to rice for inviting me to work on DAEMON/DOLL.

---

On that note, my vision for Machine Love's MV was pretty clear from the beginning.

youtube

the actual factual setup for the above shot, which was done entirely in-camera with my laptop, a tv, and two video files manually synced using VLC

The fundamental idea was always there - live-action shots of animation playing back on various screens, edited together to feel somewhat seamless. However, I really struggled with what exactly was going to be on said screens for a while; Big commissions were very far out of my budget, but I knew this song needed something grandiose.

Ultimately, what I arrived at was exactly the kind of scrappy, DIY bullshit it was always meant to be.

I asked my Twitter mutuals for help. And spent a couple months in Final Cut Pro and Apple Motion hell turning all the Teto art I got into a bunch of tiny little mini MVs, some of them parodying real vocal synth MVs, some of simply just evocative of vocal synth MVs, all of them painstakingly edited by yours truly and filmed with the help of some friends over the next couple months across two states and many more cities just to be painstakingly edited and synced up again by yours truly.

THE NEXT MV I DO WILL BE SMALLER IN SCOPE

---

And with that, I believe that's the album!

There's a reason it ends with Machine Love, and not with the title track. I do think that in some respects My Darling, My Companion would have made a better closer, but that song only really resolves one of the thematic strands running through the album.

There isn't really a definitive answer to the specific question "Baby, do you know what you wanna hear?", but it evokes a theme running through the entire album - wanting something, knowing that you want something, and simply needing to find the courage to do it or say it or be it. My Darling, My Companion is in many ways a declaration of intent, an acceptance of what needs to happen, but Machine Love, to me, is that action being done. The words being said!

And now, if I may give this a somewhat selfish tint - with the explosive response my works from this album have gotten, my contributions to things like DAEMON/DOLL and Flavor Foley, the collaborations I've done and that I still have in the pipeline, the friends I've made and the community I've found a spot for myself in, and the newfound voices that I can lay my heart bare with -

Well, shit, I know what I wanna hear, and I've gotten to hear it. I'm a vocaloP. It's real!

Thank you all so goddamn much for reading and listening. I'll see you back here either tomorrow or Monday for the bonus AMA post thing!! Make art and be gay, motherfuckers.

❤️💚

#music #jamie paige #bandcamp #constant companions #behind da scenes #Spotify

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algae-tm · 6 months ago

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Kill Bill P.7

Charles Leclerc x famous singer ex!reader

previous part next part

Author’s note : all the songs are real although I’ve played around with who’s featured on what, but I recommend everyone listen to the songs I’ve chosen not for any particular reason just cause they slap and I had such fun creating a playlist for this AU.

Also, I have WAYYY too much time on my hands now that uni is over… so hope you enjoy - Algae🌱

•••••

INSTAGRAM

yourusername

liked by y/bff/n, lewishamilton, charles_leclerc, oscarpiastri and 32,324,487 others

yourusername : ‘TIDES’ out now on all streaming platforms 💚

y/bff/n : Now you did not play me Cellophane when i listened to this earlier! Why do you have me crying in walgreens by the edamame beans??

— yourusername : girl? do you want me to come get you?

— y/bff/n : please.

— y/bff/n : HURRY UP nobody gets me started playing and the cashier is wondering why I’m using grapes to dry my tears.

user1 : y/bff/n is so real for that cause what do you mean, “didn’t I do it for you, why don’t I do it for you?” y/n please explain yourself STAT!

— user3 : no cause the most devastating part, ‘WHEN ALL I DO IS FOR YOU’ y/n I’m in your walls, how dare you start an album like that wtf?

user4 : oh okay 😀

lewishamilton : So fun collabing with you

user5 : no cause we were robbed! we should’ve had XNDA on girls need love.

— yourusername : I was not about to sing about fucking and sucking with my surrogate uncle! Even could’ve been was too much for me. y��all should be lucky I brought the old man out of retirement

— lewishamilton : glad you made that executive decision but I’m not that old :(

danielricciardo : me rn - 🎧😭🕺🪩😭😢

— yourusername : I appreciate you Danny 💚

— yourusername : but make sure you give your therapist a ring yeah?

— danielricciardo : on call with her rn!

user5 : what’s everyone’s favourite track and why is it love on the brain?

— user6 : how could you even choose?? This might be a no skip album I fear.

user8: I’m sorry y/n did not lay out the 5 minute from the heart ballad that is Ex-Factor for y’all to just not talk about it??

— user9: “no one loves you more than me, and no one ever will!” You listening Lord Perceval????

— user16: “no matter how I think we grow you always seem to let me know… IT AIN’T WORKING.”

— user13: but like if she’s trying to send a message to Charles it’s a bit disjointed no?

— user10: ex-factor isn’t to Charles Leclerc

— user11: be so fr who is it for then??

— user10: it’s obviously y/n grappling with her conflicting emotions… it’s not meant to be for Charles. This whole album is her going through it. She’s sorting thru her emotions. Are y’all dumb or stupid?

— user15: alright now

user21: AHHSHHEJSJSJSKEDVDKZKSUDJ

— user23: real.

hallebailey: call me asap for any more collabs, had such fun on Forgive Me!

— yourusername: love you hal x

— chloebailey: do not call her! She got her chance call me! (liked by yourusername)

y/bff/n: SUPERMODEL??!!?? Another one you didn’t let me listen to???

