#EIGHT MORE SONGS!!!!!!!!!!!!!!!!!!
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cocolacola · 2 years ago
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i dont talk about music much on here but OOOOOOHHHHH MY GOOOOOODDDDD??
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thelilylav · 2 months ago
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Oh to spend your life trying to change to yourself for your best friend only for her to get mad at you the second you finally make a decision for yourself…
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IVE DONE IT.
this took me like a week to make and its FINALLY DONE.
watch bad b oy halo have a good time. click.
(its a bit slow to start dw it gets going)
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everywaythatmatters · 4 months ago
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So breathe, breathe, just… breathe
A part two to this drawing, since it turns out I am still experiencing many emotions about RotE and The Amazing Devil
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speedwayy · 9 months ago
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1999 recording of noel playing the acoustic track for it's a crime, the unofficial name given to the demo that would eventually become let there be love.
the lyrics are completely different from the album version and they're pretty interesting, so i included them under the cut
Well you can say what you want But you won't get a thing from me And if you don't understand That's it's not in your hands you need
Let there be love Let there be love Let there be love Let there be love
But you can say what you feel And it might never steal from me And then you must understand That it's all in your hands what you need
Let there be love Let there be love Let there be love Let there be love
And I never knew But all the thing's that you've done Are coming right back to you But everybody know's that it's no crime
But does it make you feel ashamed? You never said what you done And there's no need to blame But everybody knows Yeah everybody knows Everybody knows that it's no crime It's no crime
So you can say what you want But you'll not get a thought from me But if you say what you mean Then you might get a thing from me
Let there be love Let there be love Let there be love Let there be love
If I ever knew That all the thing's I've thought Are coming right back to you But everybody thinks that it's a crime
It never makes you feel ashamed You sit around and you sold And then you're passing the blame But everybody knows Yeah everybody knows Everybody knows that it's a crime
It's a crime It's a crime It's a crime
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wavesoutbeingtossed · 10 months ago
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Screaming from the crypt (or how the past haunts the present on Midnights)
I know it's been discussed so much since Midnights came out but just.
I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.
(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)
In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.
Battle (let’s go)
For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.
And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.
(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)
To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.
Putting the rest under a cut because this is waaaaay too long now ⤵️
(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)
If one thing had been different
Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?
(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)
(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)
There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.
(Shoutout to WCS for being Catholic guilt personified lol.)
To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)
(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)
Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.
Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)
Death by a thousand cuts
She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.
(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)
Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.
(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)
In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.
Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.
Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)
From the same little breaks in your soul
I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.
Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)
This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️
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sensitiveheartless · 8 months ago
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So I've gotten some drawing done on longer projects today (still working on the next part of the competitive skk saga, only I got really dissatisfied with some of it so I'm redrawing those bits) — but I also feel the need to draw some quicker blorbo doodles in order to satisfy the demons in my soul. BUT I am being very indecisive about what to draw, so just for fun:
Songs listed here because I couldn't fit the titles in the poll itself:
Option 1: Nothing Fades Like the Light by Orville Peck
Option 2: The Lovecats by The Cure
Option 3: Wrecking Ball by Mother Mother
Option 4: Under Pressure by Queen and David Bowie
Option 5: Good Morning by Go! Child
Option 6: When Can I See You Again? by Owl City
Option 7: Holding Out for a Hero by Bonnie Tyler
Option 8: Fairytale by Alexander Rybak
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bitternace · 11 months ago
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Any number? 23 and saïx :)
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couldn't count all the ways that i've died for you
[ID: a digital drawing of saix from kingdom hearts. He is shown from the hip up, his body in 3/4's and his face in profile. He is shadowed in warm tones. He has a neutral expression, and he's standing straight.
The background is transparent except for a circle that lays from the middle of his shoulders and upwards, with three sections that have a slightly bigger circumference where one to three, seven to eight, and eight to nine would be on a clock. All scenes are blue tones with a noise overlay. these three are all from saix's perspective.
In the first, there is a cloaked figure shown from the waist down, the tip end of young xehanort's keyblade leans forward and some of it goes out of bound, tiled floor as a background. The second one is saix's hand reaching for kingdom hearts. The third is his hand reaching towards Lea, who lies on the floor of radiant garden's lab.