— yourusername: cause I knew you’d smack me upside the head for begging a man to see me as pretty enough.

— user24: WHO DIDN’T THINK YOU WERE PRETTY ENOUGH?! CHARLES?!! LET ME AT HIM!

oscarpiastri: on repeat 🎶

— user31: Oscar 😭 it’s giving desperate

— user26: keep commenting, she’ll reply one day!

— user27: bros talking to himself in her comments

sza: album of the year I fear

— yourusername: Solana 💚 couldn’t have done it without you

user32: @oscarpiastri are you the homeboy she’s been secretly banging like she says on supermodel?

— yourusername: I have NOT been secretly banging anyone’s homeboy! Supermodel is the only track with joint writing creds! I fear @sza came up with that lyric. (Comment deleted by yourusername)

— user34: NO Y/N let Charles think you’ve been secretly doing Oscar!

— user35: @user34 love me some psychological warfare!

landonorris: first!

— yourusername: you literally are the last person to comment😒😒

••••

Y/N Strips Off Expectations on Her New Album ‘TIDES’

R&B superstar delivers sharp barbs and haunting melodies on her long-awaited LP, amidst relationship drama with ex Charles Leclerc.

By Will Dukes

June 10, 2024

If you thought the singles released prior to the album were indicative of the direction this LP would take, think again. Y/n’s highly anticipated latest release, "TIDES," is an ambitious and masterful exploration of love's euphoria and its darker, toxic undertones. Known for her sultry R&B style, y/n transcends genre boundaries in this 15-track opus, weaving together dance, electronic, pop, and reggae influences to craft a cohesive narrative.

The album opens with "Cellophane," a haunting electronic ballad reminiscent of FKA Twigs' ethereal work. This opening track is something we’ve never seen from y/n, yet her delicate vocals float over a sparse, echoing production, setting a tone of vulnerability and foreshadowing the emotional journey ahead. This track is a stunning prologue, drawing listeners into a world where love is as fragile as the titular cellophane.

As we transition to the 3rd track of the album "Forgive Me," the album's pulse quickens. The track opens with a haunting, ethereal intro that quickly gives way to a pulsating beat and assertive bass line, setting a commanding tone. Y/n’s and Halle’s harmonies are immediately striking, blending seamlessly while each woman’s distinct vocal timbre adds depth and texture to the song. Their voices convey both strength and a sense of liberation as they sing about reclaiming their power and refusing to apologize for their choices. Mid-album, "Doo Wop (That Thing)" introduces a surprising but seamless shift. The pop-reggae rhythm provides a laid-back contrast to the preceding tracks, reflecting a momentary calm in the tumultuous relationship. Yet, y/n’s lyrics hint at something more sinister, the song can be seen as a warning, y/n clearly saying to her listeners I’ve made mistakes and here is how you can avoid them.

I won’t blame anyone for mistaking her single “Kill Bill” as the climax of the album. That is what y/n wants you to believe but the climax arrives with "Mary Magdalene" an electronic ballad that ties with the opening track “Cellophane.” For me "Mary Magdalene," is a standout, embodying the album's central themes. Drawing on the figure of Mary Magdalene, y/n reclaims and redefines her story, exploring themes of femininity, devotion, and resilience. The song's intricate layering and hypnotic rhythms create an almost spiritual experience, inviting listeners to delve into its complex emotional landscape. The production is haunting, with distorted synths and echoing beats mirroring the disintegration of trust and affection. y/n’s vocal performance here is raw and powerful, her pain palpable as she sings, "a woman’s touch, a sacred geometry. I know where you start where you end. How to please, how to curse.”

"TIDES" concludes with "Mirrored Heart," a poignant ballad that brings the narrative full circle, echoing the album’s opening. With an album so tumultuous listeners would probably wish for a sense of closure. This song does not give you that, rather you’ll be left questioning ‘what’s next.” y/n’s voice, both fragile and resilient, lingers long after the final note.

In "TIDES," y/n not only expands her musical palette but also delivers a profound and relatable story. This album is a testament to her artistry, marking her as a versatile, timeless and fearless force in contemporary music. It’s a disjointed album, songs sometimes seem out of place, but like the title “TIDES,” suggests, and given the situation that inspired the album, that is exactly the atmosphere y/n was looking to create.

••••

INSTAGRAM

charles_leclerc

Liked by landonorris, danielricciardo and 1,256,712 others

charles_leclerc : best believe I’ll move on to better things

user1: do y’all hear that?

user3: not you using lyrics from y/n’s song it’s giving desperate.

user4: poor Alex

landonorris: what is bro doing lmao

user5: oh -

arthur_leclerc: if before you had a chance now you have 0 😂

— user5: oh Arthur’s messy messy

—lorenzotl: we want our sister in law back, and this idiot isn’t doing us any favours.

user6: I’m sorry this is so disrespectful to Alex. Just cause you guys broke up doesn’t mean you can do this

user7: lmao get a life

carlossainz55: cabron… this is not what we agreed you’d do 😅

lewishamilton: 😒

— danielricciardo: 😒

— georgerussel63: 😒

— y/bff/n: 😒

— francisca.cgomes: 😒

pierregasly: brother delete this 😔

— oscarpiastri: 😂

(this post has been deleted)

••

TAGLIST

@forevercaffeinated-lee @callsignwidow

#charles leclerc smau #f1 smau #charles leclerc x black!reader #charles leclerc x female reader #charles leclerc x reader #formula 1 smau #f1 fanfic #f1 x reader #formula one smau #oscar piastri x reader

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abstractnaturaldisaster · 7 months ago

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is it over now? (was it over then?)

part five

part six: with the wilt of the rose

With the success of Eddie's Steve single as his bandmates had started to call it, the label had basically told Corroded Coffin in no uncertain terms to channel that energy into the rest of their album. It wasn't that Eddie didn't like the attention his song was getting and Steve absolutely deserved it, the lying piece of shit, but it was like getting permission to write angsty music about Steve took all the fun out of it. He was fully out of inspiration of the angst variety and had taken a hard left turn into moping, feeling sorry for himself, and being one thousand percent convinced that he was going to be single for the rest of his life and die alone.

Eddie was reclining in his giant beanbag chair (his nest as Steve used to joke with him), occasionally humming lines, strumming on his guitar, and writing more and more pathetically dramatic lyrics for most of the day until he reached his limit and pulled out his phone. It wasn't like Eddie was purposefully keeping track of people in Steve's life but over the time they were together his little gaggle of gremlins wormed his way into Eddie's life too. Unfortunately when he opened his phone it was to tweets of Dustin going low key feral over Steve's new role in some indie biopic but at the same time being crazy upset that Steve would be incommunicado as Dustin so helpfully added in his tweet. The kid was such a dweeb. Eddie flicked out of twitter and opened instagram hoping that his feed would be mostly possum memes. He scrolled idly for a while seeing new tattoo ideas and of course many cute furry animals doing many silly things until suddenly he was reminded of a particular face Steve made and Eddie (although he would never admit this) searched for Steve's public profile only a little disappointed that he hadn't posted anything more recent than when the two were together.

Because Eddie may or may not be a massive masochist and can't leave well enough alone, he decides to tab over to Steve's tagged pictures to see if there is anything recent. In between several tags of Steve being unfairly good looking in whatever movie he was currently filming, Eddie was taken aback by a post that was just of Robin and Nancy. They looked a little closer than just gal pals or whatever it was the tabloids called them while speculating how they could be friends while "fighting" over Steve. So much for modern feminism.

Before Eddie got distracted enough to go through a full rant that might include a fairly long section about how Ronnie was treated differently than the rest of his bandmates, Eddie focused back on the issue at hand. Why was Nancy who he highly suspected of stealing his fucking boyfriend posing like she was getting engaged to Steve's best friend. And why did they fucking tag him it it? Robin was snarky sure but she didn't seem like that level of bitch. Eddie took a deep breath and opened the fairly lengthy caption to see:

nancywheeler Hello World! It's been a long time coming but I am so excited to publicly announce that me and Robin (@buckster) are going steady. I know I don't post a whole lot about my person life on here (seriously, the rest of the world is so much more exciting) but you've always been so supportive of my coming out and sexuality related posts as well as understanding when I needed to set a boundary between my personal life and my online persona. I've been unable to share my most recent relationship for a really long time because of the public pressure of coming out and being a "marketable asset." Steve (@sharrington) could not have been a better support during this time and took a lot of public flak to keep Robin and I safe and comfortable until we were ready to be out publicly. He always offered up his home while I was visiting and kept me company while Robin was working. I guess us bi guys have to stick together, huh? Anyways, that's all for now. And no, we aren't engaged (yet 😈)

Eddie was floored. He had spent all his time since leaving Steve's apartment feeling very holier than thou and smug about everything that happened with Steve and the success his band was experience because of it. Although if one Miss Nancy Wheeler was telling the truth (which like as a journalist Eddie thinks she has to), Steve was actually helping his platonic soulmate find love with his exgirlfriend. If Eddie hadn't already felt kind of shitty for assuming the worst about Steve, this had to take the fucking cake. Eddie was truly done for. Put a fork in him. He's the worst person ever. Fuck. He needed reinforcements.

devilededs: uhm hi friends, i think maybe i am the asshole in the whole steve situation can u come to mine?

ronnie: you saw it? i can finally give you shit about being a total drama queen?

devilededs: what do you mean? why would you not tell me if you knew it existed.

ronnie: precisely because of this vibe right now.

devilededs: okay, everyone but ronnie pls come over i need snacks and maybe some really b grade horror but you have to indulge me in my sadness.

garbear: already on the way with your emotional support jeff and frank. we'll pick up snacks.

ronnie: if you let me problem solve for you can i come for snacks? i don't think i can handle moping eddie without trying to show you its very fixable.

devilededs: YES! FIX! ME! HOW! GET OVER HERE!