The rest of the circumference is a labyrinth wall in keyblade's graveyard, with a harsh diagonal line of light on the upper half. Most of the circumference is lined black, except from nine to one o'clock, lined white. /End ID.]
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shalom-iamcominghome · 4 months ago
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Since you’re really getting into the world of Jewish music, have you heard of chilik frank ? He’s a chossid who does ashkenaz/Klezmer. My absolute fav song from him is a song called ‘Rabi meir omer’ !
Ughh one thing I love about kletzmer is the emphasis on clarinet so many songs have. It makes me want to pick mine back up and play this by ear...
As well, this is how it feels to play clarinet:
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#ask#jumblr#jewish music#when i was first learning clarinet in school we all had a music book and i always gravitated toward playing the jewish or kletzmer-ish song#i didn't know it was kletzmer or jewish but i knew i absolutely LOVED playing that style of music#i have ALWAYS adored how that music style has sounded. deep in my heart i knew i belonged in a kletzmer band#anon thank you <3#i SERIOUSLY need to get my claronet out but i don't know how i'd explain to my family why i'd be playing obviously 'foreign' music#i haven't picked up my clarinet in years........#do reeds expire ....#i love learning songs by playing them by ear. i learned a lot of songs through this and even made claronet parts to songs that don't have i#i'd walk around during marching band practice with my earbud in playing parts over and over. i bet it was annoying to my peers LMAO#my toxic trait was listening to music while marching and playing music (not during comps obviously just during band camp)#it was so bad i listened to one song eight hours a day (more like ten) every day for two weeks#even AFTER band camp i would replay it on my walk to my ex's house. and it was a twenth minute walk or so. it was BAD.#UMMM. apparently reeds DO expire. funny. some of my reeds i used for half a year or more#and these websites are saying to replace them biweekly? no way. no fucking way#i don't care. i'll let my reeds grow a culture of their own if they play well (slight hyperbole)#vandorens are GREAT but they're pricy. i am NOT shelling out my life savings for three reeds
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honeydots · 1 year ago
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i know im late but xanlow pocky doodle was a must....
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carnivalcarriondiscarded · 1 year ago
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do you ever just sit there thinking about your favorite ocs while violently shaking. god. clenches fist. They're So.
#every time a song from their Joint Playlist comes on i go fucking feral#the betrayal the refusal to Let Go the haunting the persisting love the renunciation the resentment the abandonment the resignation#the overwhelming desire to do good vs the fear of admitting you were wrong vs the two people you love most tearing each other apart#AGHHHHH FUCK FUCK FUCK IM SUDDENLY DEEP IN THE ORIGINAL SAUCE#five seconds i was Normal. scribbling welcome home#then One Of The Songs Came On and now im losing my fucking marbles#perceived betrayals leading to real betrayals....#going too far and now its too late you're Committed you cant go back#he came to you thinking he could make you understand and you could work together to make things Better#and instead you ripped his heart out and left it bleeding on the floor for everyone to see#THEY MAKE ME MORE INSANE THAN LITERALLY ANYTHING#absolutely unprompted#the oc Unwellness comes and goes in waves but its the only true constant obsession with my life#god those three... my dearest darling Trio.... how old are they turning this year?#is it year eight of having them? year nine?#one of the two is for sure how long ive had My Specialest Boy Light Of My Life The Reason I Am Still Alive#the other two came after... maybe only mere months after but he was the first and he is just. i love him so fucking much#he is so so personal to me. he has a permanent place carved out in my chest#he sleeps on my ribs <3#the other day i was reminiscing about his development over the years. his changes his different Versions#and fuck... he's really changed with me huh??#his past selves are echoes of my own self over the years#like he is Very different from me but at the same time. i created him with little pieces of myself sewn in#we hold the same views the same beliefs. im not him and hes not me but we're Kindred yk yk#i think i need to go listen to his playlist.... how long is it now... let me check... 15 hours 13 mins... 228 songs...#my gay 5'2 powerhouse of a guy. him <3#maybe 'them' too he's played fast and loose with gender over the years. holy shit wait#his development echoes mine... i characterized him as 'fucks with gender norms' long before i realized my own gender fuckery#god damn. i love him even more now. i didnt think that was possible. im going to cry. hes so important to me#he has been with me through my worst years... and will be with me through all the hard times to come <3
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ggrimboy · 1 year ago
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happy 1 am heres an old agent 24 doodle i dont think i ever posted
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charlotte-family-apologist · 2 months ago
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What kind of music do you listen to? :D
I listen to just about anything! It changes a lot.