Eddie flopped back into the beanbag chair and let his notebook flop out of his lap. Thankfully his friends all had keys so he could continue to rot in place until Ronnie forcibly withdrew him from his hovel.

part seven

@lololol-1234 @swimmingbirdrunningrock @zombiethingy @grtwdsmwhr @dreamercec @anne-bennett-cosplayer @strawberryyyenthusiast @mensch-anthropos-human @kal-ology @ttyrussss @kristmkris @starman-jpg @wonderland-girl143-blog @child-of-cthulhu @legalmenace87 @adealwithher @practicallybegging @lunaraquaenby @stripey82 @lexyvey @goodolefashionedloverboi @mothmamhasyourlocation @mugloversonly (if you wanna be tagged in future parts feel free to comment! happy to add people)

#steve x eddie #eddie munson #steve harrington #steddie fic #steddie #don't worry robin will fix it #angst #angst with a happy ending #rockstar eddie #actor steve #was it over then ficlet

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haedalkoo · 2 months ago

Note

Jikook talk? Yes! This thought has been lingering for a while, but I guess 1.5 years post-face is better than never lol

I love love love letter and I’m still kind of in disbelief that it featured jk in the background vocals out of nowhere. It sticks out to me because jimin didn’t have to use anyone’s voice other than his own for them just like in the rest of the album. Especially on a track that is generally “hidden” from widespread release. It makes me think of my favorite facet of jikook’s dynamic, that kind of hushed intimacy. AYS in sapporo gave me the same feeling at times. I love their gentle playfulness, that’s probably what their dynamic is like in everyday settings, but quieter moments feel so sweet. Plus not to mention jk casually playing letter on his guitar live then acting as if he just made up a chord. The whole first half of 2023 felt like a fever dream in hindsight

I miss them so much with Jimin’s birthday around the corner 😞 just half a year left to go

This made me go watch every video of jikook and letter out there on the internet before coming back to reply and now I'm a mess, rip. Like you said, Jimin had no particular reason to include JK in an album that was so personal to him, personal to the point that he rejected the idea of collaborating with Yoongi in it (still waiting for that collab in the future tho.) Yoongi couldn't be in the album but JK could?? Okay...

And the lyrics. God.

You, who stretched your hand out to me whenever I fell / I say Oh Oh, I’ll hold it now (...) After all this time has passed / Will we still be the same? / Just like we were when we first met Baby, don't leave / Just stay by my side / You, who sees someone as small as me as someone big [stay] So that I can give as much as I've received / So that I can keep my word Don’t worry / Just stay by my side / We don't know what the future holds / and that's scary and makes us afraid / But don't forget that we're always together (cr. bts-trans)

I understand there are a lot of references to the relationship between armys and bangtan, and that's really precious but I also think it can coexist- that love, that feeling of having a companion through the hard times, always together even if separated. That's armys, but that's also Jungkook. He's been there even before we existed, and he's there when we're not.

This song was written before they knew if they would get to serve together. 18 months, when you're so tied to someone that you spend your free time with them, is a lot. I can see why it mattered to Jimin that JK's voice was in this song.

They love each other so much :( sapporo just confirmed to me that they are each other's comfort and favorite person, and I'm so happy that they have each other (even if things are scary and they are afraid) (that lyric got me thinking of 'I am just as afraid as you are when you see me when you touch me / the universe has moved for us / our happiness was destined)

Destiny, right?

(Happy birthday to our warm spring day Jimin 💖💖🐥)

#anon ask #jikook #kookmin #are you sure?!#jimin letter #elatalks #just a little push until we see our seven again!

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omegalomania · 1 year ago

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face in my hands. listen to me. no just. just listen. like. i think on the whole fandom tends to heavily mythologize what certain songs are "about" despite this never being solidly confirmed to be the case and fob (pete in particular) generally try not to say without question What Songs Are About because they want people to take whatever meaning they can from it. but from now on we are enemies is one of the exceptions to this rule to a very limited extent and by that i mean that on two separate occasions, during the hiatus, patrick and pete shared a little bit of what the song was about on twitter, independent of one another.

if you haven't seen the film amadeus it's about a rivalry between two historical composers, wolfgang amadeus mozart and antonio salieri. salieri loathes mozart and finds him supremely childish and annoying...but also irritatingly brilliant beyond words. salieri obsesses over wanting to see mozart fail and even plans on killing him, but they do eventually form a friendship. then mozart gets sick and dies. salieri essentially breaks and loses his mind and years down the line will claim that he murdered him.

the name of the song, "from now on we are enemies," is a direct quote from the film. but it's not talking about mozart. it's a furious diatribe that salieri flings at god himself. he's so wildly and deliriously envious of mozart that he feels like this is divine punishment and so he declares god his mortal enemy for bestowing mozart with such brilliance. from now on we are enemies, you and i.

this is, i should note, one of the last songs fall out boy wrote before the hiatus. this and "alpha dog" were considered "new" for the believers never die greatest hits compendium, but alpha dog was technically debuted before folie released, on the welcome to the new administration mixtape. then fall out boy went on hiatus and there was no guarantee of return.

like i dont know what to say about this song that hasnt already been said. its fucking deranged as all get out ill tell you that much. its fucking unhinged that this song, this song with this central thesis statement, is one of the last songs you wrote together as a band before going your separate ways without any guarantee that you would reform again. and it's THIS. IT'S THIS SONG. a song that laments about whether anyone will remember you when you're gone (reminds me of flu game, reminds me of so much (for) stardust the title track, reminds me of .... so many of the themes inherent to their eighth studio album. actually.), and a song that practically lays out its inspiration for all to see. for a band that seldom if ever discloses with actual intent the Meaning behind their songs, this is a song that discusses a HIGHLY FRAUGHT ARTISTIC RELATIONSHIP and it's hard, it's real damn hard, to see anything but what is clearly all on display. composer but never composed (patrick has always considered himself a composer first and foremost). singing the symphonies of the overdosed (pete played a song that was named after the drug he tried to overdose on with his band mere nights earlier). i'm just a man on a balcony singing no one will ever remember me (again there's the fear and dread about the legacy you leave behind just before the band goes their separate ways).

can't fucking lay out the sheer psychological damage this does to my soul just thinking about this. they played MISS MISSING YOU the night before. just, you know, one of the other Songs that's so hard to disentangle from the hiatus because of the way it was written (patrick wrote the music while making soul punk, felt like it wasn't for him, and set it aside...despite there being, again, NO guarantee that the band would ever reform at this point, and then the song was only completed once fall out boy decided to come back, with joe and andy adding instrumentation and pete adding the lyrics) and whose music video features patrick and pete literally KILLING EACH OTHER. from now on we are enemies. i need to walk into the ocean. i need to lie down. im inconsolable.

#*making poasts #i need to be doing comic work but im just fucking FUMING instead. i cant get over this. im never getting over this.

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badnewswhatsleft · 10 months ago

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2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs). PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS #fall out boy #pete wentz #patrick stump #andy hurley #joe trohman #time capsule #read the charts #ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS #i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3 #patrick's comments about the mythologising of fob lore is so interesting #listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level #the way they talk about neal avron is sooo funny #imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory)#also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol???#ALSO also. pete being afraid of british ppl (valid and true)#and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny #i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((

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dilemmaontwolegs · 2 years ago

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Wild Nights || CL16 {Epilogue}

Pairing: Charles Leclerc x songstress!reader Summary: With a new album out it needs promoting and you find yourself missing Charles while you are in New York for a talkshow interview. Warnings: 18+only, flufffff WC: 1.1k

F1 Masterlist || One || Two || Three || Four || Five || Epilogue

February 2025 “I wish you were here,” you whispered into the phone that you weren’t supposed to have in the talk show studio. “I’m shaking like a leaf.”

“You’ll do great, my love,” he reassured you and you could hear a lot of background noise from the other people at the airport. “I’ll see you soon.”

No sooner had the call ended that the studio lights dimmed and the live audience fell silent.

“Now our next guest really needs no introduction,” Jimmy Fallon began to say while you nervously paced behind the curtain, until Bea pulled you to a stop, “her debut self-titled album went platinum and I have no doubt her new album, Safety Car, will be just as good. Please, put your hands together for Y/N.”

Bea gave you an encouraging push and you forced yourself to focus on putting one foot in front of the other. No matter how many times you took the stage for a concert, or an interview, you still found yourself nervous - but you equally loved the thrill that came with it.

Once you were sitting in the chair the jitters faded away and you fell into the rhythm of answering the questions he fired your way.

“So, Safety Car, talk me through this album. How did you come up with the name?”

“Obviously Charles is a huge part of my life, we have known each other for a couple of years now, and this album was made collaboratively with him. That’s all him on the piano with pieces that he composed, so the journey of this album gives a glimpse into that relationship we have, especially the ups and downs that come with life.

“I’m not sure if you keep up with Formula One, Jimmy, but when there’s danger on the track they deploy a safety car to guide the drivers through that peril. This whole album is about being each other's safety car and helping navigate the other through those hard times.”

“Wow, that is so wholesome and sweet,” he gushed before looking down at his cue card. “But what exactly is ‘that relationship’? Because we know you and Charles are together, everyone and their dog knows you two are together, but there was never actually any announcement as such and now there’s rumours that you secretly tied the knot while you were at the Vegas Grand Prix this year?”

You tipped your head back with a laugh. “You’ll have to ask him that because I don’t think he ever officially asked me out. We kind of just collided and stayed that way.”

“So you aren’t together?” he gasped like it was some scandalous news but you just gave him a wink.

“We love each other dearly, I mean, we found each other when we were both going through a difficult time and helped each other to heal. Any chance we have at seeing each other we take but we have always been aware that the reality is that our lives are in very different places. Charles’ work takes him all over the world and with my second tour coming up there just aren't a lot of places where our lines intersect.”

The crowd sighed sadly but you shrugged it off with a smile as you continued, “Neither of us would ask the other to give up on their dreams, that wouldn’t be love then, would it? It’s what inspired my first single Love Is Letting Go. Charles had an amazing 2024 season and has renewed his contract with Ferrari, and his dream is to win a championship with them in particular so he’s very focused on that for this coming year and I’m so proud of him. Maybe one day our lives will be at the same pace but for now we cherish the moments we do get.”

“Oh don’t we know it,” the host chuckled. “We have all seen the photos floating around whenever you two hit the town. Looks like you have some pretty wild nights out together.”

“We do have a lot of fun. Why not? Life’s too short, might as well be wild and free.”

“That is true, but are you free? How else do you explain this photo?”

A picture appeared on the screen that had been taken inside the infamous White Chapel in Las Vegas. It wasn’t exactly clear who was in the photo because of the costumes but it didn’t take a genius to work out who was standing at the altar getting married.

Pierre’s brown hair stuck out the front of a slick jet-black coifed wig while Bea’s white halter dress barely contained her boobs as she twerked against him. It was a little harder to tell it was you and Charles in front of Arthur, who had bought an online Certificate of Ordination so he could be the celebrant. Your brother-in-law had spent so long trying to find a printer in the hotel that he was last to arrive and left with a Star Wars costume.