Though I've been listening to a lot of She Wants Revenge lately. More specifically the up and down album and Out of Control. Also a lot of rap too.
Oh and Never Love An Anchor by The Crane Wives. Gotta have one sad song thrown in the mix. (It's very Kenshi and Takeda to me...) It's a song about a parent giving up their child so the child can have a better life without the parent weighing them down.
Also just gonna plug my favorite song of all time don't mind me....
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ivalice-tifalucis · 21 days ago
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With the release of From The Rehearsal Room - Tokyo to Ramin's youtube I finally, finally, continue and finish this side project I'm doing.
Initially, I used AI to mastered it because the first version I got from bilibili were not in good quality but I wasn't satisfied and I found the much better quality. But with Ramin uploaded it to youtube, I re did all the mastering just with audacity for both Part 1 and Part 2. The Part 2 is still from the better version I found from bilibili, by the way.
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What you need to do is just download the file and put it on your music player. The metadata is all completed as if it's whole legit album. Enjoy, guys!!
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And I'm being weird so all the lyrics that are put there are from my listening although I still use what I found online but I still listened and compared. They made few ad-libs and changes and I notice because for the songs that I wasn't familiar, the lyric that I found online and what they sang was slightly different. Perhaps they sing the newer version of the lyrics or mistakes? Even each Sheytoons songs they sing one in both parts differ from the ones I found online.
Another sample from my favorite:
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Source and Credits Part 1 | Part 2 (Ramin's upload) Album cover Photos
Vocal & Guitar: Ramin Karimloo, Hadley Fraser Piano: Ryohei Mori
#from the rehearsal room#ramin karimloo#hadley fraser#more to come probably idk we'll see#i should've also continue that eight letters project *sigh#sheytoons#edit: the lyrics hehe#add: tbh after i read steal our moments lyric so many times i even transcripted this mostly myself#bcs this is the only one among all the songs in this session that doesn't have the lyric online because they sang this so rare like soo rar#why am i starting to feel this song is about sierra lol sorry but my inner shipping heart can't resist#i even consult chatgpt (i know why idk but just asking really)#aren't all sheytoons songs written when ramin was in LND? written exactly in his dressing room in adelphi theatre???#and tbh most of sheytoons song are mostly about observing women but who idk it could be different#one of them could be about mandy and the other could be about rosalie because i know at that time she and hadley were dating already right?#or it could be some random lady#steal our moments: perhaps it's about a fleeting or secret relationship#the first verse is that the girl is full of life (house full could mean fulfilling life) but she is lonely and sierra lived alone in london#the singer and her share dreams and memories and then she plays her game of make believe could indicate that both of them are actors#every night and every day this is what we do: that's their work. they're on stage together every day every night. and ofc spending time tgt#and then the reff is about the singer doesn't want keep living like this bcs it makes him guilty maybe? he's tearing his soul apart#the singer can't stop thinking about her so he prays that things work on in the correct way even though they can't do anything about it now#so yea :D#fish noodle couple
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void-dude · 2 years ago
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Guess who started reading the IDW sonic comics
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cindergraves · 1 month ago
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oc-tober day 15: music!
playlists! one of my favourite things to do. i havent done them as often as i'd like lately, so here are some ultra compressed ones i made just for this. from left to right, it's one for kea, one for revak, one for both of them.
kea [lows the light don't reach]
kemosabe by everything everything / who am i? by nina simone / LGFUAD by motion city soundtrack / mama's gun by glass animals / god is a circle by yves tumor / goldfinch nocturne by roar / to the blade by everything everything / blue rooms by kunzite
revak [a wound gives off it's own light]
ghost by coheed and cambria / thaw by laurel halo / the softest voice by animal collective / atom by sea power / gunpowder by vashti bunyan / factories by autoheart / in another life by sandro perri / certain things you ought to know by destroyer
both [shores of the lighthouse]
blue light by kelela / pathetic by blame candy / take my blood by sun drug / memento mori by hollow wood / shameful company by rainbow kitten surprise / flowers-fire by kingfishr / mercury & me by everything everything / the tower by future islands
embeds ↴
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