“Well, Jimmy, I believe that is Darth Vader, Elvis Presley, Marilyn Monroe, and Bonnie and Clyde. And it looks like they are having one hell of a time.”

“That’s all you’re gonna give us?” he asked with a chuckle and mock disappointment as he shook his head. “Fine, fine. Can you at least give us a song?”

The small side stage was dark when you took your place at the microphone but when the lights came on and illuminated the piano it wasn’t Bea that was sitting there as planned.

The crowd screamed as they saw Charles and your eyes widened, a smile growing as you drank him in after a long two weeks apart. “You’re meant to be on a plane.”

“I got on an earlier one,” he said, the piano microphone picking up his soft words as he sent a wink to the camera, “so I could support my beautiful, talented wife.”

The air froze for a split second before chaos erupted and the audience cheered.

You looked across the stage at Jimmy as a smile broke on your face. “Uh-oh, busted!” You reached into your pocket and slipped the sedate diamond ring you had chosen, opting for something smaller than the huge rock that Charles would have gone for, and slipped it back on your finger that had felt empty without it. “I guess this makes us pretty official.”

Charles teased the crowd as he played the wedding march tune. “There was never any doubt in my mind.”

Tagging: @91vhs @alwaysclassyeagle @applespiez @ravenqueen27 @booksobsess @tempo-rary-fix @baw-sixteen @im-an-overthinker @notleclerc

#charles leclerc x you #charles leclerc x female reader #charles leclerc fanfic #charles leclerc imagine #charles leclerc x reader #f1 imagine #f1 fanfic #f1 rpf

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biblical-chronicles · 4 days ago

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Fan-service

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where Noel is so starstruck by the reader, that he can't even let a word out, especially as she presses against him to finally nail a riff that has been stuck in her head.

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Oasis had been locked in the studio all week, grinding through new material. The days were dragging, and while Noel Gallagher could usually power through long sessions with determination, something had been throwing him off his rhythm lately. He sat hunched over his guitar, strumming idly while scribbling down half-finished lyrics, though his mind clearly wasn’t on the task at hand.

Across the room, Liam leaned casually against the wall, cigarette in hand, watching his older brother with a sly grin. “You’ve been well quiet lately,” Liam started, his voice cutting through the low hum of the amps. “Bit out of character, innit? Normally, you’re banging on about summat well boring by now.”

Noel shot him a look but didn’t reply, his focus stubbornly staying on his guitar.

“Oh, I get it now.” Liam smirked, dragging on his cigarette. “You’re thinkin’ about her, ain’t ya?”

At this, Noel’s fingers faltered on the strings. He didn’t say a word, but the slight stiffening of his shoulders was all Liam needed.

“Bloody hell, this is gold!” Liam’s laugh echoed through the room, and he gestured at Noel with his cigarette. “Our kid’s gone soft over that singer. What’s her name again? That band you’re always harping on about like some lovesick twat?”

“Shut it, Liam,” Noel snapped, his voice sharp but tinged with embarrassment.

“You’re always goin’ on about how talented she is, how her voice is, what’d you say, proper angelic?” Liam snorted, clearly enjoying himself. “It’s tragic, mate. Well tragic.”

“I’m not having this conversation,” Noel muttered, shaking his head as if it could physically remove the topic from existence.

“Well, you better sort it out, ‘cause they’re booked in the next studio soon, yeah?” Liam’s grin widened as he pointed out what Noel had been dreading. “She’s gonna be right down the hall. What’re you gonna do then, eh? Gonna spend the next few weeks hiding in the bogs every time she walks by?”

“Why don’t you do one and focus on something useful for once?” Noel barked, clearly over it.

“ooh touchy touchy aren't we, alright” said Liam holding up his hands in mock surrender, though the grin never left his face. “Just don’t come crying to me when she don’t even know you exist, mate.” He gave Noel one last pointed look before wandering off, still chuckling to himself.

A week later, the studio was buzzin with sound as your band arrived to record your new album. You’d barely had time to catch your breath with how fast things had been moving lately—gigs, interviews, and now this—but it was all part of the ride.

The first few days in the studio were a mix of excitement and frustration as you worked to fine-tune the tracks. Things were going well, but one song in particular was giving you trouble. The chorus needed something—a riff, a hook—but no matter how hard you and your band tried, nothing seemed to fit.

After hours of tinkering with no breakthrough, you decided to call it a night. “You lot head off,” you told your bandmates as they packed up their gear. “I’ll grab a bite and lock up.”

They nodded, wishing you goodnight as they headed out. Left alone, you wandered into the small kitchen area of the building, rummaging through the sparse offerings until you settled on a rather sad-looking snack. You leaned against the counter, chewing absentmindedly, humming away, when the melody suddenly hit you.

It was perfect. It tied the whole chorus together in your head, and you immediately knew that you couldn’t risk losing it. Tossing the wrapper in the bin, you rushed back down the corridor towards the studio room, humming the notes under your breath so you wouldn’t forget.

Reaching the door, you realized with a groan that it was locked. “Fuck,” you muttered, tugging at the handle uselessly. Of course your bandmates locked the room up on their way out.

You stood there for a moment, wracking your brain for a solution. That’s when you heard it—a faint melody drifting down the hall.

Following the sound, you found yourself in front of a door with “Oasis” scrawled on the sign. For a brief moment, nerves fluttered in your stomach. You’d heard the stories, seen the interviews - the Gallagher brothers weren’t exactly known for being approachable. But the riff was all you could think about, and with no time to hesitate, you pushed the door open.

Inside, the band had just finished playing a song, the final notes still humming in the air. Four pairs of eyes turned to you as you stepped in, looking a bit out of place but determined nonetheless.

“Hi,” you said, trying to sound casual despite the sudden silence. “Sorry to interrupt, but, uh... would you mind if I borrowed a guitar for a sec? I’ve got this riff stuck in me head, and I need to get it down before I forget.”

Nobody said a word, the room was eerily quiet, the only sound being the faint hum of their amps. You shifted awkwardly, wondering if you’d made a mistake.

“Everyone alright? Or did I walk in at a bad time?” you joked, laughing nervously.

Finally, Liam broke the silence, a grin spreading across his face. “Yeah, yeah, it’s all good. I’m sure Noel won’t mind you borrowing his gear. He’s a big fan.” He turned to his brother and not-so-subtly jabbed him in the ribs.

Noel, however, looked like he might spontaneously combust at any moment now. His face turned a deep shade of red as he opened his mouth to respond but found no words. Instead, he just sat there, gripping his guitar like it was the only thing tethering him to reality.

The sight sent Liam into a small fit of laughter, and it wasn’t long before the rest of the band joined in. You stood there, thoroughly confused but trying not to let it show.

“Right,” you said slowly, glancing at Liam, who was practically doubled over, already in the process of nudging Noel again. “Well, maybe don’t knock your guitarist out while you’re at it. He’s important to the band, isn’t he? And, he's kinda cute too, would be a shame to lose him.”

That only made things worse. Noel somehow managed to turn an even darker shade of red, his face now matching the hue of his knit. Liam was in hysterics at this point, the rest of the band not being far behind.

You glanced at Noel again, noticing the wide-eyed, slightly panicked expression that hadn’t left his face. His grip on the guitar seemed to tighten, and his lips parted slightly as if he wanted to say something but couldn’t quite manage it.

“Okay,” you said, trying to suppress a smile as you addressed the room. “He might be broken or summat, but listen, I really need to get this riff out before it slips away from me.”

Before anyone could respond, you walked over to Noel and, without much thought, slid your arms around him to reach the guitar. He froze completely, every muscle in his body going stiff as you gently moved his hands to make room for yours on the neck of the instrument.

“Right, let’s see if this works,” you muttered, focused on the notes in your head. You began plucking at the strings, slowly piecing together the melody as Noel sat motionless beneath you. Your body pressed lightly against his as you leaned over him to reach the frets, completely oblivious to the utter chaos you were causing in his head.

Behind you, Liam’s laughter hit a new level. “You seeing this?” he wheezed, looking around at the rest of the band, who were also struggling to keep their composure. “Our Noel! He’s gone, mate. Completely gone.”

The room erupted into more laughter, but you couldn't hear it, too focused on the riff. Yet, you could feel Noel shifting slightly under you, as if he were trying to sink into the floor.

Finally, you played the last few notes, the riff clicking perfectly into place. “That’s it,” you said, grinning as you let the final chord ring out. “Bloody hell, I’m glad I got that down.”

You leaned closer to Noel’s ear, whispering a quick, “Thanks for this. You’re a lifesaver.”

It wasn’t until you pulled back that you noticed just how red Noel’s face was. His skin was practically glowing, and his eyes had this dazed, glassy look as he stared blankly ahead. You couldn’t help but smile, the pieces finally starting to click into place.

“Well, I should probably head off now,” you said, stepping back from Noel and addressing the room. “Thanks for letting me steal your guitarist for a bit. I really appreciate it—and I’d love to hang out properly sometime with you lot. We’ll all be stuck here for weeks, yeah?”

The rest of the band nodded, offering their goodbyes and complimenting your career so far.

As you stepped out into the hallway, shutting the door behind you, you could still hear the faint sound of Liam cackling. You shook your head, chuckling to yourself as you started walking toward the main exit.

You didn’t get far before the door burst open behind you.

“Noel wants a private meet-and-greet!” Liam’s voice rang out, his laughter following soon after as he all but dragged his older brother into the hallway by the ear.

You turned to find Noel half-protesting, his mouth opening and closing like he couldn’t quite decide what to say. Liam, on the other hand, was clearly having the time of his life, practically bouncing on his feet with glee.

“Well?” you asked, raising an eyebrow as you crossed your arms. “Is that true, Noel?”

Noel opened his mouth, presumably to deny everything, but Liam cut in before he could speak. “Go on, mate. Tell her how you feel. Or d’you need me to spell it out for ya?”

“Piss off, Liam,” Noel grumbled, his voice finally returning, though his usual confidence was still nowhere to be found.

“Nah, I’ll leave you to it,” Liam said, grinning as he turned back toward the studio. “But don’t think I won’t come back if you bottle it.” With that, he disappeared back inside, leaving you and Noel alone in the hallway.

You tilted your head, studying Noel with an amused expression. “Alright, what’s this all about, then? What’s he on about?”

Noel rubbed the back of his neck, looking everywhere but at you. “It’s... it’s nothin’. He’s just taking the piss, per usual.”

“Didn’t seem like nothin’ to me,” you said, stepping closer. “Come on, Noel. Spit it out. I won’t leave you alone until you tell me what’s going on.”

He sighed, running a hand through his hair. “Alright, fine. Look... I’m a big fan of yours, alright? I think you’re brilliant—your voice, your songwriting, the lot of it. And, uh... maybe I fancy you a little, or whatever.”

You smiled, warmth spreading through your chest at his words. “Is that so? Well, I’m flattered, really.”

“Sorry,” he muttered, looking down at his shoes. “It’s probably weird, me sayin’ all this.”

“Not weird at all,” you assured him, pulling him into a hug. “And for the record, I’d love to go out with you sometime.”

His head shot up, his eyes wide with surprise. “You serious?”

“Dead serious,” you said with a grin, though you couldn’t resist teasing him a little. “Though I can’t promise I won’t tell everyone about how red your face went earlier.”

“Not funny,” he muttered, though the smile tugging at his lips betrayed him.

You leaned in, pressing a quick kiss to his cheek. His skin burned under your lips, and when you pulled back, you noticed how dazed he looked. Something about the moment felt too perfect to pass up, so you decided to close the gap again—this time pressing your lips fully to his.

Noel stiffened for just a moment before melting into the kiss, his hands slipping to your waist, tugging you firmly against him. The heat between you was immediate, as your fingers brushed along his jawline, tracing the scruff there before burying themselves in his hair. When you tugged gently, a low groan escaped him, his breath hitching audibly as he deepened the kiss, his grip on your hips tightening possessively.

His hands grew bolder, one sliding down to the curve of your hip while the other trailed up the small of your back, his fingers skimming the fabric as if itching to touch bare skin. The pressure of his hold sent a shiver through you, and you pressed yourself closer, your body molding against his in a way that left no space between you.

The kiss turned hungrier, his lips moving against yours with a fervor that sent sparks racing down your spine. His hands weren’t still for a moment, one sliding just beneath the hem of your shirt to rest on your bare lower back, the other venturing up your side, his thumb grazing tantalizingly close to your bra clasp.

With a subtle shift, Noel pressed you gently but firmly against the wall, his body following to keep you pinned there. You felt his fingers grip your shirt, bunching the fabric like he needed something to ground him, though the way his lips never left yours suggested he was perfectly content losing himself entirely. Your hands roamed freely now—one still tugging at his hair while the other drifted down to the broad expanse of his chest.

Then, as though driven by instinct, he hooked one of your legs around his hip, his hand sliding down to your thigh to hold it in place. The new position pressed you even closer together, your body arching into his as his lips never left yours.

You gasped into his mouth, your hands tightening in his hair and pulling him even deeper into the kiss. His grip on your thigh was firm, his fingers digging in slightly as though to steady both of you. His lips trailed to your jaw, his breath hot against your skin as he kissed a line down to your neck, his teeth grazing ever so slightly.

"Christ," he muttered against your skin, his voice huskier than usual, his lips brushing your ear as he spoke. "You’re gonna be the death of me"

You grinned, breathless, your thumb tracing the outline of his cheek as you whispered back, "Guess we’ll find out, won’t we?"

Before either of you could take it further, a familiar voice rang out from the hallway.

"Oi! I see the meet-and-greet’s come with some extra fan service!"

You both froze. Noel’s head snapped up, his face going a deeper shade of red than you thought humanly possible. You turned toward the doorway to find Liam standing there, leaning casually against the frame with a shit-eating grin plastered on his face.

"Honestly, Noel," Liam continued, his voice dripping with mockery, "you’re supposed to ask for an autograph, not sexual favours."

Noel scrambled to put your leg down, his hands leaving you so fast it was almost comical, though he kept his body angled slightly in front of yours as if to shield you from Liam’s teasing.

"Fuck right off, Liam!" Noel barked, his voice sharp but his face still burning.

You couldn’t help but laugh, leaning around Noel to flash Liam a cheeky grin. "Well, it’s good to know you’re keeping an eye out for your brother."

"Oh, don’t worry, love," Liam said, crossing his arms. "I’ll keep this one on a leash from now on. Can’t have him getting any more ideas."

As Liam sauntered away, you turned back to Noel, biting your lip to stifle a laugh. "Well," you said softly, brushing a thumb along his jaw, "I guess we’ll definitely need to thank your brother for that."

Noel groaned, shaking his head, but the small grin tugging at his lips told you he wasn’t entirely upset.

______________________________________________________

@shes-thunderstormssss this request was so fucking biblical, I just have to tag you, you lot please thank this absolute legend for it. Hopefully it meets your expectations, I just thought it’d be well more fun if the whole band had a laugh and tortured Noel a bit, get him proper flustered x

I proper enjoyed writin’ this, probably more than I should’ve, was expecting to have it done by tomorrow afternoon but here ya go me biblical skill knows no boundaries. Feel free to bombard me inbox with new requests, or yer apple pie recipes I don't give a toss, just love interacting with you lot xx

#noel gallagher x reader #oasis x reader #noel gallagher x you #noel gallagher #oasis band #oasis one shots #noel gallagher x f!reader #britpop x reader #noel gallagher one shots #oasis noel gallagher #britpop fanficiton #britpop x f!reader #britpop one shots

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